Using an external hardware amp simulator
There’s a middle-ground for those interested in using hardware to produce amp simulation without actually having to invest in a dedicated hardware amp and microphone solution to accurately capture the sound. Amps take up space, make a lot of noise and lack the portability of their simulated equivalents, but so can computer systems! Dedicated hardware amplifier simulators have grown in popularity over the past few years and, for electronic producers looking for amp simulation as part of bigger ‘analogue effects’ chains, they’re equally in demand.
The breakthrough product was perhaps Line 6’s Pod. First released in 1998, its original model offered a distinctive red, kidney-shaped design. The Pod has continued to be developed over the intervening years, and Line 6’s range of processing tools for amp simulation and multieffects generation now extends to hardware that can be controlled either from custom pedal units or from iOS and Android devices. Line 6 by no means have this market to themselves, however, as a range of manufactures have stepped into the breach to provide rival tools.
Tech 21 NYC’s Sansamp units are now available across a number of products, covering both dedicated guitar and bass amp simulation. There are stompboxes and rackmountable devices in the range, with their sound and portability popular for both studio and live-based guitarists. However, the front-panel jack input makes them a perfect fit for amp simulation on electronic sound sources too. Zoom’s G5n is its top-of-the-range amp simulator, offering up to nine effects that can be chained together to layer simulated amps with other staple effects. Nine footswitch options are available for those looking to introduce or manipulate effects on the fly, while there’s also an expression pedal for variable effects manipulation (rather than on/off effects routing).
Positive Grid’s new Bias Head offers a combination of a 600W powered amplifier and extended amp modelling via its Bias Amp software, providing the perfect balance of plug-and-play emulation alongside the ‘real-world’ sound of a signal being generated by a speaker. While extended further effects provision isn’t included, Type, Model, Tube Stages, Distortion, Topology and Cab Simulation parameters allow you to fully customise the sound the Bias Head can produce, with a Modern and Vintage toggle switch also offered in the EQ section. Interestingly, cut-down versions of the amp simulation engine without the Class-D power amp will be released soon, so if you’re wedded to the amp simulation approach via hardware, and know you don’t need the onboard amplifier, a cheaper solution may well appeal.
Also popular is the Kemper Profiler. Its name is taken from the exhaustive simulation or ‘profiling’ of the best amplifiers available today, which have been emulated and bundled in their hundreds for inclusion here. The ‘Head’ and ‘Rack’ versions of this system will appeal most to those working in electronic music, as the ‘Powerhead’ and ‘Powerrack’ alternatives include a 600 watt Poweramp which may prove surplus to requirements. A Remote control unit is also available for real-time effects performance. The Rig Manager software allows you to curate your favourite settings into a library of easy-to-recall presets. Other systems are available, while some companies offer dedicated amp simulation (albeit often in a more scaled-down way) via individual pedals. This technology shouldn’t only be catching the eyes of axe-wielders; there’s plenty on offer for creative electronic musicians too.