Guitar amps will never die because your modeller is attempting to copy them

Digital modellers are on the rise, but we explain why real amps will always by their side

The Hughes & Kettner Puretone

Yes, it’s true: More and more guitarists are putting their amps in storage in favour of modellers like the Neural Quad Cortex and Line 6 Helix. But that doesn’t mean that amps are becoming an endangered species. In truth, amps will never die because the modellers are built to replicate their magic.

When cassettes, and later CDs, then MP3s first came into existence, many people theorised the death of vinyl. However, vinyl sales have outstripped CDs in the past two years by a combined 12 million units, registering a 17th consecutive year of growth.

CDs and MP3s may be cheaper and more convenient, but vinyl still has plenty of its own appeal; powers of seduction that real amps still possess in great quantities.

Moreover, most original amp styles delivered by modellers haven’t proven successful because they can’t undo – or rival – the 50+ years of sonic identity the likes of Marshall and co. boast.

The only exception to the rule would be the Big Bottom sim on the Line 6 Pod having outgrown its foundation as a boosted Mesa Boogie Triple Rectifier copy. But even then, that has nearly 20 years of cult status behind it.

Perhaps in several decades time tone hunters will be scrambling to find a Quad Cortex with the 1.7493794 update because there was something ever so different about the Soldano 100 sim. Until then, real amps have nothing to worry about.

Modeller magic

Modellers are designed to simulate real amps, giving players the flexibility of several classic amps, and their unique tonal characters, into one much more affordable unit. Not only can this save money it can be a huge benefit for touring bands: Travelling the world with an ‘amp’ that can fit in your hand luggage is a game changer. 

It certainly wins in the practicality wars against lugging six different amps across continents, but it is important to remember that every single tone within modellers is essentially a digital replication of real amps.

Guitar Modelling Plugins - Like STL Tonehub, can be extremely useful in the studio and for demos

Lineage

Take the Neural DSP Quad Cortex, for instance, the weapon of choice for everyone from Dave Mustaine, Sleep Token and Plini to pop punkers Neck Deep. From the Brit 2203 (Marshall JCM8000) and US TWN Normal (Fender Twin Reverb) to the balls-out firepower of the CA Duo Ch3 Modern (Mesa Boogie Dual Rectifier), each amp wouldn't exist without their tangible – and revolutionary – forbearers.

And so, modellers need the amp market to thrive in order to survive. It’s not a case of one or the other, the two are symbiotic. When new amps hit the market, they too will have their core essence stolen to add to the digital modelling amp arsenal. They all need that organic starting point.  

Cabs are still imperative

In today’s digitally-empowered age, too, the boss John Browne has seen firsthand the power of a real amp blasting out in a venue. What amps do that digital modellers cannot – without the assistance of an on-stage cab – is push air. Touring with Monuments, on the road with Electric Callboy, who are advocates of the Quad Cortex, the German metallers were blown away by Browne’s tone, which is achieved by splitting his guitar signal into two amps, the Victory Kraken VX100 and a Soldano SLO30 to emulate the sound and feel of two guitarists.

Modellers may beat real amps for their tonal diversity and travel-friendliness, but unless they’re blasted through a cabinet, the presence that an amp creates in a live setting is rarely rivalled.  

In recent months Laney has created the world’s most powerful FRFR cab with Devin Townsend, and Bare Faced Audio has introduced the Activier, which turns amps into power amp combos when paired with modellers. But, for most, real amps and cabs still have the upper hand.

Nuance

Another point to consider – although it is much more controversial – is that real amps offer much better tonal nuance than their digital counterparts. It can be argued that real amps offer greater differences from even the most minor of tweaks.

It’s the same argument that vinyl records, to many the purest, most organic way of listening to music, sound far better than other formats.

On the surface, the quality is similar, but dig a little deeper and many will tell you the difference is night and day.  

Either way, the rise of modellers does not equate to the fall of traditional amps.

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