Hot Take: If you CAN afford a PS-100, you are a fool if you don’t order one NOW

[V-man]

Let’s not mince words, people are miscatagorizing the shit out of this thing as an attenuator, but let’s translate this down to nickels and dimes. I have a 2203 and 1959 a Captor X, and some pedals.

With footswitch, we are about $1,200 in for a unit with tax. Now the “pays for itself” breakdown:


- $200 for EVERY amp you own w no FX loop (for me, $400)

- $500 for a 200w reactive 2-channel attenuator (forget it it is among the best in tone)

- $200 for every mini amp you own to turn it into a 100w amp (or $400 for 100w tube 2-channel power amp)

- $400 to add tube texture to your modeler (Kemper/tonex, etc).



So, say you demand some high tier, tone-preserving attenuator, not just some Harley Benton Ear-saver. You are SOL on anything under $700 and they go up from there. On my figures, you are paying $500 on a 200w reactive that beats most… maybe all of them… to say NOTHING of the fact this is also 2-channel footswitchable.

Remember all those guys paying $100 for those metro lossless FX loops and spending $100+ in personal time or time and gas and bench fees to have it installed for ONE fucking amp? Yep, $200 savings for an FX loop on infinite amps without disturbing so much as a back panel seems like a very conservative estimate.

My back hurts and my Kia has no room and I want a 5W for my broom closet apartment but the asshole drummer buries me all the time. I’d say $200 to turn your “Studio Classic” SC20 into a “Stage Raper“ (SR100) is worth $200. (and another $200 for your SV20, etc). Or “Oh shit, my tamed Marshall just blew a tube on stage!” Well your $400 6550- driven 2-channel backup amp you brought to tame a Marshall only needs a Guv’nor or Metal Zone pedal as a preamp to carry you through that rock/metal show,

“Oh, modelers are so convenient and really nail the sound that nobody can tell the difference in a recording” (yet tube dinosaurs still bitch It doesn’t feel the same). Well, here’s your $400 “tube feel-o-rater” so can play 8 different “tube amps” in one convenient box.



I think on the whole the numbers are justifiably conservative, and with certain liberties adding as much as 50% to most of those features I undervalued or add the premium of convenience. All I can say is I am extremely glad I passed on the Boss TAE and the Rock Crusher I was researching over the pandemic.

 

[Central Scrutinizer]

When’s the wedding ?

Sounds like a good deal. I have heard good things about it.

Enjoy!

 

[V-man]

When’s the wedding ?

Sounds like a good deal. I have heard good things about it.

Enjoy!

Don’t talk about my “XLR output!” that’s a sensitive subject!

 

[FleshOnGear]

I can’t remember, did your PS-100 arrive yet? If it did, sounds like you’re really enjoying it!

I think I made the right choice ordering one instead of putting the money down on a vintage combo amp. Can’t wait to get it!

 

[V-man]

Yes. however I have been “blessed” with problems, seeing how a new and engrossing boost arrived before it and I will have to arrange the whole rig to accommodate pedals on/off the board for the FX loop and move shit around to make amps/cabs more accessible to switch around (seriously goading me into looking at cab switchers - a little too soon after spending all this).

I expect to spend an entire evening needing to rearrange and repatch. I still have not even tried the FX loop yet, but it adds a 3rd dimension into the 2203, and played it as a power amp, with some Boss pedals (Shocked at how metal the TB-2W suddenly became),

There is zero fucking question you did the right thing. I feel like the day I (a guy who never attenuated and had his 1959 dormant for a few years) got my Captor X. Whole new barriers of limitations on old Marshalls have been shattered.

 

[GuitarIV]

Let’s not mince words, people are miscatagorizing the shit out of this thing as an attenuator, but let’s translate this down to nickels and dimes. I have a 2203 and 1959 a Captor X, and some pedals.

With footswitch, we are about $1,200 in for a unit with tax. Now the “pays for itself” breakdown:


- $200 for EVERY amp you own w no FX loop (for me, $400)

- $500 for a 200w reactive 2-channel attenuator (forget it it is among the best in tone)

- $200 for every mini amp you own to turn it into a 100w amp (or $400 for 100w tube 2-channel power amp)

- $400 to add tube texture to your modeler (Kemper/tonex, etc).



So, say you demand some high tier, tone-preserving attenuator, not just some Harley Benton Ear-saver. You are SOL on anything under $700 and they go up from there. On my figures, you are paying $500 on a 200w reactive that beats most… maybe all of them… to say NOTHING of the fact this is also 2-channel footswitchable.

Remember all those guys paying $100 for those metro lossless FX loops and spending $100+ in personal time or time and gas and bench fees to have it installed for ONE fucking amp? Yep, $200 savings for an FX loop on infinite amps without disturbing so much as a back panel seems like a very conservative estimate.

My back hurts and my Kia has no room and I want a 5W for my broom closet apartment but the asshole drummer buries me all the time. I’d say $200 to turn your “Studio Classic” SC20 into a “Stage Raper“ (SR100) is worth $200. (and another $200 for your SV20, etc). Or “Oh shit, my tamed Marshall just blew a tube on stage!” Well your $400 6550- driven 2-channel backup amp you brought to tame a Marshall only needs a Guv’nor or Metal Zone pedal as a preamp to carry you through that rock/metal show,

“Oh, modelers are so convenient and really nail the sound that nobody can tell the difference in a recording” (yet tube dinosaurs still bitch It doesn’t feel the same). Well, here’s your $400 “tube feel-o-rater” so can play 8 different “tube amps” in one convenient box.



I think on the whole the numbers are justifiably conservative, and with certain liberties adding as much as 50% to most of those features I undervalued or add the premium of convenience. All I can say is I am extremely glad I passed on the Boss TAE and the Rock Crusher I was researching over the pandemic.

Yes, yes, yes and yes.




You can see mine sitting on top of my Marshalls.

Although my JCM 800 has a Master Volume I was looking for an option to add a Loop without drilling and record silently at home. Plus with the second channel I have a dedicated lead boost for when I play with the band.


I also had a 15 Watt Laney IRT Studio that was not loud enough to compete with my drummer, the Powerstation solved that problem.


Truly a great and very versatile piece of kit and considering the options you get priced reasonably. Highly recommended!


p.s.: I have to get a Plexi sooner or later to ultilize the full potential of this thing

 

[jeffp]

Yes. however I have been “blessed” with problems, seeing how a new and engrossing boost arrived before it and I will have to arrange the whole rig to accommodate pedals on/off the board for the FX loop and move shit around to make amps/cabs more accessible to switch around (seriously goading me into looking at cab switchers - a little too soon after spending all this).

I expect to spend an entire evening needing to rearrange and repatch. I still have not even tried the FX loop yet, but it adds a 3rd dimension into the 2203, and played it as a power amp, with some Boss pedals (Shocked at how metal the TB-2W suddenly became),

There is zero fucking question you did the right thing. I feel like the day I (a guy who never attenuated and had his 1959 dormant for a few years) got my Captor X. Whole new barriers of limitations on old Marshalls have been shattered.

I’ve been thinking about all the same stuff! Mine is supposed to be shipped around the 30th of this month. I use a Ground Control loop switcher plus pedals on my pedalboard and also have a pedal drawer in my rack. I also ordered the fryette switch to be unlimited if using just the amp and ps 100.Lots to think about!
Plan is to mount the unit in my rack, and use the rack with either one of my amps.
I think the $100 dollar difference between the PS 2, and the PS 100(double the possibilities)makes it a no brainer!
Also i’m not sure about reamping ? but i can always UNPLUG it! I want to see for myself!
And one last thing. Did your mom ever wash your mouth out with soap?
Just kidding, no offense!

 

[lesexypaul82]

What out puts does it have? Here in Australia i had settled on PS100.. Problem was none had one.. The Boss TAE was close second but so much more,, But if Boss actually unlock it and add more fx...

I started to search Reverb and Gum tree.. then a Boss TAE came up $1000 aussie dollars... Most places were quoting $2200 i got it..
The FX are awesome. Theres no loss or change in tone.. (to my ears anyway)..
But what imporessed me the most it gave me an excuse to get some Monitor speakers... i got KRK Rokit 5.. holly shit it drives those speakers loud! And it was like hearing music for the first time again.
The PS100 is slow coming to Aus.. i never see them in stock and have only seen one second hand sale..

I wonder how the sound will be impacted when it comes time to change its tubes?

 

[jeffp]

very good point! more to think about. Time will tell? It’s gonna get interesting!

 

[chocol8]

The PS100 is a great unit. I prefer the tone I get using a Suhr RLIR and a separate power amp to do the same thing (Pedals go between the two instead of in a loop, but functionally identical). That said, the convenience and all in one nature of it, packed into a reasonably sized package, makes the PS2 and PS100 great products for anyone who is going to move it around.

 

[FleshOnGear]

I wonder how the sound will be impacted when it comes time to change its tubes?

I thought about this before I ordered my PS-100. I actually preferred the idea of a good solid state power section. The idea in my mind was that the reamping should be as flat and colorless as possible. I also didn’t love the idea of needing to periodically replace another pair of tubes.

But the fact that the TAE sends your whole signal through A/D/A conversion before reamping really bothers me. I chose what I believed to be the lesser of two evils. Plus the PS-100 seems to be simpler to operate. It doesn’t seem clear how you program boosts, EQ, and effects on the TAE. I guess you have to edit patches from a computer? That seems like another strike, IMO.

 

[lesexypaul82]

once you get the right resonance Z and Presence Z no matter the volume it feels just like a tube amp.. it loses the stiffness (i describe it like that)
The software is simple..more simple then any other software like Amplitude etc etc.. if you can loop, if you ever used something like axe fx etc etc.. boss will seem easy ..

mind you i say all this.. i still wanna try the Shur and PS100... Oh did i mention the full amp control you can have via foot plus a separate vol?

They are both amazing pieces of equipment with so much much more they could do... Boss TAE could easily replace all the other lower end "digital amps" and "download a sound" stuff..

 

[V-man]

once you get the right resonance Z and Presence Z no matter the volume it feels just like a tube amp.. it loses the stiffness (i describe it like that)
The software is simple..more simple then any other software like Amplitude etc etc.. if you can loop, if you ever used something like axe fx etc etc.. boss will seem easy ..

mind you i say all this.. i still wanna try the Shur and PS100... Oh did i mention the full amp control you can have via foot plus a separate vol?

They are both amazing pieces of equipment with so much much more they could do... Boss TAE could easily replace all the other lower end "digital amps" and "download a sound" stuff..

Most of us agree that Boss is one of the more innovative and dependable products/manufacturers.

This guy has done 2 other PS videos as well as the TAE. Like a classic German, he does not play cards close to the vest emotionally and he is visibly perturbed/frustrated over the TAE. My appreciation of that is he finds the boss Attenuation settings more difficult to mess with than it needs to be (when you happen to have 2 simpler products within arms reach that simplify better).

I don’t like learning curves and manual dives as a rule. What I love about the PS-100 is I opened the box, plugged it and was off to the races. They don’t even have (nor need) a manual in the box. I believe that Boss is the best of the best in simplicity for such systems, but I’d prefer another system altogether.

This guy does the deep dives in 60 min reviews, which is either a blessing or curse. Here he discusses the PS units and the global matter of all these units with Steven Freyette.



Comparative with TAE are in the 7:00-26:00 range, namely 7-13 and 23-26. one point broached there is the real boogeyman to crusty tube amp guys: the proposition of paying $1k now for something potentially obsolete in 5-10 years for a software-driven application like OX and TAE.. No software support concerns, firmware upgrades, or bricking. The PS you buy today will be usable (maintenance notwithstanding) as the PS you buy today 30 years from now.

 

[Torren61]

Mine is the PS-2. I love it. It has tubes. I use it every time I play. I'm mindful of my neighbors and even though I have a separate unit for my "studio", I can't crank a 50 watt amp without being inconsiderate. I run it through my de Lisle 12V12 amp/speaker so I can easily swap between amps and cabs.

 

[tallcoolone]

Let’s not mince words, people are miscatagorizing the shit out of this thing as an attenuator, but let’s translate this down to nickels and dimes. I have a 2203 and 1959 a Captor X, and some pedals.

With footswitch, we are about $1,200 in for a unit with tax. Now the “pays for itself” breakdown:


- $200 for EVERY amp you own w no FX loop (for me, $400)

- $500 for a 200w reactive 2-channel attenuator (forget it it is among the best in tone)

- $200 for every mini amp you own to turn it into a 100w amp (or $400 for 100w tube 2-channel power amp)

- $400 to add tube texture to your modeler (Kemper/tonex, etc).



So, say you demand some high tier, tone-preserving attenuator, not just some Harley Benton Ear-saver. You are SOL on anything under $700 and they go up from there. On my figures, you are paying $500 on a 200w reactive that beats most… maybe all of them… to say NOTHING of the fact this is also 2-channel footswitchable.

Remember all those guys paying $100 for those metro lossless FX loops and spending $100+ in personal time or time and gas and bench fees to have it installed for ONE fucking amp? Yep, $200 savings for an FX loop on infinite amps without disturbing so much as a back panel seems like a very conservative estimate.

My back hurts and my Kia has no room and I want a 5W for my broom closet apartment but the asshole drummer buries me all the time. I’d say $200 to turn your “Studio Classic” SC20 into a “Stage Raper“ (SR100) is worth $200. (and another $200 for your SV20, etc). Or “Oh shit, my tamed Marshall just blew a tube on stage!” Well your $400 6550- driven 2-channel backup amp you brought to tame a Marshall only needs a Guv’nor or Metal Zone pedal as a preamp to carry you through that rock/metal show,

“Oh, modelers are so convenient and really nail the sound that nobody can tell the difference in a recording” (yet tube dinosaurs still bitch It doesn’t feel the same). Well, here’s your $400 “tube feel-o-rater” so can play 8 different “tube amps” in one convenient box.



I think on the whole the numbers are justifiably conservative, and with certain liberties adding as much as 50% to most of those features I undervalued or add the premium of convenience. All I can say is I am extremely glad I passed on the Boss TAE and the Rock Crusher I was researching over the pandemic.

I'd prob have one if I didn't decide on the TAE. Built in FX, 3rd party IR's for FOH and all MIDI controllable is a pretty tough package to beat. I'm sure the PS sounds great tho--and UR right it does a lot of very cool things--enjoy!