By: Josh Mockerman
There’s an old saying that goes, “Guitar players will try anything new, as long as it sounds exactly like what they already play.” And from what I have found, there’s actually some truth to this statement. As a guitar tech, I’m constantly fielding questions like, “Does this pickup sound like an old PAF?” And, “How does this sound next to a Fender Deluxe Reverb?” Some genres are quick to embrace new technology, but for the most part, the rock and country genres specifically tend to lean toward ‘traditional’ or ‘vintage’ sounds. Now, I’m not saying that there’s anything wrong with vintage tones: far from it! A classic Marshall tone, for example, has been part of thousands of legendary recordings, and continues to be used today. Vintage Marshall amps of every flavor are highly prized by players and collectors alike, and this is part of what has caused the prices of vintage gear to skyrocket in recent years.
When Jack Kilby and Robert Noyce invented the computer chip in the 1950’s, I’m sure they had no idea how much this one device would change the world in general: the music industry in particular. Although analog tape and classic recording methods have been experiencing a resurgence in recent years, computers have earned a solid place in the making of records and the performing of live shows. Lighting, sound, and video systems for the largest concerts have been computerized for a while. And musicians are increasingly looking to computer-based technology for ways to help “deliver the record” live. Even club bands have begun using laptops, Pro Tools, and ‘tracks’ to help their music stand out. As the price of computers and software continue to decline, technology like Apple’s Logic and Ableton Live are being used in very creative ways, both on stage and in the studio.
While our keyboard-playing friends have embraced digital technology for years, guitar and bass players, with their focus on vintage sounds, have been slower to adapt to the changing digital landscape. However, there have been a number of products released recently that may have the ability to help guitarists embrace the computer chip as a sound-shaping tool.
For starters, let’s operate under the premise that there’s already at least one computer chip in your current guitar setup. The most common location for this chip would be in a pedal. If you use any Strymon product, for example, your whole signal is being routed through a computer chip. Both Strymon and Line 6 use modeling technology in effects pedals that have become wildly popular. Today though, we’re going to focus on what I will call “amp replacement technology”: specifically using a digital box to replace having a tube amp on stage. Some notable players and producers like Neal Schon (Journey, Santana), Nick Raskulinecz (Foo Fighters, Rush) and Tim Palmer (David Bowie, U2), have replaced their amp rigs with digital models. And some tours, including Taylor Swift and Katy Perry, have used digital units to replace ALL amps on stage: for keys, bass, and guitar players alike. The basic premise of a digital modeling system is to take a bunch of ‘models’ of real amps, stuff them in a computerized box with a bunch of effects, and then design an interface by which the player can access all of these sounds in different ways.
Obviously there are advantages and disadvantages to this type of a system. One of the obvious advantages, especially for guitar players, is the ability to access a huge variety of tones and effects at a more affordable price point than purchasing each unit individually. With vintage amp prices running in the thousands of dollars, even the most expensive digital modeling units are a fraction of the price compared to purchasing the number of amps modeled ‘in the box’. Digital modeling units usually contain at least 100 different amp sounds. Carrying that many different amps on the road or into the studio is problematic at best. But using modeling technology, not only can you have all these amps on tour with you, but you can have the flexibility to play the verse on a Twin Reverb, the chorus on an AC-30, and your solo on a Marshall Plexi.
There are certain disadvantages to using modeling technology to replace your amps on stage. For example, even though most modern bands use in-ear monitors as opposed to wedges, guitar players are traditionally used to standing in front of an amp. There’s a special feel and sound to having that immediate interaction between a guitar and an amp. Admittedly, replacing an entire amp rig with digital models can rob a player of this interaction. A fairly common workaround for this problem is to run the outputs of the modeling unit into a stereo tube power amp, and then into a cabinet. The cabinet is then mic’ed up and sent through the PA or studio preamps. This is a really cool way to have a “best of both worlds” setup. If you decided to try this approach, make sure to turn off the cabinet simulation in your respective modeling unit.
Let’s have a quick look at what I would consider the three most common digital modeling units. These are not meant to be comprehensive reviews, just a quick overview of each unit.
* Line 6 POD HD500X
Price: $500 Street At around $500 online, the Line 6 POD HD500X is by far the most affordable, and therefore the most common amp modeling unit available. While other units require a separate foot controller to really access the features inside, Line 6 combines the ‘brain’ and the controller into one unit, creating a convenient and portable solution. The unit contains over 100 different effects, as well as 30 HD amp models. Like the two models listed below, there is a user forum where Line 6 owners trade patches and presets.
* Kemper Profiler
Price: $2200 Street The step up in price to the Kemper Profiler is accompanied by a host of additional features. Probably the coolest of these additional features is the ability to clone, or ‘profile’ an existing amp or an entire signal chain. Simply mic up the amp, follow Kemper’s instructions, and a copy of the sound is saved inside the unit for use later. If you don’t want to do the work yourself, there’s an online community where Kemper users share profiles with one another. A second feature that is unique to the Kemper unit is the optional built-in power amplifier. This will save you from having to purchase a separate power amp if you want to run the Profiler through a physical cabinet, although Kemper’s version is a solid-state amplifier as opposed to a tube version. Although the upgrade in quality is significant, the Kemper does not include a foot controller, so you’ll need to purchase a third-party controller to take advantage of the unit’s over 300 included profiles. The Profiler also includes a large selection of high-quality effects in your choice of a head-style unit or the Profiler Rack: a rackmount version.
* Fractal Audio Axe-FX II
Price: $2200 Street By far the most widely adopted digital modeling unit, especially among touring players, the Fractal Audio Axe-FX II comes packaged in a convenient 2-space rackmount enclosure. A foot controller is not included, although Fractal Audio manufactures their own unit, called the MFC-101, which is available for an additional $750. The Axe-FX also supports third-party MIDI controllers. The unit ships with an impressive selection of amps and effects already in the box. In addition, you can use the unit’s Tone Matching Technology to clone tones in a similar way to the Kemper Profiler. Fractal claims that you can clone guitar tones from recordings as well. There’s also a user sharing website where you can swap tones and presets. The recently released Axe-FX II XL offers increased preset storage and additional features.
No matter which modeling unit you choose, they all sound better with a ton of tweaking. Dive in, because in the digital world you usually have an undo button. Let your ear be your guide. Digital modeling units can offer a host of features and flexibility not found in a traditional pedalboard and amp setup. Conversely, they require a willingness to tweak, and a steady ear. Whichever route you decide to explore, keep an open mind and let your ears be the judge of what works for you!
Copyright © 2014 That’s My Gig, LLC.
Josh Mockerman currently serves as guitar tech for Tim McGraw. Contact Josh for your tech needs & career advice.
Email: info@ThatsMyGig.com
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