
The new evolution of the Spark combines surprisingly great sounds, an intuitive app, and a rock-bottom price to transcend mere practice amp status.
Since debuting in 2019, Positive Grid’s Spark amps are among the best-selling practice amps on the market. But calling the Spark a practice amp sells it short. It can also function as a USB audio interface, and the free Spark app opens up a vast world of modeled amps, effects, and practice tools that’s extra impressive when you consider the sub-$300 price.
Positive Grid Spark 2, $299, positivegrid.com
Pros: Surprising high-quality sounds. Easy-to-use app interface. Amazing value.
Cons: App sometimes makes it tricky to multitask on your smartphone.
Tones: 4.5
Ease of Use: 4.5
Build: 4.5
Value: 5
PREMIER GEAR AWARD
Horsepower for Less
The Spark 2 offers 33 amp models and 43 effects. You can use three pre-amp effects and three post-amp effects for each preset. These sounds are powered by a new DSP amp-modeling processor that's twice as powerful as its predecessor and Positive Grid’s Sonic IQ audio chip. The original Spark delivered 40 watts, but the Spark 2 ups the output to 50 watts. It uses angled full FRFR (full range flat response) speakers, which most modeling aficionados prefer as a clean, neutral slate for varied sounds and models.
With the 11 knobs on the top panel, Spark 2 is easy to use in the same ways you would use a traditional amp. However, tapping into the Spark app changes the experience significantly and is a must if you want to extract the most utility from the unit. Convenience is king, after all, and the app makes selecting and creating tones and accessing all the practice tools exceptionally easy.
Light a Fire From Your Phone
On the app, preset tones are grouped by genre, with names like “British accent” in the rock category and “dancing in the room” in the pop section, to name a couple. When you choose a tone, a complete amp and effects chain shows up on your smartphone, and you can adjust all of the parameters you see on screen or via the physical knobs on the Spark 2. You can also save as many as eight of your own presets, rather than four on the previous model.
Most presets are pretty accurate representations. I especially liked the “Blues Ark” preset (from the blues tones category), which, after the addition of a touch more gain, sounded really creamy and clear. Bass tones were rich and even had much of the dynamic touch of a real amp, cleaning up nicely and opening up room for fingerpicking detail when I attenuated the guitar volume. Presets are just the beginning, though. For more tone options you can click the ToneCloud icon in the top right corner of the onscreen signal chain and access over 50,000 ToneCloud-community-generated tones that are available to download for free. Additionally, the new Spark AI feature lets you type prompts in the app, which generates sound recipe suggestions based your input. That should keep you busy for a while!
A Powerful Practice Partner
The music icon of the app opens up the page where the majority of the practice materials live. There are several play-along sections here, with playlists of YouTube links categorized into specific sections, like “Paul Gilbert’s Positive Grid Playlist” or “Dorian Backing Tracks,” and genre-based options like rock, blues, pop, and lo-fi hip-hop, among many others.
When you play a music video on the app, chord diagrams from the song are generated by the app and scroll by in real time. This came in handy when I was teaching a student some Taylor Swift songs, and we could readily play along without having to look up the song’s chord chart.
Another fun feature is the Smart Jam technology, which enables you to play whatever you want and the Spark 2 creates a rhythm track based on what you’ve played. I put the Smart Jam to the test in several different styles. First, I played a simple G–D–C–D progression strummed in a pop style, and the Smart Jam gave me an appropriate rhythm track for accompaniment. I later created a new track where I played two measures of A-minor pentatonic licks followed by two measures of C-minor pentatonic licks, and the Smart Jam presented a matching track with A minor and C minor roots, respectively, in the bass part. When I tried more esoteric chords and harmonically ambiguous lines, the results could be a little more “interesting,” but sometimes they pushed me in compositional directions I hadn’t foreseen.
Killer Looper
Of all the new features Positive Grid has added to the Spark 2, one of the most practical is the excellent onboard looper. There are two looper modes on the Spark 2: simple looper, which just plays back what you record, as a conventional looper does, and groove looper, which lets you add in a drum beat from Spark 2’s massive library of in-app drum loops.
Generally loopers are footswitch based, which can be tricky to use in terms of accurately timing the loop’s beginning and end. The Spark 2 offers an almost foolproof solution to this problem. Rather than stepping on a pedal to engage and disengage the loop, you first choose the tempo, loop length (up to 16 bars), and time feel, and then the Spark 2 gives you a count-in and metronome to record against.
The Verdict
Although it’s marketed as a practice amp, the Spark 2 could easily work in performance. It’s loud enough to handle gigs at smaller café venues without additional sound reinforcement. At about 12 pounds, it’s very portable, and if you’re playing bigger stages, the stereo line outs in the back could be used to send your signal to the house PA. If you want to play in the wilds, an optional rechargeable lithium-ion battery gives you around 12 hours of playing time at 50 percent volume, making it ideal for busking.
Inevitably, many people will probably use the Spark 2 as a practice tool, and in that regard, it’s very hard to beat. The sounds are inspiring and everything on the Spark 2’s app is very intuitively laid out so you can get going in seconds. I used the Spark 2 a lot since it arrived and, quite honestly, think my playing has noticeably improved in that time.
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The iconic alt-rock duo leans on floor modelers to execute their carefully choreographed live shows.
Along with contemporaries like MGMT and Passion Pit, Greenwich, New York, duo Phantogram’s experiments crosspollinating hip-hop, indie, and punk rock helped cement and elevate a new era of electronic-influenced alt-rock and indie music. At the start of the 2010s, you’d be hard-pressed to find a college radio station or dorm-room playlist that didn’t include a Phantogram hit.
Sixteen years after the release of their debut record, band leaders Josh Carter and Sarah Barthel, who started Phantogram in a town of just a few thousand people, are touring behind their latest full-length, 2024’s Memory of a Day. The tour included a sold-out stop at Nashville’s Ryman Auditorium—a different sort of barn than the kind they used to perform in back in Greenwich—where PG’s John Bohlinger caught up with Carter and Barthel. Courtesy of some help from their tech, the duo showed us how they’re pulling off their theatrical live experience.
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Music Mantogram
Carter is endorsed by Ernie Ball Music Man guitars, so all three of his road axes are variations on his current favorite Cutlass model. This one, first among the trio, is finished in black with a gold pickguard, and like its stablemates, it bears the Phantogram logo inlaid on the first fret. Carter removes the vibrato bar and uses his hand to pull the bridge up to nail the warbles. Aside from that, this one is all stock, and strung with Ernie Ball Paradigm .010s. While he sometimes grabs a pick, Carter plays most of the set with an acrylic nail on his index finger.
Brown Sound
This first backup Cutlass is finished in brown with the woodgrain peeking through and a burgundy tortoiseshell pickguard. It has a Seymour Duncan single-coil-sized humbucker in the bridge position for a hotter output than its black counterpart.
Step It Up
This natural finish Cutlass has had the same pickup mod as the brown one, but this one stays tuned a half-step up for special deployment.
Clean Business
Carter uses a wireless system to run to this Neural DSP Quad Cortex at his feet. His tech has set it up to emulate many of the pedals Carter uses in the studio. Carter appreciates the tactile and flexible nature of the system; it can take MIDI programming so Carter can focus on performing, or it can be rigged up to function like a traditional pedalboard. He uses a mix of amp emulations, including AC30-, 5150-, Fender tweed-, and Jazz Chorus-style patches.
A Boss volume and expression pedal alongside the Quad Cortex give Carter some extra control over the setup.
Josh Carter's Pedalboard Playground
While Carter carried a compact stomp station for tour, he’s addicted to stompboxes and uses them for inspiration when writing and sound building during studio sessions. Here’s what a small selection shared from his collection:
“The most prominent pedals I used for years onstage before switching to the Quad Cortex were the Line 6 DL4, Electro-Harmonix Holy Grail, Boss
DD-6 Digital Delay, Boss OC-3 Super Octave OC-3, Fulltone OCD, Wampler Ego Compressor, and Route 66 American Overdrive.
My go-to studio pedals are the MXR Joshua Ambient Echo, Line 6 DL4, Death By Audio Reverberation Machine, Electro-Harmonix Holy Grail, Chase Bliss Generation Loss MkII, Chase Bliss Mood MkII, Boss DD-500 Digital Delay, Chase Bliss Audio Automatone CXM 1978, Old Blood Noise Mondegreen Delay and Reflector Chorus.
And some honorable mentions for pedals I’ve been really digging as of late would be the Neon Egg Planetarium, Roland Space Echo, and various vintage & new spring reverbs.
Silver Stunner
Sarah Barthel initially played keys in Phantogram, but she learned bass and mimicked her synth parts on the instrument so she could move about freely and interact more with Carter. This custom-made sparkle-finish Fender Mustang is the perfect size for her, and she just recently started playing it with a pick. She runs into a Quad Cortex, too, but the Fender Bassman stack lurking behind the bass serves as an onstage monitor.
Jazzmaster
Barthel isn’t confined to the bass, either. At some points in the set she jumps onto this prized Jazzmaster, which she’s had for 15 years.
An overdrive and mangled fuzz that’s a wolf in a maniacal, rabid wolf’s clothing.
Invites new compositional approaches to riffs and solos. Gray Channel distortion is versatile and satisfying. Unpredictable.
Unpredictable. Footswitches for distortion and fuzz are quite close.
$199
Fuzz can be savored in so many ways. It can be smooth. It can be an agent of chaos. But it can also be a trap. In service of mayhem, it can be a mere noise crutch. Smooth, classy, “tasty” fuzz, meanwhile, can lead to dull solos crafted as Olympian demonstrations of sustain. To touch the soulful, rowdy essence of fuzz, it’s good to find one that never lets you get quite comfortable. The EarthQuaker Devices Gary, a two-headed distortion/overdrive and rabid, envelope-controlled square-wave fuzz designed with IDLES’ Lee Kiernan, is a gain device in this vein.
Gary is not exclusively a destruction machine. Its distortion/overdrive section is a very streamlined take on EarthQuaker’s Gray Channel, a versatile DOD 250-derived double distortion. Like any good circuit of the 250 ilk, Gary’s hard clipping OD/distortion section bites viciously in the high- and high-mid frequencies, supported by a tight, punchy low-mid output. You can play anything from balanced M.O.R. studio crunch to unhinged feedback leads with this side of Gary. But it’s the envelope-triggered pulse-width fuzz—which most of us will hear as a gated fuzz, in many instances—that gives the Gary its werewolf duality. Though practice yields performance patterns that change depending on the instrument and effects you use around the Gary, its fuzz ultimately sputters and collapses into nothingness—especially when you throw a few pitch bends its way. The cut to silence can be jarring, but also compels a player to explore more rhythmic leads and choppy riffs that would sound like sludge with a Big Muff. The Gary’s unpredictable side means it won’t be for everybody, but its ability to span delicioso distortion and riotous splatter fuzz in a single unit is impressive.
EarthQuaker Devices Gary Automatic Pulse Width Modulation Fuzz/Overdrive Pedal
Automatic Pulse Width Modulation Fuzz PedalBlackberry Smoke will embark on a co-headline tour with Mike Campbell & the Dirty Knobs. Lead singer Charlie Starr shares, “What could be better than summertime rock and roll shows with Blackberry Smoke and the one and only Mike Campbell & The Dirty Knobs?”
Blackberry Smoke’s fan club will have early access to tickets with pre-sale beginning tomorrow, March 11 at 10:00am local time, with the public on-sale following this Friday, March 14 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
In addition to the new dates, Blackberry Smoke is currently on the road with upcoming headline shows at New Orleans’ The Fillmore, Houston’s 713 Music Hall, Austin’s ACL Live at the Moody Theater, Dallas’ Majestic Theatre and Maryville’s The Shed (three nights) among others. They will also join Lynyrd Skynyrd and The Avett Brothers for select dates later this year. See below for complete tour itinerary.
Tour Dates
March 14—Douglas, GA—The Martin Theatre*
March 15—Douglas, GA—The Martin Theatre*
March 27—New Orleans, LA—The Fillmoreâ€
March 28—Houston, TX—713 Music Hallâ€
March 29—Helotes, TX—John T. Floore’s Country Store‡
April 24—Montgomery, AL—Montgomery Performing Arts Centre§
April 25—Pensacola, FL—Pensacola Saenger Theatre§
April 26—Tampa, FL—Busch Gardens Tampa - Gwazi Field
May 8—Austin, TX—ACL Live at the Moody Theater#
May 9—Dallas, TX—Majestic Theatre#
May 10—Palestine, TX—Wiggly Thump Festival
May 15—Maryville, TN—The Shed~
May 16—Maryville, TN—The Shed%
May 17—Maryville, TN—The Shed§
May 31—Virginia Beach, VA—Veterans Band Aid Music Festival
June 1—Lexington, KY—Railbird Festival
July 10—Pistoia, Italy—Pistoia Blues
July 11—Milan, Italy—Comfort Festival
July 13—Weert, Limburg—Bospop
July 15—Manchester, U.K.—AO Arena**
July 16—Birmingham, U.K.—bp pulse LIVE**
July 18—Brighton, England—The Brighton Centre**
July 19—London, UK—OVO Arena Wembley**
July 25—Nashville, TN—Ryman Auditorium†â€
July 26—Nashville, TN—Ryman Auditorium†â€
July 31—Lewiston, NY—Artpark Amphitheater†â€
August 1—Pittsburgh, PA—Stage AE†â€
August 2—Columbus, OH—KEMBA Live! Outdoor†â€
August 3—Roanoke, VA—Berglund Performing Arts Theatre†â€
August 5—North Charleston, SC—Firefly Distillery†â€
August 7—Raleigh, NC—Red Hat Amphitheater†â€
August 8—Charlotte, NC—Skyla Credit Union Amphitheatre†â€
August 9—Atlanta, GA—Synovus Bank Amphitheater at Chastain Park†â€
August 10—Asheville, NC—Asheville Yards Amphitheater†â€
August 21—Bonner Springs, KS—Azura Amphitheater‡‡
August 22—Rogers, AR—Walmart AMP‡‡
August 23—El Dorado, AR—Murphy Arts District Amphitheater‡‡
August 30—Charlestown, RI—Rhythm and Roots Festival
*with special guest Parker Gispert
†with special guest Zach Person
‡with special guest Brent Cobb
§with special guest Bones Owens
#with special guest Jason Scott & The High Heat
~with special guest Rob Leines
%with special guest Taylor Hunnicutt
**supporting Lynard Skynyrd
††co-headline with co-headline with Mike Campbell & The Dirty Knobs
‡‡supporting The Avett Brothers
For anyone serious about mixing their own recordings, it’s a tool worth considering.
In the world of music production, the tools we choose profoundly influence the final sound of our recordings. I want to make the case for adding one tool that is rarely, if ever, in the “must have” or “sexy gear” spotlight but can deliver huge results to your mixes: the console summing mixer. Tighten up your belts—the Dojo is now open.
While digital audio workstations (DAWs) have revolutionized music production, offering unparalleled editing and flexibility, many producers, including me, still mix back into an analog console for the sonic character and three-dimensionality that it imparts. But buying a professional console isn’t cheap! This is where console summing boxes come into play, offering a unique way to enhance your mixes and elevate them to a professional level.
How Does It Work?
Very simply put, recording consoles have two basic sections: an input section (all the channels of mic pres, and EQ) and a center section (that sums all of the channels together and routes those signals to various configurable outputs such as inserts and aux buses). A console summing mixer is essentially the center section of a console and is designed to sum the individual audio channels, aux buses, stems, and submixes from your DAW in an analog domain.
In a DAW, digital summing—the process of combining multiple tracks and buses into a stereo mix—is handled through complex binary algorithms that, while precise, can sometimes lead to a mix that feels lifeless and one-dimensional, lacking the warmth, depth, and cohesion that analog consoles impart.
One of the most significant advantages of using a summing box is the introduction of harmonic distortion, a natural byproduct of analog circuitry. This isn’t like amp or pedal distortion, but rather a subtle harmonic saturation that adds richness and character to the sound. Low-end frequencies gain girth and definition, while high frequencies have a smooth, silky quality. You can achieve natural compression through subtle variations in phase and amplitude, but that depends on how hard you push the summing mixer box.
But the best benefit, in my opinion, is its ability to produce an undeniably open stereo image. Digital summing, while accurate, often lacks dimension or a sense of space. Analog summing introduces subtle variations in phase and amplitude, creating a sense of width and depth that makes each instrument feel like it occupies its own space in a more 3-D stereo field, which results in a more engaging and polished mix. I’ve also found summing boxes encourage a more deliberate and thoughtful approach to mixing, as it requires submixing certain elements.
API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more.
For those who work “in-the-box” and aren’t in the market for a summing box, let alone a console, incorporating a summing box can also serve as a valuable learning tool. By running stems through a summing box and comparing the results to an entirely digital mix, you can train your ear to recognize the subtle qualities that make a mix feel warm, cohesive, spatial, and dynamic. This heightened awareness can then inform your in-the-box mixing decisions, even when you’re not using a summing box.
“Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger."
It’s important to choose the right summing box for your needs and budget, as different models offer varying sonic characteristics. Good summing mixers typically start around $2,000, such as Rupert Neve Design’s 5057 Orbit Summing Mixer. While more expensive, API’s ASM164 ($3,195 street) is wildly flexible, offering VU meters, multiple inserts, two separate stereo mix options, and more. The key here is to understand your needs.
Pairing a summing box with high-quality outboard processors, such as compressors or EQs, will allow you to shape your mix in ways that are impossible within a purely digital setup.
Whether you want to add depth and dimension to your tracks, enhance your stereo image, or bring a touch of analog magic to your mixes, a summing box can be a gamechanger. For anyone serious about mixing, it’s a tool worth considering—one that can make the difference between a mix that’s good and one that’s truly exceptional. Until next month, namaste