Ever since I started this blog, I’ve talked about attenuators, and how they’ve enabled me to get tones out of my amp at reasonable volume levels that I could only previously get at super-high volumes. But before I get into the discussion part of this article, take a listen to this clip (it’s the same clip I recorded with my previous article on the Mullard ECC83):
Here are some details about the recording:
- I plugged directly into my Aracom VRX22, which then fed into my Aracom PRX150-Pro, then out to a custom 1 X 12 with a Jensen P12N
- The amp was in the drive channel with master at 6, volume (gain) at 6, and tone at 6 (the tone on this amp adds a little gain as well as an edge)
- The PRX150-Pro was set at maximum attenuation
- Volume-wise, this was talking conversation level!!!
- No EQ was applied to the guitar – what you’re hearing is the raw tone.
With respect to “maximum attenuation,” I was in variable mode with the variable sweep pot all the way to its left extent. I shared my amp and PRX settings with Jeff Aragaki this morning, and he estimated that the output power was approximately 0.04 Watt!
Many people are apt to talk about how the speaker needs to move air, and that an attenuator doesn’t allow that to happen. But that clip simply demonstrates that with the right combination of equipment – and in my case, also a great set of tubes – you don’t necessarily need that speaker cone breakup to get great tone for recording purposes. Yes, SPL’s do play a big role in your overall tone, but to be able to achieve the kind of tone I was able to get at that very low volume level is nothing short of amazing!
So what about an attenuator being life-changing?
Maybe that’s a bit strong of a phrase, but ever since I’ve been using attenuators, and especially since I’ve gotten my Aracom PRX150-Pro, I’ve been able to explore tonal territory that I could previously only achieve using pedals – and only simulating at that! Take overdrive pedals for instance. If you’re a regular reader of this blog, you know I’m crazy about them. I probably will still be nuts about overdrive pedals, but there’s one thing an overdrive pedal can’t do that an attenuator allows me to do, and that’s to get the thick, natural overdrive tone of my amp. Don’t get me wrong, I still use them, but I use them now more for tonal accents to my drive tone rather than giving me my drive tone. That’s very profound; especially for an overdrive pedal freak like me!
Here’s a good example that I just recorded. This clip is part of a new song idea I’ve been playing around with. Setup is pretty much the same as above, but for the rhythm, I’m running Strat into my Kasha overdrive pedal to get a jangly, crisp tone. The lead is Goldie plugged straight into my VRX22. I did mix and do a simple master on the recording, but the guitars were all recorded raw, with no EQ. In my DAW, I added some reverb to both parts and a touch of delay to the lead, but that’s it.
Speaking of pedals, since I’ve started using a high-end attenuator (there are others such as Alex’s and the Faustine Phantom), I’ve actually started using pedals in general much less. I’ve really relying on the natural tone and sustain of my amp. For instance, I’ve found that I’ve only been using reverb in the studio. When I play out, I just don’t bother. In fact, for the last few weeks, I’ve only been taking two pedals to gigs with me: My BOSS TU-2 Tuner and my VRX22’s channel switcher. Same goes with my Reason Bambino.
Life-changing? Probably not, but definitely approach-changing. I may personally endorse the PRX150-Pro, but there are others out there. If you really want to hear what your amp has to offer when it’s fully cranked with the power tubes glowing, then you owe it to yourself to get a good attenuator!
Guitar Gear 
I had an attenuator but I sold it, I can switch my amp down from 30 watts to 7.5 watts and get a great tone at low volume without it. To be honest though when I’m recording I can’t fault amp modelling software I’m having so much fun with them at the moment and it means I can switch from a Plexi to an AC30 to a Fender Twin in the flick of a mouse, or chain 2 of them together and split the signal between them each with different cabs multiple mics and different effects. Now that to me has been life changing!
Great insight, Jon! I’ve used a lot of models myself, but once I got my tone with my amps and board, using models just didn’t cut it for me. But that’s just me.
I know what you mean though – it is so convenient. In fact, I use IK Multimedia stuff for recording ideas directly onto my laptop. Then I’ll rework everything in the studio.
Yeah exactly it is really convenient, that is really key for me. I have a 9 month old baby so time is of the essence, when it comes to recording I simply don’t have time to mess around with amps and mics etc. and in my current house it just isn’t possible to record like this anyway.
All this may change soon once we get a new house where I can set up a proper recording studio but I think I will always use modelling software, the Guitar Rig Plexi models just sound so good!
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Between me and my husband we’ve owned more MP3 players over the years than I can count, including Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the last few years I’ve settled down to one line of players. Why? Because I was happy to discover how well-designed and fun to use the underappreciated (and widely mocked) Zunes are
Thank you for your essay on Attenuators.
I am about to make the big switch from running my 1985 Marshall 50 watt jcm800 lead series 2 channel, half stack at low volume with full pedal board in front to provide gain, etc, over to running my Marshall cranked with a Fryette PS-2 attenuator and maybe one pedal to boost for lead breaks.
Several of my friends on theGearPage advise me to buy more pedals and forget about attenuators. They advise my to get the new RevivalDRIVE Hot Rod Custom. One friend advises going with a good attenuator.
I could grab both, but if one will do the trick, then I’d rather go with one.
Do you advise getting an attenuator rather than more pedals?
What are your thoughts on the Fryette PS-2?
Thanks again.
Curt
Curt, the Fryette PS-2 is a great unit and it is a HUGE improvement over regular reactive load attenuators. The fact that it is also a power amp is killer.
With respect to getting an attenuator vs. adding more pedals, I’m going to be a little circumspect with my answer and that is at least for me, I want to have options. For super-small venues, I invariably use an attenuator because there is NOTHING like the cranked tone of a Marshall or, in my case, a custom Plexi-style amp. I want that even at lower volumes. But for other venues, like when I play outdoor youth rallies and festivals, I leave the attenuator at home and use my amp(s) as a clean platform for my pedals. Like I said, I want options… 🙂
So yeah, get the attenuator. You may find that especially with the Fryette PS-2, you’ll use it everywhere. I love that it has an effects loop. Plus with the line outs you can go to FOH and let the PA do the sound reinforcement and maintain a manageable stage volume while getting the tone you want.
Thank you for your answer. You’ve really helped me decide that, rather than buying an Origin Effects RevivalDRIVE Hot Rod Custom, i.e. adding to my current pedal collection, I will get the Fryette PS-2 next.
With regard to your second rig option, would you mind describing your pedal based rig, from guitar to amp?
Thanks again
Curt
I use two guitars to gig: ’58 Les Paul Historic and a Taylor T5z. My pedalboard is simple:
Tone Freak Abunai 2 -or-Timmy
TC Electronic Corona Chorus
BOSS Waza DM-2 Analog Delay (for Slapback)
Mad Professor Deep Blue Delay Analog (for more swirling delay)
TC Electronic Hall of Fame Reverb
When I’m doing classic rock stuff, I put a Vox Big Bad Wah in front of my board.
For amps, I use three different amps (depending on my mood):
DV Mark Little 40 (I switch between 6L6s and EL34s – again based on my mood)
Aracom VRX22 Plexi Clone with 6V6s
Aracom VRX18 Plexi Clone (probably my favorite amp)
No matter what, I set the amps at the edge of break-up so I can use my guitar volume to get into and out of overdrive. Or if I hit my OD pedal, it’ll automatically take it over the edge. But I set the OD pedal with a high gain so I get most of my distortion from the pedal.
If I know I’m going to be miking the amp for FOH, I hang a Sennheiser e609 in front of a custom Aracom 1X12 with a Jensen Jet Electric Lightning speaker. If I’m doing all the sound reinforcement, then I use a 2X12 with a Celestion Blue and Gold in it.