Four top speaker-emulators from Mesa/Boogie, Two Notes, Boss, and Universal Audio get the PG review-roundup treatment.
Guitarists have searched for ways to capture big amp tones at low volume since time immemorial, or at least for the last few decades. The quest became more urgent during COVID, as many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music, not just on evenings and weekends, but 24/7.
Fortunately, solutions are legion: hardware amp emulators, faux-amp plug-ins, and—our focus here—load box/speaker emulators that let you capture the sounds of your favorite amps minus their usual volume. In fact, we're zeroing in on one particular type of product: load box/emulators that faithfully mimic the sound of a miked speaker via impulse responses.
Impulsive Behavior
Speaker impulse responses (IRs) are created by running a test signal through a cabinet and recording the results. The software then compares the raw signal to the sound that emerges from the speaker, and imposes the same coloration on raw, direct-from-amp tones.
Meanwhile, the load box makes your amp "think" it's connected to a speaker. (Running an analog amp without a speaker load is a quick way to destroy the amp.) The four devices examined here include speaker-out jacks, so you can play through your speaker at reduced levels if desired while simultaneously capturing the direct IR sound. All four offer attractive faux-speaker sounds. Beyond that, prices and features vary dramatically.
While we're specifically examining stand- alone devices, it's also worth noting that amp manufacturers—among them Revv, Fender, Victory, and Mesa/Boogie—are increasingly offering built-in cab IR tech, too.
During COVID, many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music—not just on evenings and weekends, but 24/7.
About the Demo Clips
I recorded all clips using a ReAmp, so I could run the identical material through each device without having to worry about performance inconsistencies. Each device is represented by three clean tones and three distorted tones. All were recorded through a Carr Lincoln amp, a Vox-inspired boutique model. The test guitars are a pre-CBS Fender Stratocaster for the clean tones and an '80s Gibson Les Paul with retro-style PAFs for the crunchy ones.
Exercise caution when making direct sonic comparisons. The available models and effects vary from device to device. Also, since the Mesa CabClone IR+ has no effects, its clips lack the fattening compression and rich ambience of the rival examples. But CabClone users can easily add those effects within the DAW or at the mixing desk. Finally, remember that only the speaker/cab sound is under review, not the amp tone. Results vary immensely depending on your amp of choice. For example, you may not dig the vintage-flavored tube distortion heard here, but connecting a modern, high-gain amp would instantly yield modern, high-gain tones.
We'll proceed in ascending order of price.
An integrated 100-watt power amp and overflowing features and effects, make up a potentially perfect do-it-all recording solution.
Excellent sounds. Switchable ohmage. Superb build quality. Good audio interface. Excellent editing software. Extensive MIDI functions. Dual-band impedance selector. Bestows new superpowers on simple, vintage-style amps.
Skimpy documentation. The priciest option.
$1,338
Boss WAZA Tube Amp Expander Amplifier Attenuator
boss.info/us
Boss's WAZA Tube Amp Expander Amplifier Attenuator is a fascinating and ambitious device. It's clearly influenced by Universal Audio's earlier OX Amp Top Box. (See "OX Me Again" sidebar.) But it adds several features not found on the OX—or anywhere else, as far as I know. But first, some basics. (We evaluated the Tube Amp Expander—TAE for short—with its improved version 2 software.)
The TAE is a hefty piece of hardware weighing 15 pounds and measuring roughly 15" x 12"x 4.5". The build quality is superb, with an ultra-rugged enclosure and high-quality pots, switches, and jacks. There's a classy built-in power supply. This a heavy-duty piece of kit—Boss isn't screwing around.
What’s an “Amp Expander?”
Like the OX, the TAE is a rectangular box raised on rubber feet that can perch atop many combo and head-only amps. (It's also rack-mountable.) It, too, is a load box, speaker attenuator, direct-recording preamp, and IR player/loader. We'll cover those functions in a moment, but first, let's zoom in on the TAE's unique and useful "amp expander" role.
All the products covered here let you generate big-amp sounds at low volume. But TAE can also flip the equation, delivering small-amp sounds at high volume, thanks to an integrated 100-watt solid-state power amp. Let's say your favorite amp is a tiny Fender Champ. It's great for recording, but it lacks the muscle for stage use. You can route your Champ's speaker out to the TAE and crank the onboard amp for stage levels that rival a 100-watt stack. (Important: You'll need a speaker cabinet that can handle such levels, which can easily demolish a Champ's humble 8" speaker.)
Like the OX, the TAE includes an effects section offering EQ, compression, reverb, and delay. This provides a virtual effects loop for amps that lack one. If you add Boss's $133 GA-FC foot controller (not reviewed), you can toggle effects on and off and enter delay times by tap. (Most of these functions are accessible via front-panel switches, so a controller pedal isn't strictly necessary.)
So now that simple two-knob Champ includes a high-quality effects loop, a solo boost, footswitch remote control, preset storage, compatibility with many MIDI switchers and controller pedals, and enough onstage volume to compete with macho stacks and heavy-handed drummers. If that's not "amp expansion," I don't know what it is.
Refining Your Rigs
The TAE can store 32 IRs onboard, with more IRs accessible via an attractive, lucid software interface for Mac or Windows. (There aren't yet any editors for mobile devices.) The included IRs are a well-rounded collection of Marshall, Mesa, Fender, Vox, and Freidman cabs in configurations ranging from 1x8 to 4x12. Like the OX, the TAE refers to saved IR/effect combinations as rigs. You can store eight rigs onboard and switch between them without connecting to a computer. You can load your own IRs via a dedicated IR loader app.
The TAE's audio editor boasts a lucid interface with an intuitive signal-flow graphic.
The five microphone models are a Neumann U 87, a Shure SM57, an AKG C451 B, a Royer R-121, a Sennheiser MD 421, plus several combined settings, all with adjustable virtual positions. Additionally, there are four room-mic settings of varied sizes. Sound quality is excellent.
Comprehensive Connectivity
The rear-panel functions are formidable. In addition to stereo XLR output jacks, there's a mono XLR out for feeding the front-of-house mixing desk. The effect loop can be configured as series or parallel. There are full-sized MIDI I/O ports—the TAE not only responds to control messages, but can also transit them to external gear. There's a channel-switching output for multi-channel amps, a stereo headphone jack, and a 4-ohm/8-ohm/16-ohm selector
Another unique feature is a sophisticated impedance selector with independent controls for bass and treble frequencies. This lets you fine-tune the response to suit individual amps. (For example, a low bass-impedance setting can nix unwanted oscillation from ultra-high-gain amps.)
The Verdict
Boss'sWAZA Tube Amp Expander Amplifier Attenuator performs an astonishing number of tasks and sounds great while doing so. The build quality is superb. It boasts unique features, such as its integrated 100-watt power amp and dual-band impedance controls. At $1,338, it's the costliest item in this roundup, and you may not need all its features. But for many gigging and recording guitarists, it could be a perfect do-it-all solution.
Why you should consider tracking the acoustic sound of your solid-, semi-, or hollowbody axe in addition to the amp it's plugged into.
Hello everyone, and welcome back to the Dojo. This month we are going to do something rarely done and counterintuitive. We are going to mic our electric guitar in addition to the amp! Why? Because there is something to be gained. The Dojo is now open, so let's get started.
I first remember hearing about this technique back in 1989, when I bought the CD Different Trains/Electric Counterpoint, composed by American minimalist Steve Reich and featuring the Kronos Quartet and one of my guitar heroes, Pat Metheny. Pat played all 13 guitar parts called for in Electric Counterpoint with great aplomb, and the result was gorgeous—vertical, pulsating clouds of harmonies weaving into tightly knit, horizontal, rhythmically imitative, melodic fragments that are constantly changing. Can you tell I like this piece? Hopefully you've already started listening to the recording as you're reading this.
Steve Reich: Electric Counterpoint (complete), Pat Metheny
One of the subtle things I noticed was that in addition to Pat's characteristic dark archtop timbre (achieved by rolling back the tone dial on the neck pickup), there was also a clear attack of the note from an additional microphone that was placed near the guitar itself, and not the amp. The result was something quite unique and not really possible without using this technique.
Now, think about this for a moment. When we practice, chances are we're not playing at maximum volume—pissing off the parental units, girlfriends, and neighbors. (There's a time for that, but not all the time.) Most of us will play at room volume or practice volume. Which means, that you are hearing a slight mix of your amp as well as the snap, ping, and buzz of you plucking the guitar that's in your lap. Most of the time, we tune this out and place our focus on our amp volume, but we're missing something here. That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.
That's the crucial difference of recording an acoustic guitar and an electric. The acoustic will have a microphone or microphones placed around it that are relatively close to your ears and will sound much more natural on playback. Whereas when we dime our 100-watt full stack, we're not going to place our ears right next to the speaker.
That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.
That little bit of pick attack that happens acoustically is part of our sound, and most of the time isn't captured.Try this: Get your guitar out, mic your amp your favorite way (if you need ideas, read past Dojo articles for some inspiration). Get some distance between you and the amp, and now place a mic four to eight inches away from your neck pickup. Be sure to aim the amp speaker and the acoustic mic directly towards you. Put on your headphones, and as you set the gain level for the acoustic mic, don't overdo it. We're not trying to make it as loud as the amp mic (although you can experiment with that in playback!). We're just trying to get a little bit of that ping and snap of the guitar as if it wasn't plugged in at all. Hit record and play for a couple of minutes. Play something loud, something funky, something soft, single notes, chords, even take a solo.
Now, before you listen back, bring down the level of the acoustic mic and then slowly start fading it in. You'll know when you get the level right, because it will start to sound like you're right in there and playing it without headphones on. Note how your spatial perception changes. If you have a solidbody, a semi-hollow, and an archtop, each will yield varying results.
Until next month, keep an open mind, experiment, and have fun.
[Updated 10/11/21]
That's the crucial difference of recording an acoustic guitar and an electric. The acoustic will have a microphone or microphones placed around it that are relatively close to your ears and will sound much more natural on playback. Whereas when we dime our 100-watt full stack, we're not going to place our ears right next to the speaker.
Try this: Get your guitar out, mic your amp your favorite way (if you need ideas, read past Dojo articles for some inspiration). Get some distance between you and the amp, and now place a mic four to eight inches away from your neck pickup. Be sure to aim the amp speaker and the acoustic mic directly towards you. Put on your headphones, and as you set the gain level for the acoustic mic, don't overdo it. We're not trying to make it as loud as the amp mic (although you can experiment with that in playback!). We're just trying to get a little bit of that ping and snap of the guitar as if it wasn't plugged in at all. Hit record and play for a couple of minutes. Play something loud, something funky, something soft, single notes, chords, even take a solo.