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The Case for Modeling
Like the subway token that gets you home faster than the Ferrari, a digital modeling amp can be an asset in a situation where a conventional amp is a liability. Gigs that call for the instant recall of a wide range of distinct tones, as well as home and project studio recording dates, are tailor-made for modeling technology.
Onstage, it's possible to generate a wide array of distinct sounds with a conventional amp and a battery of effects. But modeling amps offer three distinct advantages in a live performance:
1) They're self-contained, so you're only bringing one unit to the gig.
2) The complete sound -- distortion, tone, effects, overall volume -- can be preset for instant recall.
3) Because there are fewer elements creating the sound, modeling amps behave more consistently than multi-component rigs. You don't have to worry about factors like faulty tubes, dodgy patch cords, or worn-out batteries that can wreak havoc on a conventional stage rig.
Line 6 POD
Pro
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As for recording, the modeling advantage can be even more pronounced. Unless you're a very skilled knob twiddler and have the right microphones for the job, all the things you loved about your killer tube stack's tone can disappear once you get it on tape -- and trust me, nothing sounds quite as cold and small as a warm, large tube amp that's been poorly recorded. And while it might never replace your favorite Marshall once it's cranked up, a digital surrogate may actually sound better at low volume. Factor in a good microphone, mixing board, and all the other things that get between the amp's speakers and your ears, and the resulting recording can sound more convincing than the original. Furthermore, most modeling amps and preamps work well in direct recording situations (in fact, DI is the raison d'être for popular preamps like the Line 6 POD and Johnson J-Station).
Perhaps the biggest reason for modeling's emergence is timing: Digital amps started to develop sonic credibility just as home recording became a viable alternative to commercial studios, and at the same time that tonal tastes have become more eclectic. Much of today's best guitar production emphasizes variety over identifiable style, and that's where modeling really shines.
The State of the Art
Guitarists are notoriously slow to embrace technological change, but digital modeling amps have quickly developed a solid foothold in the industry. Along the way, the technology has evolved -- or devolved, depending on your perspective -- to become more appealing to the average user.
Designing a modeling amp presents a special challenge for two reasons. First, guitarists are accustomed to using simple amps on stage, so designers must balance the ideal of flexibility (and the complexity that comes with it) and simplicity.
Flexibility vs. Simplicity
Chances are your current amp is pretty simple -- with the channel gain, master volume, tone and reverb controls your only tools to shape tone. Once you know your amp, setup time is minimal.
Early digital modeling amps took a comprehensive approach, offering front panel control of hundreds of sound-shaping parameters. If you wanted to get past the presets, you had some serious tweaking in store. But all that power has a price. Although comprehensive units like the Line 6 AX2 and the Johnson Millennium offer straightforward, easy-to-understand interfaces, getting the most out of them still requires time, thought, and effort -- three things in short supply in some guitar circles.
Many current designs -- such as the Line 6 Spider series, Crate DX series, Johnson JT50, Yamaha DG-series, and others -- take a somewhat less literal approach. Rather than design amp models that replicate specific examples of famous amps, these units offer models based on an amalgam of several similar amps, focusing on a general amp type rather than a specific unit. In some cases, the controls also work in a more global, less literal fashion. The result: you get the flavor and core sound of some classic amps, get the flexibility to move the sound a little outside the range of the original hardware, and end up with a simpler operating system, too.
If you're a tradition-minded guitarist, the trade-off in sonic flexibility may be a small price to pay for the instant gratification and intuitive operation of many of these simpler units. You may not care if you're nailing the sound of the Holy Grail of all '59 Bassmans; you just want to capture enough of that vintage vibe to carry your performance. The flip side of the equation is this: The fewer parameters under your control, the more your sound is dependent upon the designer's taste -- in a somewhat ironic return to tradition, the individual amp's character once again exerts influence on your tone.
Johnson Millennium JM250
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Layers of Control
There is, however, a comfortable middle ground between under-utilizing the technology (by simplifying modeling amps to the point that they're too much like traditional amps) and overwhelming you with features. Modeling amps and preamps that support MIDI editing -- such as the Line 6 POD and Johnson J-Station -- let you dig deeper into the sound than would be practical from the front panel. The control layout remains simple, and the front-panel menu of choices is manageable -- ideal for the instant gratification crowd. But with the aid of computer editing software and a MIDI hookup, you can also dig deeper. Another advantage to this approach is that computer-savvy players will find the editing software more intuitive than a complex front panel; all parameters can be seen at once, and sounds can be stored and catalogued into libraries. Some popular units, like the POD, even have user groups where players share sounds over the Internet.
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