There is a clear winner
When it comes to guitar gear, there’s always a wealth of options, and what works best for one player may not work for another. However, when it comes to power attenuators, there is a clear winner. Trust me, I’ve tried every variation available, and I can confidently say that there’s only one choice for this category.
Admittedly, it’s a bit of a depressing purchase for any guitarist. Who in their right mind actually wants to turn their amp down?! But sometimes, it’s necessary, especially in situations where you want to keep the sound at a manageable level but still crank your amp to get that sweet, natural tone.
Let’s walk through the different alternatives I’ve tried so you can see why, in this particular category, there is only one clear choice. Or maybe, if you’re feeling creative, you could pair two—though you’ll need a monitor, as you won’t hear your cab properly with that setup.
Doctor Z’s Brake Lite
The first power attenuator I tried was Doctor Z’s Brake Lite, a resistive attenuator. Let me be honest: it didn’t work for me. As soon as I switched it on, the amp lost its punch, power, and feel. If you’re recording and need to match levels, you might argue it sounds somewhat similar, but the feel is completely different.
Some claim it works well with Dr. Z amps, but I used it with a Carmen Ghia, and it just didn’t cut it. I believe this issue applies to all resistive power attenuators: they rob the amp of its feel, almost as if you’re strangling it.
Cornell Marshall-Style Amp with Power Switch
Next, I tried a Cornell Marshall-style amp (no longer in production) with a built-in power reduction feature. It let you switch from Pentode to Triode, reducing the output power. While this might sound appealing, to me, it just sounded different rather than better. The drop in volume wasn’t particularly useful, and I didn’t find any real benefit in Triode mode. I even tried touring with it in Triode mode alongside the Brake Lite—I hated it.
Rivera Rock Crusher
The next attenuator I used was the Rivera Rock Crusher, specifically the recording version. The line-out feature, combined with a mic’d-up cab, was interesting, but as an attenuator, it still lost the punch the moment you engaged the attenuation.
The Rock Crusher is reactive, making it better than the Dr. Z, but it still didn’t work for me. Again, the issue wasn’t with the sound—it could be close when adjusting levels—but it’s the feel. It felt like the amp was being strangled. Even when used for recording, the loss of feel became the biggest drawback.
A New Concept for Power Attenuation
After trying several attenuators, I stumbled upon a concept I hadn’t considered before. If you’re on a budget and want to avoid the hassle of lifting heavy equipment, this might be a viable alternative to using a traditional power attenuator.
If you’re comfortable with the idea of monitoring your guitar through a speaker or in-ears, you could try using a smaller cab instead of a larger one with an attenuator. A great example of this is the 110 Barefaced AVD cab. It sounds incredible, and the way the sound is reflected means it won’t beam—essentially solving the problem of being too loud.
There are plenty of high-powered 10” speakers that can handle any amp, such as the EV Force 10, Warehouse G10C, or the Celestion G10. These speakers can easily cope with a big amp’s output without losing their integrity.
One possible solution is to use a small cab instead of attenuating a larger one. Not only is it cheaper, but it’s also less bulky to carry. However, keep in mind that if you place the cab on the floor and stand close to it, especially next to a drummer, you won’t hear it clearly. In that case, you’ll need a monitor or in-ears to get the sound you’re looking for.
The Tone King Imperial Mark 2 and the Attenuation Issue
After exploring these options, I decided to give the Tone King Imperial Mark 2 a try. It’s a two-channel amp that blends blackface and tweed styles with reverb and tremolo, and it has the Ironman II built in as its power attenuator.
On YouTube, the clips of the Tone King sound great, but in reality, it suffers from the same issue as the Rock Crusher. As soon as you engage the power attenuator, the amp feels “off.” It might sound the same to the listener, but to the player, it’s like the amp loses its spark and becomes limp.
When I switch to the lead channel and turn off the attenuation, the amp comes alive again. The clean channel, however, isn’t loud enough. If you crank it, it starts to gain in an unpleasant way. It left me wishing there was a way to turn up the clean channel while lowering the lead channel without compromising the feel.
It was through this trial and error that I finally discovered the solution to all my power attenuation needs.
A reactive load + power amp is the solution
There’s a third alternative in the world of attenuation that’s neither resistive nor just reactive, which simply lowers the volume. This alternative is reactive but uses a power amp to restore the volume.
Two main players dominate this field. The first is the Boss Waza Tube Amp Expander, which uses solid-state technology. While I haven’t tried it myself, it’s certainly gained popularity.
The other, and the one I ended up buying after seeing unanimous praise across the internet, is the Fryette Power Station.
Fryette Power Station: How It Works
The Fryette Power Station comes in three models. The first generation uses reactive technology to absorb the power, and then 6L6 valves restore 50 watts of power, giving you the option to either lower or increase the volume relative to the original amp.
The second generation retains the same features but adds an XLR output for recording. The third model, which is the one I own, is a 100W version with two channels, providing even more versatility.
What makes the Fryette Power Station special is that you can set your favourite amp to your ideal settings, engage the power attenuator, and match the levels for consistency—then adjust the volume either lower or higher. It’s almost surreal how accurate the level matching is.
For example, you could take a 5W amp, crank it to 100W, or take a 100W amp and dial it down to the volume of a 5W. The possibilities are endless, and the effects loop adds even more sweetening options.
This product is a game-changer because it allows you to solve the issue of having to turn down your amp without compromising sound quality. Plus, it lets you turn up when you want to—it’s truly a genius solution.
In my opinion, the Power Station is one of the most significant advancements in electric guitar technology. It has effectively solved the problem that has plagued us since the electric guitar and amp were first created: how to maintain sound quality when adjusting volume.
Wet-Dry-Wet: The Ultimate Solution
After exploring the concept of using two amps in stereo or setting one up as wet and the other as dry, I recently discovered an incredible solution that took my rig to the next level: using the Ox Stomp IR pedal in combination with the Power Station.
Here’s the setup: I use a small Barefaced 110 AVD cab, mic’d up with an SM57. From the Fryette Power Station, I take a line out, which then runs into the Ox Stomp. I then send that signal through my stereo delay and reverb pedals.
Live, I use a small Rolls mixer to control the mix, feeding into a stereo DI. In the studio, I use three channels to control the mix between mono (cab) and stereo (IR + FX) in the mix.
This setup creates a Wet-Dry-Wet configuration (three channels, panned left, centre, right), and it’s hands down the best sound I’ve ever had. The clarity, depth, and versatility are beyond anything I’ve tried before.