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The venerable “Destroy All Guitars” shop has teamed up with Aracom Amplifiers to come up with a new version of the fantastic Aracom PRX150-Pro. Sporting a smaller cabinet (sorry, not reduced weight), and a couple of very cool new features, the $785 PRX150-DAG is the answer to anyone who wants to go to the extreme in transparent power attenuation.

Here are the features:

* Proprietary SRT Power Attenuation Technology
* Six levels of step attenuation, plus a continuously variable attenuation control (bedroom mode)
* 40dB of attenuation–attenuates 150 watts down to .015 watt
* 150 watt power rating
* Independent input and output impedance selector switches:
– from the amplifier and into the attenuator, select from: 2, 4, 8, 16 ohm
– from the attenuator and to the speaker cabinet(s), select from: 2, 4, 8, 16 ohm
– uniquely allows 16 possible Input and Output impedance combinations
* Hi Frequency Cut Filter with a True Bypass Switch
* Features a Load setting and is equipped with a Line Out Jack and Line Out Level Control
* Rack Mount Option
* Handwired in the USA

The two notable features are the Hi-Cut Filter, and the increased attenuation down to -40dB attenuation. With respect to the high-cut filter, some people had mentioned that they heard a high-frequency artifact coming through when they hooked up the original PRX150-Pro. I myself have never heard it, though I suppose anything’s possible. In Jeff Aragaki’s (of Aracom Amps) words:

The PRX150-DAG is equipped with a High Frequency Cut switch, that rolls off the highs above 6KHz, that some users might find useful with amplifiers that have a pronounced high end frequency response. Some guitarists go to great lengths to control the high end response of their amplifier, by carefully selecting speakers, tubes, and other components to roll off the highs. Now with the PRX150-DAG, a guitarist might not need to rely on changing these components; the high cut filter switch allows the flexibility of rolling off the high end or not. The true bypass switch allows the filter to be completely bypassed, providing the full frequency response of the attenuated amplifier to pass through to the speakers.

The other great feature is the Min/Max variable attenuation modes Jeff has introduced. Minimum attenuation mode is the traditional -16dB down to about -30dB variable attenuation, whereas the Maximum variable attenuation mode goes from -27dB to -40dB. With a 100 Watt amp, that’s taking down the output power to .015 Watt!!! Wanna have full dynamic response at bedroom levels with your 100 Watt amp? Look no further!

The Aracom-DAG PRX150-DAG is available exclusively through Destroy All Guitars. Check it out!

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I’ve never hid from the fact that I own Aracom gear, and as I’ve said in My Rig page, I’m a faithful customer who just digs the stuff that Jeff Aragaki, Aracom’s founder, comes up with. I’ve extolled the wonders of his attenuator, the PRX150-Pro, and I’ve mentioned my Aracom amps, the VRX18, VRX22, and PLX18BB several times.

One thing I’ve learned over the years with respect to gear is that you go with what works for you, and my Aracom gear simply works for me! In fact, my Aracom equipment has had a lot to do with me using less pedals, and relying on the raw sound of my guitar and amps; especially when I’m playing straight rock and roll.

I have yet to play a bad-sounding Aracom amp. When they’re cranked to the hilt, they have such an incredible mojo that’s just too hard to describe. Of course, I couldn’t crank them without the PRX150-Pro attenuator. No matter, there’s magic in Jeff’s creations! To demonstrate this magic, I’m going to share an excerpt from a song that I’m working on. I just finished laying down the instrument parts. Give it a listen:

The rhythm part is played with my Squier CV Tele in the middle switch position, and running straight into Channel 2 of the PLX18BB, which was cranked up all the way. Talk about cranked Marshall-esque tones! It sounds even better live! The lead was recorded with my Gibson Nighthawk 2009 into my VRX22. Master was at 3pm and Volume was at 2pm. This setting gives me a sweet, singing lead voicing that sustains for days due to the awesome solid-state sag circuit! Again, the guitar was plugged straight into the amp – no frills whatsoever. I did add some reverb to both parts, but other than that, that the raw sound of the guitars/amps with no EQ. Pretty killer tones!!!

To top it off, both parts were recorded at bedroom level as both amps ran into the PRX150-Pro! We’re talking conversation level, so if you heard some transient clicks in the clip, it’s stuff that was making noise in my garage/studio!

You gotta check this stuff out. Jeff is a true wizard with amps! Both the VRX amps start at $895, while the PLX18BB combo starts at $1750 ($1350 for the head only). If you’re after vintage Marshall tone at a non-vintage price, you owe it to yourself to check out these amps!

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This is a hotly debated topic, and there are great arguments for or against using one. I’m of the former group and have used attenuators to great success over the years. To demonstrate how useful an attenuator can be, I put together a quick video. Here you go:

I wanted to be as non-technical about the usage of an attenuator because there are so many attenuator designs on the market. So I kept this video at a fairly high level. I’ll get into more detail in the next video when I discuss the Aracom PRX150-Pro.

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The Aracom PRX150-Pro to be exact. I’ve actually known about this for awhile, but Jeff Aragaki, owner of Aracom Amps asked me not to say anything until someone else had mentioned it. Jeff told me the news right after Joe purchased it, but I respected Jeff’s wishes to wait to mention it. So I did. And none other than Doug Doppler, guitarist extraordinaire and author of “Get Killer Tone,” happened to mention it in a thread on the The Gear Page recently about how Joe had told him about the unit. So the cat’s out of the bag! Joe Satriani is a proud owner of a PRX150-Pro, and his words to Jeff were “Great unit. I like it a lot.”

That’s about all the information I know other than how he raved about it to Doug who, in turn, contacted Jeff to get a unit; and since he got it, Doug has been raving about it on The Gear Page, and will be featuring it in his DVD.

This is not so much a plug for the PRX150-Pro as it is meant to underscore that even guitar heroes like Satch see the virtues of using an attenuator. Speaker breakup aside, some amps just don’t hit their sweet spot until they’re cranked up and played wide open. Unfortunately, the volume level at that point is too high to be comfortable for most human ears. With an attenuator – and a great one in the PRX150-Pro – players can crank their amps to their sweet spot, and not worry that their ears are going to bleed.

I know, there are several people who eschew attenuators as being tone suckers. But the new breed of attenuators such as the Aracom PRX150-Pro are so much more transparent than the older attenuators on the market; and yes, they are particularly more expensive than their older counterparts, but how much is great tone worth? We gear sluts think nothing about spending a few hundred bucks on a pedal. For what a great attenuator gives you, it’s totally worth the investment.

For more information on the Aracom PRX150-Pro, go to the PRX150-Pro product page!

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There’s an unspoken battle raging on The Gear Page forum about which is the best “popular” attenuator on the market. Yeah, everyone claims theirs is the most transparent, and frankly, that’s true for very low levels of attenuation. But for really cranking down on the volume, my money, of course, is on the Aracom PRX150-Pro. To me, not only is it the most transparent attenuator based upon head-to-head comparisons of some of the popular attenuators done by me and others, and also being the safest with its input AND output impedance matching, it is also the most cost-effective attenuator out there. Don’t believe it? Well, the numbers don’t lie. When you consider the versatility of input/output impedance selections vs. cost of the unit that the PRX150-Pro offers, it’s simply no contest.

Let’s have a look at the numbers shall we?

Cost Per Impedance Selection Combination
Attenuator Price # Impedance Combos. Cost/Imp. Combo
THD HotPlate $329.00 1 $329.00
Alex’s Attenuator $350.00 1 $350.00
Faustine Phantom $799.00 3 $266.33
Aracom PRX150-Pro $650.00 16 $40.56

Clearly, based upon the number of impedance matching selections, the PRX150-Pro is the clear winner in terms of value. Even if the Aracom unit only had three impedance matching selections, it still will have 9 different available input/output impedance selection combinations, and each combination would only cost $72.11; still far below the competition!

Furthermore, let’s say the PRX150-Pro didn’t have output impedance matching, reducing its impedance matching combinations to 4. It still outperforms the competition in terms of value at $162.25 per selection!

Let’s compare the PRX150-Pro with the Alex’s attenuator for example. People love the Alex’s attenuator, and I understand it works great. But you have to get 4 of those units to match the impedance matching capabilities of the PRX150-Pro. In absolute cost terms, yes, the PRX150-Pro costs more. But with respect to value, well, you can’t hide from the numbers. The same thing applies to the THD HotPlate (though I have other reasons not to like this product). As for the Faustine Phantom, it has more versatility than the Alex’s by far, but it’s also very expensive, and it is unclear whether or not you’ll get one in a timely fashion. Some people have been waiting for theirs for several months.

Sometimes you have to spend more to get much more, and in the case of the Aracom PRX150-Pro, you’re getting A LOT more!

Disclaimer: I will say this again that I am not an employee of Aracom – I’m a faithful customer because of the superior product Jeff produces.

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Song Information

Title: Strutter

Guitars: Rhythm – Strat, Lead/Melody – Saint Guitars Messenger (Goldie)

Amps: Rhythm – Aracom VRX22, Lead/Melody – Aracom PLX18 BB Trem

Guitars were recorded at conversation levels using the Aracom PRX150-Pro attenuator.

Effects: KASHA Overdrive, GeekMacDaddy Geek Driver

Audio

About the song

I wrote “Strutter” a couple of weeks ago. Like many of my instrumentals, it started out as a backing track that I could practice over. I was simply experimenting with doing leads over a dominant 7th chord progression after watching more of Chuck D’Aloia’s “Blues with Brains” instructional video and wanted to try out some of the stuff he talked about. Well, one thing led to another, and I started getting ideas that I started running with. So I laid them down.

I actually completed the recording several times using different guitars and amps for the lead, but every time I listened to it, I just wasn’t satisfied with the lead. I knew I wanted a bright sound tone, either from a Strat or from a bridge humbucker, but I wanted the lead to have some hair as well. My Strat just didn’t work here because of the vintage-style low power single coils I have in it. And the PLX18 BB was just a bit too fizzy with the stock speaker. So I sat on the song for awhile, though I did keep on refining the phrasing. As far as amps are concerned, I have several to pick from, but their tones are very vintage smooth. Even my go-to amp, the VRX22, was just too “nice-sounding” for what I wanted.

The PLX18 BB got me right into the ballpark. It doesn’t have loads of gain, and while the breakup is smooth and expansive – very 3D – it also has lots of balls for which Plexi-style circuits are known. But even then, the speaker I had in it was just too harsh in the highs, with an overabundance of fizz. In earlier recordings with the amp, I had to bleed off highs. I really didn’t like doing that because I don’t like to EQ my guitar parts. So it wasn’t until last night when I swapped out the stock speaker (Eminence Red Coat Red Fang) with a Fane Medusa 150 where everything came together.

Previous versions of the lead track included wah, but I removed the wah and re-recorded that portion of the song mainly because I just wanted a slightly fatter tone. The amp was already dimed, so I just added a couple of stacked overdrives using my KASHA overdrive and Geek Driver. This resulted in a bit brighter, but fatter tone.

Finally, the cool thing was that I recorded the song in two takes. The second take was the ending. I think my hand was getting tired from all the bending, and I made a couple of mistakes. 🙂 It’s amazing how your playing flows when your tone inspires you!

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For a long time, I’ve had this thing for getting a big guitar sound in my recordings. I’ve done a bunch of different things like doubling, overdubbing, signal splitting between two amps, and the like. But recently, I got a couple of pieces of gear that is allowing me to explore yet another way to get a big guitar sound: Re-amping. Re-amping is essentially taking an already amplified guitar signal, and running it through another amplifier. This is not like adding a gain stage because that usually involves multiple pre-amp sections. With re-amping, you’re building on a fully amplified signal that has passed through the power tubes. The result is VERY different in tonal character from just moving the signal through another gain stage.

There are lots of ways to re-amp, so I won’t go into a lot of detail. But I will share how I do it. Ever since I got my Aracom PRX15-Pro, I’ve been contemplating this very thing because of its line out which could be used in a variety of ways; such as running the signal into a PA (since it’s unbalanced, you need a DI box), or taking that line level, and running it into another amp to re-amplify the signal yet again. The cool thing about the PRX150-Pro is that I can simultaneously run an output to a speaker, then the amp that’s doing the re-amping can also have it’s own audio output.

Now here’s something even more cool! I have a Reason Bambino, which also has a line out. It’s a balanced line out, so it can go directly into a board, and doesn’t need to be hooked up to an external cab. The tone coming from the line out of the Bambino is very nice. I suppose that I could’ve miked the Bambino from another cabinet, but I did want to test the line out.

In any case, here’s a diagram of how I had everything hooked up:

VRX22-ReAmp

In a nutshell, I plugged my guitar directly into my Aracom VRX22, which ran into the PRX150-Pro. I hooked up an external cab to the attenuator, placed a mic in front of the cabinet that ran into Channel 1 of my audio interface. Then, I ran the line out of the attenuator to the input of the Reason Bambino. From there, I went directly from the Bambino into Channel 2 of my audio interface.

I set up a clip from a song I wrote and added two tracks that took input from the two channels. I also panned Channel 1 full left and Channel 2 full right. Once I had the levels worked out, I recorded a solo over the existing music. Once the recording was finished, I took the Bambino’s signal slightly out of phase with Channel 1, to make it sound like two guitars are playing simultaneously. The effect is totally cool, and it creates a very in-your-face, big guitar sound! Here’s the clip:

Note that this is a kind of a different way to employ re-amping, which basically runs two amps in a series then out a single output. The way I employed it, the re-amped signal is a component of the overall package.

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Aracom Amps PRX150-Pro AttenuatorAracom Amps has just posted a page on their site which features Gene Baker – luthier of the famed Baker Guitars and now of Fine Tuned Instruments producing “B3” guitars – demonstrating the transparency of the Aracom PRX150-Pro Attenuator at various attenuation levels.

Gene has also provided commentary on the recording and how no EQ adjustments were made to the amp – even down to bedroom levels! This is a re-affirmation of what I’ve been saying all along about this awesome device! The PRX150-Pro simply retains the tone you work hard for – no matter how much attenuate your signal; and more importantly eliminating the need to compensate with EQ.

Check out Aracom’s Gene Baker audio page here!

Having someone like Gene Baker demonstrate the capabilities of the PRX150-Pro is huge! Gene is an incredible guitarist!

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Ladies and Gentlemen! Welcome to the bout of the century! A truly momentous occasion in the vein of David versus Goliath! In the red corner we have a Goliath, the reigning King of Attenuators, the Ultimate Attenuator; self-proclaimed King of Transparency – Guaranteed! In the blue corner is the Aracom Power Rox PRX150-Pro, a virtual David, armed with only a transparency sling ! And here’s the opening bell!

The Ultimate Attenuator strikes first, tongue lolling, with bombastic claims of pure transparency. The agile Power Rox ducks, and moves away, its sling of true transparency whirring rapidly. Wait! It launches! It strikes the Ultimate Attenuator square in the head. It’s going down! Oh the humanity! Oh the humanity! The match was over before it was even begun!

I had the great opportunity this evening of testing the Aracom Power Rox and the Ultimate Attenuator in a head-to-head shootout to determine which was the most transparent attenuator. As you can tell from the somewhat facetious and fictitious pseudo-boxing match, you know who won: The Aracom Power Rox PRX150-Pro. Folks, it wasn’t even a contest. Even at the lowest attenuation levels, the Power Rox swept the floor with the Ultimate Attenuator!

My Test Procedures

Equipment: My test was conducted using a Replica JTM45 equipped with original Mustard Caps and a pair of  KT-66’s, into a 4 X 12 cabinet equipped with (2) Original 55Hz Greenbacks and (2) Custom Weber (75Hz) Greenbacks, with a ‘Gibson 57 Les Paul Historic Goldtop as my test guitar.

Clean Test

First, I started with the amp totally clean. I strummed a simple chord progression to get my base tone. Setting the Ultimate Attenuator at about half “volume,” I activated it. I immediately noticed a distinct loss in both highs and lows, as even at minimal attenuation, the bandwidth of my tone was severely narrowed. The full bottom-end and sparkly top-end of my clean tone were significantly reduced. The tone wasn’t that bad, mind you, but it certainly lacked the richness of my base tone – it sounded flat.

One thing that really bugged me was activating the UA, which required a strumming the guitar, then switching on the UA, as if the UA needed a signal to pass through it to even start working. What a pain! It’s amazing that users would even tolerate this.

I repeated the same test with the Power Rox, setting it at half attenuation on the 6-way switch. The result was a reduced volume, but no loss of bottom- or top-end at all.

Clean Test – Bedroom Mode

Same test as above with both attenuators. With the Ultimate Attenuator, can you say “tone sucker?” The tone was not at all pleasing! Even more narrow bandwidth, and non-existent dynamics. There was nothing even remotely good to like at this level with the UA. How the UA website can claim to be “the most transparent and safest tube amplifier attenuator on the market in the world. Guaranteed” is beyond me. Even my old Dr. Z Airbrake sounded better than the UA. So again, at this level, the Power Rox just kicked ass. Lower volume, but full retention of bandwidth and dynamics.

Dirty Tests

In my dirty tests, I ran the amp in its drive channel cranked up fully. 40 Watts through a 4 X 12 is LOUD!!! Especially when you’re standing right in front of the cab! Actually there’s nothing like feeling the SPL’s with an amp full-out! I ran the same tests as I did with the clean channel with both attenuators, and as expected got the same results: The Ultimate Attenuator really sucked my tone, while the PRX150-Pro retained tone and dynamics at all levels. The Plexi switch just made the tone even worse, acting like a treble booster, which made an already horrid tone even worse by just upping the highs. The tone was akin to an old transistor radio played at the volume of a loud TV. Not pleasing at all, and actually, it was a bit annoying, like cats screeching! YUCK!

The Power Rox, on the other hand, again just reduced the volume. The tone remained rich and full, and all the overtones and harmonics came through. It’s amazing what those subtleties do for your tone. You really miss them when they’re not there, as they provide depth.

It’s evident that the Power Rox’s Speaker Reactance Thru technology is far superior at any application. For me, the Ultimate Attenuator company can make all the claims it wants about transparency, but that’s all they are: claims. And while it doesn’t sound all that bad at low attenuation levels, the marked difference in tone between the UA and Power Rox at any attenuation level relegates the UA – at least to me – to the junk heap. You couldn’t get me to put this in my rig if you paid me.

I realize that the UA was the best game in town for quite awhile, and I am sure that at the time it came out, it outperformed the THD HotPlate, which I have also tested, and didn’t like. I also realize that I’m being fairly harsh – much more harsh than I’ve ever been with a product – but all the claims of the UA being truly transparent are mere exaggerations, and not backed up by any discussion of its technology. In fact, all the hyperbole surrounding the UA is quite irritating!

If you knew what went into a UA, you’d have serious concerns, not the least of which is the 32 ohm fixed resistor, which essentially flattens out your impedance, and creates a mismatch so high that you could fry your amp! Adding insult to injury, the solid-state amplifier is what is really running your speaker. Transparent? Hell no! Not electronically, and definitely not audibly.

And mind you, I’m not the only person who feels this way. One new PRX150-Pro user, who is also a former UA user was so impressed with the Power Rox and disgusted by the UA’s tone compared to the Power Rox, that he bought two Power Rox’s! That says quite a bit.

For more information about the Aracom Power Rox PRX150-Pro, visit the Aracom Amps PRX150-Pro product page!

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!
Aracom Amps PRX150-Pro Attenuator
Aracom Power Rox PRX150-Pro Attenuator

Summary: This is hands-down the best attenuator on the market! I’ve played a lot of attenuators, and no other has been able to retain tone and dynamics at high attenuation levels as the Power Rox!

Pros: The Power Rox isn’t just an attenuator. It packs extra features that’ll just blow you away, making a it versatile part of your stage or studio rig!

Cons: None.

Features:

  • Rotary Switch provides (6) Step Attenuation Levels, plus
    the Variable Mode allows continuous variable control of “bedroom” level adjustment
  • 33dB attenuation range
    * Attenuates 100 watts down to well under 1 watt (0.05 watt).
  • 150 watt (continuous average) power rating
  • Independent Input Impedance Switch: 2, 4, 8, 16 ohm
  • Independent Output Impedance Switch: 2, 4, 8, 16 ohm
    * Uniquely allows mismatched amplifier and speaker impedances to be used.
  • Attenuator Bypass Switch
  • Load Mode
  • Line Out with Level Control
  • 2 Speaker Jacks (wired in parallel)
  • Passive design, does not require AC power
  • Rugged, black anodized aluminum housing
  • Heavy duty, steel reinforced handle
  • Handwired and Handcrafted in the USA.

Price: $649 direct

Tone Bone Score: 5.0. Jeff Aragaki of Aracom Amps never ceases to amaze me with the stuff he comes up with! This time, it’s an attenuator invention that blows away the competition in safety and tone and dynamics with its patent-pending Speaker Reactance Thru (SRT) technology, plus extra features that make it unmatched in versatility and usability.

I’ll admit it: As much of gear nut that I am, I’m also a huge techno-geek. I dig new technologies and the engineering behind them; and when someone comes up with some new approach to something, with completely awesome engineering, it’s hard to control my GAS. I just have to have it.

I recently took delivery of a brand new attenuator invented by Jeff Aragaki of Aracom Amps, called the Power Rox PRX150-Pro. This, by far, is the best attenuator I have ever used, and will be a fixture in my rig for years to come. That’s right. This will always be in my chain. But not just because of its ability to transparently attenuate an amp signal. This attenuator has features that no other attenuator has such as two speaker outs, and a Line Out that you can use to go direct into a DAW, or even another amp! Talk about versatility. Not only that, because you can match impedance in both the input AND the output, combined with Jeff’s patent-pending Speaker Reactance Thru (SRT) technology, you can squelch down the power of your amp and not worry about ever blowing our your tubes and ruining your amp. The SRT technology just kicks ass!

Talking the Talk AND Walking the Walk: Speaker Reactance Thru Technology

Jeff is a very humble man, so he’d never say anything like this, but I’m not nearly as humble, so I will say it: There’s not a better attenuator than the PRX150-Pro. Even if Jeff didn’t include all the extra features you get with the Power Rox, this attenuator simply kicks the shit out of all the attenuators I’ve ever tried – and I’ve tested several, including the Ultimate Attenuator that seems to be the most popular attenuator; and with respect to safety, tone and dynamics, all others simply pale by comparison.

Where other manufacturers make bold claims (read: brag) about their attenuators’ transparency, not only can Jeff Aragaki make the claim (in his quiet and humble way), he backs it up with detailed discussions of his SRT technology and the engineering behind it and what makes it so transparent. Jeff’s SRT technology is absolutely incredible. At any level of attenuation, the Power Rox retains your tone and dynamics. This is because instead of just dealing with amp power reduction through a series of resistors or a dummy load, which also have the added effect of flattening out the impedance curve and changing tone, the SRT technology ensures that reactance between the amp is maintained throughout the entire spectrum of attenuation; hence, the name “Speaker Reactance Thru.” This means that the impedance curve is kept intact so that the continuity of reactance between the speaker and the amp are maintained. Jeff discusses this in a detailed article about the advantages of the PRX150-Pro.

Let’s talk a bit about safety…

As I mentioned, the PRX150-Pro will not burn out your amp. You can crank your amp up all the way, getting that wonderful power tube drive, and not worry about your amp blowing a tube, or worse yet, frying some circuits from flyback voltage. We’ve all heard the horror stories about people using attenuators, cranking their amps, and blowing power tubes. A lot of this has to do with impedance mismatching. Some manufacturers have added options to match impedance from one direction, but the Power Rox has impedance matching in both the input and output jacks! But the point of this is that with impedance matching on both sides, you don’t have to deal with any type of mismatch. That is very comforting to know.

I’ve actually been playing with the Power Rox for the last couple of months regularly before it hit the shelves, and to date, I haven’t had any power tube problems. And we’re talking running my amps down to less than a watt for a few hours straight. I could never do that even with my Dr. Z, which is one of the more safe products out there. I’ve burned out power tubes using my Dr. Z by cranking power too much. It’s not pretty, and I’ve been lucky so far that only my tubes got burned out. It could’ve been a lot worse.

This ain’t yer Daddy’s Buick…

When Jeff first spoke to me about the Power Rox, I thought, “Okay, it’s another attenuator. I’m sure it’ll be great considering what a whiz Jeff is…” But when he delivered the unit, I couldn’t believe what he had added! I was already impressed that it had both input and output impedance matching. That was simply awesome. But he added some awesome features that I was not at all prepared for:

  • Bypass Switch – This is a mechanical bypass that completely bypasses the attenuation circuit.
  • Line Out – This one thing is just so cool! I used it to go both direct into my DAW, and also used it to re-amp into my Hot Rod Deluxe! Talk about versatility! For a test, I ran a cable to my 1 X 12 cab, then ran another cable to my Hot Rod. I could’ve easily just run direct into my Hot Rod without going out to another speaker as well, but you can see how useful this is. I could get my amp’s tone and combine it with the Hot Rod’s tone. So cool!
  • Two Speaker Outs – This is yet another cool thing. You have multiple cabs that you want to drive with a single amp? This makes it easy.
  • Input AND Output Impedance Matching – No other attenuator matches impedance in both input and output, but the Power Rox has it. It’s all part of the package to ensure continuous reactance between the amp and the speaker.

So as you can see, the added features make this oh so much more than just an attenuator, and it’s a testament to Jeff’s creativity!

The proof is in the pudding…

Unfortunately, doing sound clips of an attenuator’s effect is fruitless, because it is difficult to hear the changes, and moreover, it is difficult to describe the change in dynamics on a recording. However, the Power Rox was tested side-by-side to a number of popular attenuators, and even at low levels of attenuation, compared to Power Rox, all the other attenuators had an effect on tone and dynamics. To date, several people have performed head-to-head comparisons between different attenuators and the Power Rox, and they all come to the same conclusion: The Power Rox is truly transparent; not just the most transparent of the lot, but truly transparent. To me, this box sets the standard by which all others must be measured now.

I used my own transparency test procedure to compare attenuators, but Jeff has also provided a very detailed, and in-depth transparency test that you can view on his site.

I know, I must sound like a twitterpated schoolgirl with how I’m raving about this product, but for the very first time, I’ve been able to record my amps fully cranked without pissing off my family and neighbors, and more importantly, without having to worry that I’m going to blow a tube. Even with my Dr. Z, I’ve had to settle with less drive on my recordings for fear of burning out my amps. But with the Power Rox, I can crank my amps and get that wonderful power tube drive! And even better yet: I can trust that my tone and dynamics will not change, no matter the volume!

For more information on the Power Rox PRX150-Pro attenuator, go the Power Rox Product Page!

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