The ampless rig: For whom, why?

As stage musicians, we know the joys of performing and the hassles of setting up and transporting equipment. Amplifiers, in particular, are bulky and heavy, requiring significant effort. Tube amps are also fragile and susceptible to damage from bumps and knocks. A simple solution exists to avoid lugging around these weighty amplifiers: the ampless rig. What does an ampless setup involve? Who is it for, and for what types of events?

Why choose an ampless setup?

What is an ampless setup?

As guitarists or bassists, you’re accustomed to using an amplifier to project your sound at rehearsals and performances, and sometimes even at home. While acquiring your first amplifier is a significant milestone for a musician, it’s not always necessary, dictated by particular performance needs.

In a traditional setup, a guitarist employs a combo amplifier which colors the guitar signal. This signal is then captured by a microphone, transmitted to a mixing board, and routed to the PA system for the audience. The Public Address system encompasses the tools used to amplify and transmit music to the audience; this method is a widely-used setup for amplifying electric guitars and basses on stage.

But for many live performance settings with a dedicated and robust PA system, an amplifier isn’t strictly essential. It can be bypassed by simulating the amplifier’s functions with another device.

Why transition to an ampless setup? What problems does an amplified setup present?

Transport

The biggest drawback of using a traditional amplifier is its transport. If your next gig is just a few miles away, the problem is minimized. However, a significant show across the country or a tour involving air travel makes carrying your amplifier cumbersome and potentially damaging. Is it worth the effort and the baggage? Undeniably, the ampless configuration is a better option, allowing musicians to rent local equipment or contact the event organizer to provide instruments.

Equipment rental issues

Renting equipment eliminates transport hassles, but finding an identical amplifier is often difficult. Music rental stores rarely have identical models for all requested types of instruments, and tonal variations exist between units which are not identical even within the same series. Furthermore, there might be uncertainties about the equipment’s quality. Rented equipment often has been through numerous users and events, with inconsistencies in usage practices.

Spill

With several musicians on stage, each with an amplifier, sound engineers must carefully position each to avoid “spill” or “reverb”—that is, undesired sound bleeds between inputs (i.e., microphones picking up sounds from other instruments.)

Production specifications

Major musical productions often require musicians to adhere to the producer’s, sound engineer’s, or artistic director’s equipment preferences—including specific presets, in-ear monitor requirements, and so on. They have established a standardized approach, optimizing the performance for their sound design. Sometimes, an artistic director’s choices involve specific effects processors where predefined patches have already been selected; they aim to reduce transport/damage risks, simplify replacements, manage inconsistent tones from units from the same range, control costs, reduce “spill” problems, minimize stage clutter, and create a coherent sound environment.

Which devices work well in an ampless setup?

The solutions below aim to replace the amplifier’s sonic character without removing its functional role in the setup.

Preamplifiers with or without integrated DI

Preamplifiers prepare a musical instrument’s signal for effective and proper amplification. They are a critical part in prepping the signal for effective speaker use. Some models offer additional capabilities, including integrated effects and EQ options. While they can be limiting, in specific cases they may be an adequate solution. Several DI boxes offer specific tonal characteristics (recreating vintage amplifiers, modeled band-pass effects, or even tube preamps.)

Amplifier simulators and IR loaders

Amplifier simulators, and IR (Impulse Response) loaders, are tools primarily for emulating amplifiers and speakers. These units employ impulse response files for simulations. Varying levels of sophistication are available, and each manufacturer for guitars and basses usually has their own models.
Consider products from Strymon, IK Multimedia, Two Notes, and Darkglass Electronics; there are many viable options. Some combine several functions. Preamplifiers often integrate DI functionality. Some amp simulators can use third-party IR files. Carefully read the unit’s specs to understand and verify their features and options, and testing is always recommended.

Multi-effects processors

Multi-effects processors feature hundreds of effects, microphone and amplifier modeling, and signal control parameters all in one unit. Look for units from Line 6 (Helix Floor, HX Stomp, POD Go), Boss (GT-1000, GT-1000CORE) or HeadRush (Prime, Core).

A significant advantage is the reduced physical size and weight in comparison to a traditional setup with separate amplifier and effects pedals. This makes them more suited for lengthy tours when frequent equipment changes are necessary.

Advantages and disadvantages of an ampless setup

Questions and answers on ampless configurations

Is an ampless setup suitable for studio recording?

Generally, preserving traditional amplifier setups with the microphone recording of the amplifier output is more straightforward in studio settings. The space for recording is conducive to minimizing “spill” and feedback. It’s easier to position microphones without capturing ambient noises and easier to record each musician independently, resulting in enhanced recording quality.

While ampless setups can be used in studios, they are primarily designed for live performances.

Can a return signal be added to an ampless setup?

Your audio output path depends on the application: stage, studio, or rehearsal. In every case, if you’re using amp or speaker simulations, a dedicated FRFR (Full Range Flat Response) speaker system or similar is highly recommended. This avoids modifying the intended tonal character. It’s the best way to retain a performance monitor signal when using amplifier models.

Can a preamp be sufficient in an ampless setup?

While preamps are part of the discussion, a basic preamp is usually insufficient. We emphasized preamps with specific characteristics — tube preamp designs, tape echo preamps, or amplifier “in-a-box” technologies — as these can create more unique tones. A basic preamp will likely prove inadequate to match a traditional amplifier configuration, particularly for guitarists. Ultimately, the decision depends on your desired sound profile. If a preamp does not fulfil your needs, use alternative solutions!

The ampless setup provides an efficient alternative to traditional amplifiers. It simplifies equipment transport, reduces certain technical constraints, and optimizes stage sound management. Technological advancements in amplifier simulators, IR loaders, and multi-effects processors offer viable alternatives to replacing traditional amplifiers with digital solutions, thus streamlining the setup for live venues. While this approach might unsettle traditional amplifier enthusiasts, it offers considerable advantages for stage musicians seeking to handle less cumbersome and less fragile gear.

Sources: IR Shop, HeadRush and Strymon