TEST: Boss Waza Tube Amp Expander

 One thing you have to hand it to Boss, you won't get bored with one of the biggest trademarks in the instrument sector. Even if not all of the new products of recent times have been a hit in terms of sound, the Asian company certainly cannot be accused of standing still when it comes to product policy. With the Boss Waza Tube Amp Expander, Boss ventures into an area that is brimming with tonal mines! You are planning nothing less than the complete volume and sound management of a full tube amp live and in the studio without the structurally-related sound losses beyond the sonic peak. Can you set an ambition higher? I do not think so.

The concept of the Boss Waza Tube Amp Expander

Through the new editions of various Boss floor effects under the “WAZA” label, the trademark, which should not be confused with Danish crispbread, has earned a good reputation among guitarists. Aware of this, Boss has also given this slogan to its new product, which presents itself as a Swiss army knife in terms of tube amplifier management.

The main selling point is a newly designed load box whose functionality goes far beyond the usual load boxes and is intended to minimize their main problems. More on that later. The product also offers an FX loop and a speaker simulation for direct input plus effects such as compressor, EQ, delay and reverb. The microphone type simulation and its distance from the speaker can also be varied and managed in up to 10 rigs using an app on the computer.

The load box of the Boss Waza Tube Amp Expander

Sometimes it is very important to read a single sentence of a product description to the end. I admit, when I heard the words “load box in front of a vintage amp,” I secretly felt my internal shutter drop. How often in my life have I listened to the full-bodied announcements from various manufacturers, who always advertised with the argument of “identical sound at room volume” and how often they all failed miserably.

Turning down the volume of an all-tube amp is very easy. Simply solder a few load resistors in series, provide cooling, and you're done. What is completely left behind, however, is the interaction of the amplifier with the loudspeaker, which, depending on the deflection / size / wattage / magnets, generates chaotic return currents, which, in conjunction with the amplifier's output stage, create a kind of give-and-take. Every component interacts with every other component, which is castrated with a simple load resistance and is accompanied by an equally eggless sound. What horrible sounds we didn't have in the eighties. have to experience.

Aware of this, Boss offers a circuit called “Reactive Load”. The Boss Waza Tube Amp Expander should not only be able to continuously minimize the output volume of the amplifier if necessary, but also be able to vary the resonance of different cabinets and speakers using the Resonance-Z and Presence-Z controls. According to the manual, various 4x12" cabinets can be built with Celestion Vintage 30, Greenbacks, G12T-75 or even Fender and Vox combos with corresponding 10" Alnicos or Jensen speakers. The built-in 100 watt power amplifier then raises the volume-reduced signal back to the final stage or rehearsal room volume.

I admit, the product information makes you curious. If the announcements come true, at least the philosopher's stone would be found live. I can already see whole hordes of FOH's from Boss populating the venues on their knees, thanking me, because the guitarists' eternal argument "it only sounds good loud" would finally be banished to the leftover ramp from the day before yesterday. My equipment arsenal includes, among other things: exactly a Boss preset (Marshall JCM 800 + Marshall 4x12" Closed + Celestion G12T-75), so I'm very curious to see how the Boss Waza Tube Amp Expander reproduces the original in the A/B comparison. However, I'm also very curious to see what a G12T-75 sounds like when it's supposed to simulate a Vintage 30. Despite all the euphoria, a touch of skepticism just won't go away.

Incidentally, the principle of the load box can also be reversed. A cute Fender Tweed Champ e.g. B. with its 5 watt output power can also be inflated to 100 watts using this principle and can therefore stand up to a dynamic drummer if necessary.

The front of the Boss Waza Tube Amp Expander

It goes without saying that you can't get the currents of a full tube amp under control with digital technology alone, which also explains the heavy weight of 6.8 kg. By the way, Boss once again shows its practical sense by giving the Boss Waza Tube Amp Expander extra high rubber feet. The product will probably sit primarily on the head and manages to stay above the carrying handle thanks to the high feet. I love practical details! However, Boss also supplies 2 rack wings so that the product can also fit in a 2U rack if necessary.

The panel with the load box and its three controls starts on the far left. Further to the right is the selector switch for the 10 different rigs, which can also be accessed with a foot switch. There is also a reverb control that can choose between 3 different rooms via software. The FX loop, the effects, a solo circuit and the amp itself can be activated or deactivated using 4 push buttons. A Line Out control manages the output level to the FOH / Studio Mixing Desk and a Phones control takes care of the volume of the headphone amplifier. Then the ON/OFF switch plus operating LED, done.

The back of the Boss Waza Tube Amp Expander

The back of the Boss Waza Tube Amp Expander is also very extensive. In particular, the line out section and the FX loop area have been extensively reworked in every respect in order to accommodate any form of floor pedals or 19" technology in the signal path. MIDI In / Out along with 3 footswitch inputs manage all switching processes that manage the different presets.

The Boss Waza Tube Amp Expander in practice

So, the tension is high as I put together my setup for the sound files, especially since flagship guitar YouTuber Tom Quayle doesn't leave out any superlatives in a nearly 9-minute Boss promotional video to describe the Boss Waza Tube Amp Expander as the hottest thing since the establishment of the Kemper algorithm to praise. However, I have to admit that the sound files in the promotional video made me a bit skeptical.

Well, let's take an original Marshall JCM 800, model 2204 and put a Marshall 4x12" with a Celestion G12T-75 on the back, the same preset that Boss uses, among other things. want to emulate in its factory settings. A nice average sound setting, gain at full stop, master at 12 o'clock. The whole thing is microfinished with 2 pieces. SM57 according to the Fredman method, i.e. everything once through the entire standard department. The sound is corresponding. With a Fame Ironfinger Forum IV (https://www.amazona.de/test-fame-forum-iv-e-gitarre/) as a signal generator, the sound is open, powerful, highly dynamic with the classic, throaty basic sound that this combination represents , in fact the blueprint of the New Wave of British Heavy Metal. Iron Maiden, Saxon, Judas Priest, you name it. Now the question is, can the Boss Waza Tube Amp Expander authentically recreate this sound with its DSP power?

The short answer: no

The long answer: In direct comparison to the original, the Boss Waza Tube Amp Expander also struggles with the same problems as all other reducers. The sound is less dynamic, more opaque and, above all, less powerful. What may not be perceived as strongly in the rehearsal room or on stage in a band context becomes even more apparent in the A/B comparison in the studio. As soon as the DSP starts working, the sound loses its character.

This doesn't have to mean that the sound delivered is bad, it just doesn't match the quality of the original. And here, in my opinion, the dog is biting its own tail. When it comes to bringing good to very good sounding amps to the stage or studio, there is a whole armada of excellent sounding amps that offer great sound at moderate volume even on small club stages. Boss, on the other hand, has targeted the admittedly difficult group of vintage amp nerds as its target group and I think there could be problems there.

Of course, I was also interested in the sound of the other speaker emulations, but unfortunately that didn't really change my mind. Take the example of emulating a Celestion Greenback in the “Classic Stack” preset and compare it with the G12T-75 from the “Brit Stack”. In the original, there are worlds of sound between the speakers; here the two sounds sound almost the same. You can't turn a G12T-75 into a greenback at the push of a button. To be clear, the Boss Waza Tube Amp Expander produces good sounds, most of which are far beyond what other manufacturers sell as emulation, but it fails in its ambitions.

For the sake of completeness, I also included 2 presets from the rig's factory settings. Everyone should make their own sound assessment.

Conclusion

With the Boss Waza Tube Amp Expander, the Asian manufacturer has set itself a very high goal, which is not quite achieved. The product cannot live up to the claim of taking away the immense volume at the tonal peak from a vintage amp and saving the sound components 1:1 into a moderate volume; the DSP mixes too much with a “rug over the speaker” and one Reducing the dynamics in the event. There is no question that the Boss Waza Tube Amp Expander is the best-sounding reducer of its kind to date, so everyone should find out for themselves whether the product is right for them.

———————

Additional Informations:

The story of Boss pedals, a name synonymous with robustness, innovation, and the shaping of musical sounds across genres, is deeply intertwined with the evolution of electronic music gear. This tale begins in the early 1970s, a period marked by rapid technological advancements and a burgeoning interest in electric guitar effects.

Boss is a brand name under Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan, in 1972. Roland's inception was driven by Kakehashi's vision of creating new and innovative electronic musical instruments. Before Boss pedals came into existence, guitar effects were either built into amplifiers, like reverb and tremolo, or were large, cumbersome units that were not easily integrated into a musician's portable setup.

The genesis of Boss pedals can be traced back to the development of compact, easy-to-use, and reliable stompboxes that allowed musicians to alter their sound in real-time with their feet. The first breakthrough came in 1976 with the release of the B-100 The Boss, a preamp with clip-on pickup. However, it was the introduction of the CE-1 Chorus Ensemble in 1976 that truly marked Boss's entry into the effects pedal market. The CE-1, derived from the Roland JC-120 Jazz Chorus amplifier's built-in chorus effect, offered guitarists a lush, swirling chorus effect in a standalone unit for the first time.

Building on the success of the CE-1, Boss sought to innovate further. In 1977, Boss released the OD-1 Overdrive, the PH-1 Phaser, and the SP-1 Spectrum (a parametric equalizer), marking the first use of the now-iconic compact pedal design. This design was revolutionary, offering a robust, user-friendly format that could withstand the rigors of touring while providing guitarists with new sonic possibilities. The OD-1, in particular, became a staple for guitarists seeking to push their amps into warm, natural-sounding overdrive without excessive volume.

The compact pedal format was a hit, leading to the expansion of Boss's lineup. Throughout the late 1970s and 1980s, Boss introduced pedals that would become industry standards, including the DS-1 Distortion (1978), the SD-1 Super Overdrive, the CE-2 Chorus, and the DD-2 Digital Delay—the world's first compact digital delay pedal. Each pedal introduced innovations in sound processing technology, from the analog warmth of overdrive and distortion to the crystal-clear repeats of digital delay.

The DD-2 was a landmark product, utilizing the same technology as Roland's SDE-3000 rack unit but at a fraction of the size and cost. This pedal demonstrated Boss's commitment to bringing professional-quality effects to a wider audience, a philosophy that has guided the company since its inception.

In the 1990s, Boss continued to innovate, introducing the MT-2 Metal Zone, which became infamous for its aggressive distortion, and the TU-2 Chromatic Tuner, one of the first compact pedal tuners that became essential on many guitarists' pedalboards. The TU-2, in particular, showcased Boss's understanding of musicians' needs beyond effects, offering precise tuning in a durable, easy-to-use format.

Entering the 21st century, Boss didn't rest on its laurels. The company embraced digital technology to create pedals like the DD-7 Digital Delay, which offered more delay time and modes than ever before, and the RC loop station series, which revolutionized live performance for solo artists and experimental musicians.

Behind every pedal, from the earliest overdrives to the latest digital innovations, lies Boss's commitment to quality, reliability, and sound. This commitment has made Boss pedals a mainstay on pedalboards around the world, used by beginners and professionals alike.

The story of Boss is more than just a tale of technical innovation; it's a narrative about understanding and responding to the needs of musicians. Boss pedals have become integral to the sound of countless genres, from rock and metal to funk and electronic music. As we look to the future, Boss continues to innovate, ensuring that whatever new sounds emerge, Boss pedals will be at the forefront, shaping the music of tomorrow.