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In August 1908, a white mob attacked Springfield, Illinois’s Black community, destroying homes and businesses and lynching two Black men. National outrage over the violence helped spur the movement that created the NAACP the following year.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
Amplifier modeling is the use of solid state or digital signal processing technology to emulate the sound and functionality of traditional, typically vacuum tube-based, guitar amplifiers. Since the technology's inception, amplifier modelers have generally sought to give players access to a large collection of notable amplifier models at a much lower cost with greater convenience than buying real amps.[1]
Modelers come in many formats, including desktop processors, rackmount units, floorboards, stompboxes, and audio plug-ins. Most emulate not only amplifier models, but speaker cabinets, microphones, and effects. Modelers became prominent in the 1990s with analog pedals like the Tech 21 Sansamp and digital processors like the Line 6 POD. In the 2000s, the Fractal Audio Axe-FX and Kemper Profiler established the viability of digital modeling for professional musicians. Further advancement of the technology and the introduction of lower-cost options has helped create a technological revolution in the industry and sparked a long-running debate over the merits of tube-based amplifiers compared to modelers.[2]
Modeling technology began as early as the 1970s with the 1979 introduction of PA:CE's Redmere Soloist combo amplifier, which had three analog channels, each emulating the sound of a Fender, Marshall, and Vox style of amp.[3] In 1989, Tech 21 released its analog amplifier modeler, the SansAmp, which replicated the tones of Fender, Marshall, and Mesa/Boogie amplifiers and became popular among recording engineers and producers in the 1990s. Kurt Cobain notably used one as an overdrive pedal.[4] Line 6 released its first digital modeling amplifier, the AxSys, in 1996, as a 2x12 combo. Johnson Amplification, a DigiTech subsidiary, also released digital modelers in combo format, but these all sold poorly. In 1997, Line 6 repurposed the AxSys technology as Amp Farm, a software plug-in for Pro Tools, and followed a year later with the desktop POD processor to much greater success, which helped spur wider interest in developing modeling technology.[4]
These early modelers, however, were regarded by most as only home practice tools,[5] but as processing power improved, so too did the realism of the modeled amps.[3] In 2002, IK Multimedia released its AmpliTube amplifier and effects modeling platform, which played a major role in the development of audio plug-ins that create computer-based virtual amp and effects modeling suites.[6] Fractal Audio's rackmount Axe-FX, released in 2006, became the first hardware modeler considered accurate enough for professional use.[7] Although classified as an amplifier modeler, Fractal founder Cliff Chase has stated his priority with the Axe-FX was not exact emulation of classic guitar amps but rather recreating their sounds in the context of a modern device which emphasized expanded tonal control.[8] The success of the Axe-FX sparked an "arms race" among rival amp modeler manufacturers to bring to market their own products with more advanced specs and build quality.[9]
While modelers sought to replicate entire amplifier setups, Two Notes' rackmount Torpedo VB-101, released in 2010, kickstarted a trend of dedicated impulse response loader devices, which allow tube amp users to plug in for silent recording with digital emulations of speaker cabinets and microphones.[6] The Kemper Profiler followed in 2011, pioneering "profiling", also known as "capturing", a technology that allows users to create and use digital versions of their own physical gear.[1] While the Profiler "dropped like a bomb on the guitar universe", it and the Axe-FX were expensive.[2] More affordable alternatives that followed included the Boss GT-1000 multi-effects processor, Line 6 Helix floorboards,[2] and Yamaha THR "desktop" amp.[6] Boss debuted its Katana line of analog-digital hybrid amplifiers in 2016, and it has since become the industry's bestselling amp line.[10] Three years later, Fender entered the modeling amplifier market with their Tone Master series, which replaced the tube-driven circuits of classic Fender models with digital circuitry, but otherwise maintained the format and aesthetic of the original amps.[6]
Modelers have become more compact and inexpensive as digital signal processing technology has progressed, with budget offerings from brands like Mooer, NUX, and Joyo.[2] Positive Grid released its desktop Spark amplifier line in 2019 and it became the industry's most popular "smart" amp.[6] Many brands now incorporate AI and machine learning into their products and design process.[2] One such company, Neural DSP, established itself through audio plug-ins before releasing their first piece of hardware, the Quad Cortex, in 2020, to acclaim.[11]
The success of digital modeling in an otherwise analog industry has led to a long-running debate over the merits of tube amplifiers compared to modelers.[2] Tube amp players often appreciate the nostalgia of the technology and argue that analog amps and cabinets have a "soul" that cannot be replicated. These users point to modelers being unable to capture factors like the interaction between an amp and speaker cabinet or qualities like power amp sag and the physical "push" of air. Modeler fans argue that the portability, consistency, and reliability of modelers outweigh the "romance" of tube amplifiers and that advances like machine learning are increasingly able to capture non-linear amp behaviors like power amp sag and dynamic response.[2] Guitar World wrote that "there's no doubt modeling amps are much more versatile, usable options for the vast majority of guitar players out there" and that modelers "sound every bit as good as a tube amp".[12] Guitar World, however, also wrote that they did not believe tube amps "will ever truly go away."[12] In 2025, Premier Guitar was critical of what they portrayed as an approaching saturation point with digital modelers, as the devaluation of DSP had led to more and more companies chasing ever-smaller margins of realism at the expense of developing products that inspire creativity.[2]
In 2025, online marketplace Reverb.com noted that while traditional amplifiers outsold modelers overall by a 4-1 margin that year, the top-five bestselling amp models were all digital and no tube amps were in the top ten. Reverb concluded, "It's clear to see that modelers have won the battle."[13]
Digital amplifier modelers use a microprocessor to convert an analog guitar signal into a digital signal and manipulate it with a series of algorithms designed to mimic the sound of one or more traditional amps.[14] The signal is then converted back to analog and sent to the output of the device. The amount of time this takes is known as latency. The term modeler typically refers to a hardware unit, while amp sim generally refers to the software, although the terms can be interchangeable. Many modelers include built-in effects, allowing a modeler to function as an "all-in-one" device, whereas multi-effect pedals may share a similar form factor to a modeler but only include effects.[14] Modelers can be connected directly to PA systems or recording devices without the need for a power amp or speaker cabinet. If a player wishes to project the sound of their modeler, an FRFR (Full Range, Flat Response) speaker can be used. These speakers reproduce the full audio spectrum being played through them. Many modelers include MIDI control, allowing users to map out complex live sets.[14]
Examples of modelers include the Neural DSP Quad Cortex, Fractal Axe-FX, Kemper Profiler, Line 6 Helix, IK Multimedia Tonex, and Fender Tone Master Pro.[14]
Modeling amps such as the Peavey Vypyr, Roland Cube, Boss Katana, Fender Mustang, and Line 6 Spider series are amplifiers that include built-in modeling functionality. Some high-end modeling amplifiers, such as the Vox Valvetronix and the 60/120 watt versions of the Peavey Vypyr combine the digital modeling process with actual vacuum tube amplification.
Analog modeling systems utilize analog circuitry in signal processing, such as filters, amplifiers, and waveshapers. Simple conceptual circuits mimicking a certain attribute have topologically evolved to become more and more complex in order to provide a more detailed or realistic emulation. Analog modelers include Tech 21's SansAmp line of products and the DSM Simplifier series.
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
Amplifier modeling is the use of solid state or digital signal processing technology to emulate the sound and functionality of traditional, typically vacuum tube-based, guitar amplifiers. Since the technology's inception, amplifier modelers have generally sought to give players access to a large collection of notable amplifier models at a much lower cost with greater convenience than buying real amps. Modelers come in many formats, including desktop processors, rackmount units, floorboards, stompboxes, and audio plug-ins. Most emulate not only amplifier models, but speaker cabinets, microphones, and effects. Modelers became prominent in the 1990s with analog pedals like the Tech 21 Sansamp and digital processors like the Line 6 POD. In the 2000s, the Fractal Audio Axe-FX and Kemper Profiler established the viability of digital modeling for professional musicians. Further advancement of the technology and the introduction of lower-cost options has helped create a technological revolution in the industry and sparked a long-running debate over the merits of tube-based amplifiers compared to modelers.
A guitar amplifier (or guitar amp) is an instrument amplifier designed for use with an electric guitar, bass guitar, or acoustic-electric guitar. A guitar amplifier receives an electric guitar's pickup-generated signal and shapes that signal's tone through a preamplifier and amplifies it through a power amplifier; it is then projected through loudspeakers. When the preamp and power amp circuits are combined with one or more loudspeakers in a single enclosure, it is known as a combo. When the preamp and power amp are housed together for use with an external speaker cabinet, it is known as a head. There is a wide range of sizes and power ratings for guitar amplifiers, from small, low-wattage practice combos to heavy, high-wattage heads that are usually paired with large external cabinets. The components chosen for an amp's circuit have a significant impact on its tonal character, which can be further sculpted by emphasizing or de-emphasizing certain frequencies using equalizer controls and through producing distortion (also known as overdrive). Reverb is a common built-in effect. Commercially available guitar amplifiers were first released in 1928 but did not become widely used until the introduction of mass-produced solid-body electric guitars and basses in the 1950s. Notable brands include Fender, Marshall, Vox, and Mesa/Boogie. For players, their choice of amp and the settings they use are a key part of their sound. Historically, guitar amplifiers have been designed around vacuum tubes, and to a lesser extent solid-state electronics; digital amplifier modeling is also increasingly common. Guitarists often use external effects pedals to alter their tone before the signal reaches the amplifier.
Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, but may be used with other instruments, such as electric bass, electric piano, synthesizer, or Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. Other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, grunge and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap". The effects alter the instrument sound by clipping the signal (pushing it past its maximum, which shears off the peaks and troughs of the signal waves), adding sustain and harmonic and inharmonic overtones, leading to a compressed sound that is often described as "warm" and "dirty", depending on the type and intensity of distortion used. The terms distortion and overdrive are often used interchangeably; where a distinction is made, distortion is a more extreme version of the effect than overdrive. Fuzz is a particular form of extreme distortion originally created by guitarists using faulty equipment, such as a misaligned valve (tube), which has been emulated since the 1960s by a number of "fuzzbox" effects pedals. Distortion, overdrive, and fuzz can be produced by effects pedals, rackmounts, pre-amplifiers, power amplifiers (a potentially speaker-blowing approach), loudspeakers and (since the 2000s) digital amplifier modeling devices and audio software. These effects are used with electric guitars, electric basses (fuzz bass), electronic keyboards, and more rarely, special effects with vocals. While distortion is often created intentionally as a musical effect, musicians and sound engineers sometimes take steps to avoid distortion, particularly when using PA systems to amplify vocals or when playing back prerecorded music.
Fractal Audio Systems, often shortened to Fractal, is an American audio equipment manufacturer founded in 2006. Fractal became pioneers of the high-end digital amplifier modeling market with the release of the rack-mount Axe-FX, which has been credited as the first amp modelling and effects system convincing enough for professional use.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Mae Jemison, aboard Space Shuttle Endeavour in 1992.