Review: Behringer TM300 Tube Amp Modeler

Intro

The Behringer TM300 Tube Amp Modeler is the poor man's SansAmp GT2. Literally, the TM300 is a feature-per-feature replica of the Tech 21 SansAmp GT2, but wrapped in a blue, Boss-like enclosure. It provides miked amp tone, and is used most often in place of an actual amp. I use mine toward the very beginning of my "candy store" pedalboard (which I will also blog about).

Caveat emptor: Behringer clearly ripped off Tech 21 with this one. If you have the cash, just buy the SansAmp GT2, since it is better in every way: signal processing, sound, and build. I will eventually replace my TM300s with the GT2.

Build

Materials-wise, the TM300 is no Sans Amp. For starters, It is shaped more like a Boss pedal, and it is housed in tough plastic casing instead of metal. Compared to Boss pedals, It feels sophomoric. However, for the price--around US$25--it is a steal. And, frankly, the type of plastic seems to be optimal for this and Behringer's similar pedals. I would tour with the TM300 if it was protected in a road-ready pedalboard, though I would probably pack a spare TM300. Used normally, I think this will hold up well.

The knobs of this and most Behringer pedals turn very firmly, which adds a sense of heft or solidness when making adjustments. Otherwise, the underlying potentiometers have a little bit of "give" or wiggle from side to side, which is the only aspect I found a bit flimsy-feeling.

Like Boss pedals, the battery compartment is the inside hollow directly below the physical pedal mechanism. However, unlike Boss pedals, the compartment is tricky to access. I prefer using power rather than batteries, so I've never installed/replaced batteries in any of my Behringer pedals, but I have read several comments related to this issue. (Suggestion: buy a Boss PS-120S power supply, plus a 3-, 5-, or 10-pedal daisy chain connector to power many pedals from a single power supply.)

Sound

The TM300 produces usable, recordable amp modeling. The models are convincingly warm and tube-like, if not superbly detailed. I have no qualms using the TM300 live as a virtual amp combo. Setting the LEVEL, LOW, and HIGH knobs to "12 o'clock" and the DRIVE knob counter-clockwise to its lowest setting provides the best "base" from which to experiment with the major features of the TM300. (You can see from the picture above that I've settled on a clean, open tone, which I drive with a BOSS DA-2 Adaptive Distortion when I need high-quality grit.)

From there, setting the MIC, MOD, and AMP switches to their leftmost positions (CLSIC, CLN, and TWEED, respectively) provides an open, midrangey, ostensibly distance-miked clean tweed combo sound, minus any room ambience. Moving the MIC switch to its middle position (CNTR) emulates the sound of the same tweed combo with the mic positioned very near and at the center of the speaker. Moving the MIC switch to its rightmost position (OFF X or "off-axis") represents the same close-miked tweed combo, but with the mic positioned at the edge of the speaker. I prefer the OFF X setting.

The MOD switch represents preamp gain stages: CLN (clean), HI G (hi-gain), and HOT. As expected, CLN provides a clean, non-overdriven tone. Adjusting the DRIVE knob clockwise increases compression and adds a slight amount of overdrive bite, though the sound never quite moves beyond the realm of "clean", even when DRIVE is at its highest setting. The MOD/HI G setting starts with a mild to medium overdriven preamp tone when the DRIVE knob is at its lowest setting. Moving the DRIVE knob clockwise increases the overdrive and compression to mimic an hi-gain, cranked amp tone, which works well for classic and hard Rock. The MOD/HOT setting with the DRIVE knob at its lowest level provides a saturated, mid-scooped tone. Turning the DRIVE knob clockwise increases the saturation. Adjusting the DRIVE clockwise to its highest setting creates a very dense and intense distorted tone great for Metal.

The AMP switch provides amp variety: TWEED (Fender), BRIT (Marshall), and CALIF (Mesa Boogie). The Behringer product page (http://www.behringer.com/EN/Products/TM300.aspx) is somewhat sparse, description-wise. I recommend visiting Tech 21's GT2 product page (http://tech21nyc.com/products/sansamp/gt2.html), where not only will you find a complete description, but also see how thoroughly Behringer ripped off Tech 21.

Conclusion

The Behringer TM300 Tube Amp Modeler has no competition in its price range. It is an absolute steal at US$25. It functions as advertised, and it is "good enough" for the pedalboard in which I use it currently. Actually, I love this little gem. For many, like me, it can serve as a stepping stone to a SansAmp GT2 when money allows, and afterward as a backup or as a gift.

Review: BOSS DA-2 Adaptive Distortion

Intro 

The BOSS DA-2 Adaptive Distortion pedal was introduced at the 2013 Winter NAMM show in January 2013. At nearly two years old, it is not new by technology standards. However, it is still fresh and intriguing, and every bit as "cool" as BOSS'es 2014 introduction of their MDP (Multi-Dimensional Processing). In fact, MDP seems to be just a renaming of the "Adaptive" part of the Adaptive Distortion technology. In both cases (Adaptive and MDP), the internal processing adapts to both the frequency and dynamics of the guitar signal, processing different registers optimally to produce clarity, creating a sound with simultaneously greater dimensionality and focus. It is hard to describe, though very pleasing to hear. (BOSS has done a good job selling the sizzle about their Adaptive and MDP technology. I recommend checking out Sweetwater's page, as it has two videos: http://www.sweetwater.com/store/detail/DA2)

Build

First--and this can never be said enough--BOSS pedals are built incredibly well. They are solid little tanks, able to withstand the doomiest Heavy Metal apocalypses. Though they're not literally indestructible, they come darn close. They're made of thick, high quality sheet steel. They are shaped so thoughtfully that BOSS/Roland has not changed their basic design since the first BOSS pedals appeared way back in ancient times (1980s). They are essentially the same size, shape and dimensions as the BOSS pedals I first owned in the mid- and late-80s (the red Distortion and the yellow Overdrive pedals--I used them, along with a couple other pedals and a rack DD in front of a JC-120).

Sound

I have not owned an actual amp or amp combo in years. I record direct, and always go direct when playing live. So, I always use an amp+cab simulator of some kind. In this case, my DA-2 sits in front of a Behringer TM300 Tube Amp Modeler (which I affectionately call "the poor man's Sans Amp", and which I will review separately). The guitar used is a Jackson Soloist SLATFXQMG3-8.

I tend to overue this word: Delicious. To my ears, the DA-2 sounds delicious. Though I wouldn't characterize the sound enhancement as ineffable, it really does defy easy description. What I hear when I play through it is an added clarity. The harmonic components of the tone are more subtly distinguishable, yet both richer and somehow edgier. It facilitates clarity even on dissonant chords at high distortion settings. I like what this pedal is doing to my sound.

I started by setting all knobs to the "12 o'clock" position then experimented from there. The only significant adjustment I made since adding the DA-2 to my pedalboard is to increase the "A-Dist" setting to about "14:30 o'clock", which gives my sound just the right amount of Metal bite and sustain, plus a nice decrease in grit when the volume (knob) is attenuated to reduce the guitar signal going into the pedal.

Conclusion

The BOSS DA-2 Adaptive Distortion is now a permanent member of my pedal parliament. With a booster pedal in front of it for soloing, the DA-2 is just about perfect.

Lush M13 Setting

The Line 6 M13 is not new by technology standards, but ooooh it is awesome! It is very clean (low noise floor) and packs a huge sonic wallop.  Pictured is a lush, beautiful "scene" I created using two stock delay settings. If you have an M13, try this with a non-distorted guitar tone for volume swells in particular.

This M13 "scene" setting uses only FX(3)UNIT and FX(4)UNIT with 1 & 2 turned off.

Roland GK-related Winter NAMM Speculations

A lot of musicians and gearheads like me are excitedly awaiting the Winter NAMM 2015 show.  One company I'm curious about this year is Roland. Especially, their GK-related products.

Here are my speculations:

• The VG-99 has been discontinued, which likely means a "replacement" of some kind is immanent (probably debut at 2015 Winter NAMM).
• The GK pickups are due for a broadening of the product line, for example accommodating 7- and 8-string electric guitars, and 5- and 6-string basses.
• The GR-55 was introduced in 2011, so it probably won't see a successor this year, largely based on Roland's historic product time lines at the bottom of this page: http://www.roland.com/V-Guitar/
• Next-generation guitar modeling is due, I think. I use and love my JTV-69 USA. I've owned and loved the GR-55 with its models. It seems to me that guitar modeling in general is ripe for a "next-generation" tech advancement. Imagine something like an Axe-Fx2-level gadget for just guitar modeling. (The Axe-Fx handles amp/cab/effects modeling... really, better than anyone else... by leaps. But imagine something of that caliber and power for guitar modeling.) I think they could finally nail the elusive nylon string sound convincingly, and just about any stringed instrument, maybe even piano(!).
• GK wireless. C'mon. It's just time.
• Relatively affordable GK-ready 7- and 8-string electrics, maybe in partnership with Ibanez or Jackson. The Roland/Fender Strats look really nice. Imagine guitars of similar quality and price for 7- and 8-string players.

That's about it for GK-related speculations.

What are you hoping or expecting to see at Winter NAMM this year?