Valves Vs. Modelling Amps
Have valves been surpassed? Pros give their verdict
FEATURING
JOHN GUTHRIE MAYER GOVAN PAUL GILBERT JAKKO JAKSZYK GORDONGILTRAP WARREN HAYNES
The promise of a great guitar sound from a box of microchips is far from new. Anyone remember the Tom Scholz Rockman headphone amps from the 1980s? For possibly the first time, guitarists could plug in and get a fully produced, great-sounding rock guitar tone in their cans. It had its limitations, but it was seriously impressive at the time.
But that was the 80s. Now, many players are using vastly evolved versions of that concept on the pro stage, thanks to the rise of a new generation of digital modelling and profiling amps, such as the Kemper Profiler, Fractal Audio Systems Axe-FX and Line 6 Helix. It’s true to say that the very thought of forsaking a valve amp and a raft of analogue pedals sends shudders down many a purist’s spine. Their hearts rebel against it, their ears tell them that nothing will beat rich, analogue amp tone. But as modelling amps become ever more authentic in tone and feel, the allure of owning a device that can faithfully evoke hundreds of classic amps becomes harder to dismiss. So are we all the way there yet? First, some science. How exactly do these units work their alchemy? We contacted Fractal’s Chris Chase, Kemper’s Christoph Kemper and Marcus Ryle from Line 6 and asked them for a layman’s guide. “Modelling attempts, to varying degrees of success, to replicate the non-linear behaviour of tube amps using mathematical models and computer algorithms,” Chris Chase tells us.
So what’s the difference between ‘modelling’ and ‘profiling’? Christoph Kemper explains: “Profiling is a sort of automated modelling, where a very complex base model of a generic guitar amp is filled with settings that finally form a specific amp model. The interesting part is that profiling can produce a virtually unlimited number of amp sounds.”
What does the future hold for guitarists as the technology develops? “Tubes will eventually be virtually obsolete,” Chris Chase argues. “As microcomputer technology advances, modelling accuracy, features, power consumption and a host of other factors will improve to the point that tube amps will simply not be able to compete economically [with modellers].”
Christoph Kemper adds, less dramatically: “Digital guitar amps have always offered better convenience and flexibility compared with tube amps. But only quite recently their sound quality has risen to a similar level to tube amps. We have a number of pro users who say that their guitar sound live on stage has improved significantly by using our profiler amp.”
Marcus Ryle adds: “What is exciting to us is seeing how some pro players are moving beyond just having a large collection of classic amp and effects models available, and instead are exploring new ways to use both classic and modern models to create new sounds that haven’t been heard before.”
Game Of Clones
So much for the makers’ view – what about the professional players who are now using modellers and profilers in their work? We asked Guthrie Govan – who seems equally at home with either a Kemper or Axe-FX as he is with his Victory valve amps – about the pros and cons of using modellers.
“In general terms, I suppose I see the main pro as a combination of versatility and portability,” he says. “A single modelling unit can emulate all manner of different amps, cabs and effects, which is obviously an advantage whenever you need a variety of tonal options.”
Guthrie will be out on tour with composer Hans Zimmer and an entire orchestra this year – a gig for which a Kemper Profiler proves invaluable. “For something like the Hans Zimmer gig, each piece on the setlist comes from an entirely different film score, so trying to glean a whole gig’s worth of appropriate tones from a normal amp setup would feel like a frustrating compromise. I also like the fact that you can approximate the sound of a cranked power amp at any volume level: there are almost 80 people on the HZ stage, some of whom are playing delicate orchestral instruments, so a screamingly loud 100-watt stack might be fun for me, but it would inevitably contaminate other people’s mic feeds, which would, in turn, make the soundman’s life a misery.”
The story changes, however, when our conversation turns to Guthrie’s work with his band The Aristocrats. “For something like an Aristocrats show, I really like standing next to a real amp and I definitely think that energy makes me play a little differently… whereas the Kemper actually helps me to deliver more in the context of something like the Hans Zimmer gig. I try not to think in terms of a contest between the old technology and the new; neither is going to disappear any time soon. Each approach has its strengths and weaknesses, so I just do my best to pick whichever solution seems to offer more benefits in any specific situation.”
Paul Gilbert is another player renowned for searing rock tones who has recently succumbed to the charm of a modeller in his studio. “I’ve been using a Kemper Profiler in my studio for about a year now,” he tells us. “I like it because it sounds good and the physical layout lets me easily tweak the things that I use and ignore the things that I don’t use. The unit just looks cool and has intuitive knobs. The display is big enough where I don’t need to go searching for my reading glasses in order to read it. And most of the time, I don’t even have to look at the display – I just treat it like an amp. I did an A/B test by recording a direct guitar sound, and then reamping that direct track with both my real amp with a mic, and with the Kemper’s profiled version. I compared the two reamped tones, and they were extremely close. If anything, I thought the Kemper sounded a little better. That sold me.”
And what about live work? “I haven’t tried the Kemper live yet. I need to find a MIDI controller with more space between the footswitches. I’ve got big feet, so a normal controller won’t work for me. I would step on two switches at once,” he grins.
One pro guitarist who uses modelling live is veteran session man Chris Spedding. What is the benefit, for him, we ask?
“I got my Kemper for the upcoming Bryan Ferry tour that I’m doing and that’s the modern way to go with live gigs to get things perfect – you dispense with the loud on-stage guitar amp. Modern front-ofhouse soundmen don’t like the volume from an old-fashioned guitar amp. I first came across this when I toured with War Of The Worlds in 2005 because they had a large string section and with all those open mics you don’t want a loud guitar wailing away.” “As microcomputer technology advances, modelling accuracy, features, power consumption and a host of other factors will improve to the point that tube amps will simply not be able to compete economically” Chris Chase, FraCtal audio systems
King Crimson’s Jakko Jakszyk adds: “I used a Kemper on three Crimson tours. We have three drummers set up front of stage, so I can’t use a head and a cab, as the first thing the sound will hit is three sets of overhead mics! The Kemper allowed me to use authentic models of amps without the need for volume and cabs. I spent a day in between tours setting up various amp/ speaker combos and that A/B moment at the end when you compare your original to the modelled version is jaw-dropping. I’m currently looking at Line 6’s Helix, which is also extraordinary. It’s robust, incredibly intuitive and has a very classy FX section. It’s hard to imagine that I’d go back to a basic amp and cab combination after this,” he smiles, adding, “I began as a sceptic, but I’m a convert now.”
However, the feeling is not universal. Milton McDonald, guitarist with ELO, summarises the misgiving s many guitarists feel about the wisdom of moving away from the time-proven tone and character of a trusty valve amp towards modelling.
“Of course I recognise the convenience, practicality and potentially infinite tonal variation that they offer,” he says. “But the Luddite in me is resistant! I feel that a guitar-player’s sound is his or her unique voice and that an infinite palette of backline combinations can quickly become a black hole from which we never reappear. And I’m not looking forward to the day when we turn up at rehearsals to be handed our predetermined ‘rig’ on a memory stick!”
Much of the testimony as to the value of modelling in this piece comes from professional players, who have exacting needs that relate to the practicalities of touring large venues. But what of the ‘average’ pub and club guitarist? After all, very few of us will ever work in that environment. Closer to home, for many readers, will be the experience of Richard
“[For Hans Zimmer] a screamingly loud 100-watt stack might be fun for me, but it would inevitably contaminate other people’s mic feeds” Guthrie Govan