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!
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