Excellent interface design enables this evolutionary unit to go toe-to-toe with multi-modeler titans.
Exceptional, and exceptionally intuitive, interface. Road-worthy build. Easy for modeler newbies to get started.
Many models exhibit trebly, fizzy tendencies. No amp capture capability. Less expansive user community than competition.
$1,699
Fender Tone Master Pro
fender.com
There are a few ways to think about powerful multi-modelers like the Fender Tone Master Pro. On one hand, they address 21st-century music industry realities—namely that everyone from wedding bands to high-profile touring acts can scarcely afford the techs and transport required to maintain and move heaps of gear. They are a natural fit for home recording, enabling a lot of players to make huge sounds in small spaces. Philosophically speaking, they also reflect the state—and possibilities—of a super-postmodern art moment, where every sound can be accessed, ingested, inhaled, scrambled, and reassembled in any way a musician’s whims and processing power may take them.
On the other hand, some find the notion of, say, playing, a virtual Marshall Super Lead without a 4x12 pushing air disorienting—the musical equivalent of walking the uncanny valley. Others find modelers less conducive to chance discoveries. On this latter count, though, Fender’s Tone Master Pro is a measurable step in the right direction. From the time you power up the unit and start tinkering with its engaging, intuitive touch screen, the Tone Master Pro reveals a knack for illuminating both well-trodden musical paths and unexpected detours with fluid facility. It’s satisfying to use in ways that could tempt even the most resolute analog devotee.
Applause for the Interface
The TMP’s touch screen user interface (and the way it dovetails with hardware elements like the rotary footswitches) is a huge part of its appeal. Lest you dismiss the well-executed representations of analog gear as merely “cute,” bear in mind that legions of modern engineers consider such skeuomorphic depictions of recording gear faster and easier to use in studio environments. That’s certainly the case here. The Pro’s interface facilitates casual experimentation and complex routing alike. It looks sharp. It’s also functional and flat-out fun—no small factor when courting reluctant and first-time modeler adopters. In theory, though, experienced users should find a lot to like in this thoughtfully executed touch screen.
The I/O array is practical and comparable to most competing modelers. There’s an option for two stereo effects loops or four mono effects loops, which opens up more possibilities via integration of your own favorite effects. As you’d expect, there are two stereo outs (one is fitted with XLR and ¼" jacks,) MIDI I/O, USB (for firmware updates), and more.
“The interface is functional and flat-out fun—no small factor when courting reluctant and first-time modeler adopters.”
The TMP does have some shortcomings compared to the competition. Most notably, you cannot capture amp sounds as you can with some other modelers in the TMP’s class. That also limits the breadth of sounds an extended user community can create and share.
Sounds Sourced from a Deep Well
I usually hear modelers as toppy and sometimes a bit woofy compared to real amp equivalents. (I’m also generally shocked by how many players claim modelers sound exactly the same as comparable amp rigs, but vive la differénce!) Most users find EQ fixes for these issues, and some of those solutions—high-end attenuation, primarily—were effective here. Still, I think it’s helpful to consider modeler sounds in context of the recorded environment. Check out the audio clip from the online version of this review. It contrasts a rhythm-and-lead loop played via a Tone Master Pro’s ’65 Deluxe Reverb model—miked with a virtual Shure SM57, on axis, at the speaker cap’s edge and sent straight into a UA Apollo Twin—with a real tube-driven ’65 Deluxe Reverb reissue miked with a real SM57 in precisely the same manner. Can you pick which is which? This is far from an airtight experiment. Heck, two real Deluxe Reverbs can sound pretty different. I hear minor differences in the two clips and, in isolation, prefer the airier, less-compressed sound of the real deal. But could I tell the difference in a mix with bass, drums, guitar, and organ? I’m not so sure. I also doubt I would scrap an inspired take from the Tone Master Pro in favor of a crappier one from an all-analog rig. These are real questions I might ask in a fast-moving recording session. Typically, the answer is “pick the take that suits the song, mood, and arrangement,” rather than “let’s use the less inspired take that, arguably, sounds 6 percent more like a vintage Deluxe.” Your opinions and process may differ.
High-gain sounds, too, are represented in plentitude. Predictably, perhaps, the top-end spikiness I heard in clean tones was more pronounced in these settings. The TMP’s EQ tools, including virtual mic placement, can make a pronounced difference in lending gentler contours to these frequencies. And again, in the context of a recorded mix, these sounds are likely to pass more than a few blindfold tests.
The Verdict
Big-ticket modelers tend to incite more tribalism and snobbery than almost any other guitar equipment—which is saying a lot. But while one could make valid gripes about any of these platforms, a certain truth that holds for any piece of musical gear applies here: No two players, nor their music predilections, needs, creative urges, or life realities, are alike. The Tone Master Pro’s approachability and thoughtful interface design make it well-suited to players that will benefit from quick integration, fast workflow, and a graphic interface that employs lucid representations of familiar analog equipment.
The Tone Master Pro often sounds authentic and inspiring, as do many of its competitors. Are any of them light years beyond each other in fidelity, or bound to spoil an otherwise stirring mix, song, or performance? That depends on the music you make, and the emphasis you place on tone purity. At the time of this writing, The Tone Master Pro costs the same $1,699 that you will spend for a Neural Quad Cortex or Line 6 Helix, and 100 bucks more than a Kemper Profiler. If you find the sound from a certain modeler appreciably superior and indispensable, find significant value in a more mature user community that has already generated oodles of tradable presets, or find the lack of an amp capture function a deal-breaker, you might ask how much time you’ll save using Fender’s exceptional workflow and interface—and how much real creativity that might spark. For many players for whom fluid creation is as important as tone nuance, or for whom modeling is a new experience, the Tone Master Pro’s intuitive operation could tip the scales in Fender’s favor.
Fender Tone Master Pro Demo | First Look
Building a home studio? Here’s a recommended array of basic microphones and a DI box that covers the basics.
If you’re building a home studio, you’re obviously going to need microphones. But you don’t need to spend thousands on mics to begin recording demos and even albums. Here are five essential microphones and one direct box, which all add up to under $1,000.
You may already know there are three main types of microphones: dynamic, condenser, and ribbon. Dynamic, or moving coil, mics are the least expensive, but also the most rugged. They handle loud sound sources like drums and guitar amps with ease. You’ve seen these mics many times, because most mics used in live performance are dynamic, but they also get heavy use in the studio.
Shure SM57
Shure SM57 and SM58 dynamic mics set the industry standard. The SM58 ($99 street) is widely used for vocals onstage but also works well on guitar cabinets, snare drums, and toms. The SM57 ($99 street) is a similar dynamic mic aimed at recording instruments more than vocals, since it lacks the 58’s ball grille, which is designed to reduce vocal plosives. I’ve heard very good recordings of acoustic guitar made with an SM57. In fact, you can track any instrument with one of these workhorse microphones and come up with a good sounding final product. Buy each of these very versatile recording tools.
Shure Beta 52A
Another Shure product, the Beta 52A ($199 street), is a specialty mic made to capture kick drums, emphasizing low frequencies. You need one of these, too. The Beta 52A is supercardioid, which means it has a tighter pickup angle and offers good side rejection. This mic is also useful on bass cabinets, tuba, or trombone, and sounds good on floor toms, too.
Condenser microphones are often the most expensive, although they range from $89 to $8,499. Condensers are the most sensitive to dynamics and can also handle loud sound sources. They are used on many instruments—especially for vocals and acoustic instruments, and as drum overheads. Most vocalists prefer a condenser mic in the studio because these mics capture nuanced performances. They often have multiple pickup patterns (omnidirectional, unidirectional, and bidirectional or figure eight), which can be helpful. Condenser microphones need a low-voltage power source, called phantom power, to operate. But the good news is phantom power is found on almost every mixing console and on every interface. Just remember to turn it on when using a condenser.
You don’t need to spend thousands on mics to begin recording demos and even albums.
Audio-Technica AT2021
A great starter condenser is the Audio-Technica AT2021 ($89 street). This small diaphragm mic is excellent for acoustic instruments, including guitar. They also work well as drum overheads. Audio-Technica makes some other high-quality, affordable condenser mics, too. I recommend buying two AT2021s. Then, you’ll have two drum overhead mics that will also sound great recording various acoustic instruments.
AKG P420
A large-diaphragm condenser mic is what most singers prefer in the studio, for its sensitivity to the nuances of vocal performances. They are also used on acoustic instruments, including horns, upright bass, and piano. The AKG P420 ($229 street) is an excellent vocal microphone that can be set for all three pickup patterns. And the omnidirectional pickup pattern can be useful when recording an entire ensemble or vocal group.
Radial ProDI
If you’ve played a gig on acoustic guitar, you already know what a direct box, or DI, does. In the studio, DIs are used to record high-output instruments such as keyboards or bass without distorting. It’s always good to have one on hand. Radial makes high-quality DIs, and I recommend the Radial ProDI 1 ($129 street) for its simplicity and efficiency.
Our total cost for these six mics and direct box is $933. Not bad for a basic, easy-to-find home studio mic selection that’ll get you started. And remember, when you’re ready, there’s a myriad of other manufacturers and mics out there to explore. To say nothing of plugins and hardware.
PS: Ribbon mics are the most fragile. They are often used for specific voices or instruments like brass and woodwinds, or a string section, and they are not as versatile as the other mic types. But ribbon mics do have a nice low frequency bump, and the word “warm” is often used to describe their sound. Because they are not as versatile as dynamic and condenser microphones, ribbon mics can always be added to your collection after you get the basics covered.
A handheld gateway to the world of home recording.
Doesn’t require a power supply or batteries. Works with any plug-in or DAW. Very simple interface.
Differences between preamp emulations are subtle.
$129
Positive Grid Riff
positivegrid.com
It’s never been easier or less expensive to take part in the home recording experience. And Positive Grid’s newest entry into the interface market, called RIFF, exists at an impressive nexus of portability, functionality, and price. For around the cost of a decent overdrive, it’s a handheld audio interface that skips the bells and whistles for the sake of making a tool that just plain works.
The design is streamlined. The front of the unit is home to a backlit LCD screen and a multi-function push knob. There’s also a headphone output and audio input jack on the bottom along with an output jack on top next to a USB port. Setting up RIFF is a breeze. Apple Logic recognized the unit right away on my own computer, and because it’s powered via USB (or Lightning in iOS applications), you just plug in to your computer to power up. You can adjust four primary parameters: input gain, output gain, direct (which blends direct and processed tones coming from your computer for monitoring purposes) and tone, which cycles through three preamp emulations. The preamps are effective, though their overall effect and the differences between them can be subtle.
The recording quality of the RIFF is stellar. It handles 24bit/96kHz sample rates and there is little-to-no detectable latency. RIFF also comes bundled with the company’s BIAS FX 2 LE software for amp emulation, which makes RIFF a super fun way to practice on top of an incredibly handy recording setup.
Test Gear: Fender HSS Stratocaster, Fender Jazz Bass, Neural DSP Archetype: Cory Wong