Tech 21 SansAmp Original

I found the unit very easy to use. Within an hour of playing around with it, I had a sound that blew me away. The manual is a quick-read, and offers some good guidelines, but the best thing to do is read the manual, then just start playing around with it. I have the original version of this unit from the early 1990's.

The sound quality is incredible. I was looking for something that would allow mt to get a real tube amp sound for recording, without having to crank my amps up and mic them...which would keep the wife and baby awake during my late night recording hours.
Generally I don't use it with an amp. I'm a HUGE tube amp freak and do not like any solid state amps I've tried. However, I use the Sansamp, post effects, directly into my recording console and if I didn't know better, I would think that I was playing through my Fender Prosonic. It responds to my playing and subtle nuances in picking/fingering the strings, and "breathes" and sags like a real tube amp. I have found myself going back to my recordings and thinking that I wish I could get a real amp that sounded this good.
I play with a fairly heavy distorted sound on most of my tracks, but even clean or mild dirty sounds come out sounding great. I can get great LedZep or Pink Floyd like sounds out of it, and often place a chorus and delay in the chain. Can't say enough about the excellent sound quality. I compared it to a lot of other similar products on the market at that time, and the Sansamp was far superior in sound for my ears and needs.

This unit has been exteremly reliable. I've had it for about 18 years now, and it's still going strong.
The only problem I ever had was not related to the product at all.
We took a lightning strike that blew out a lot of things in the house; air conditioning, power amp, cassette deck, and my Sansamp.
I had it repaired under warranty and it's still working well. I will adress more in customer support section below.

As mentioned above, due to a lightning strike, I had several pieces of gear get fried. I panicked because I had a recording session set up with some other musicians, and could not do it without my Sansamp.
I called Tech21 customer support and told them what had happened, and that I could not live without my Sansamp. They said that it was still under warranty and they would repair or replace for free.
I sent it to them in overnight mail. They called the next afternoon and said that they had replaced the circuit board and were overnighting it back to me so that I would have it in time for my recording session. They were extremely helpful and friendly, and their level of service and repsonse far exceeded my expecations.
Can't say enough good about them. And I'm a very critical person of customer support as I am responsible for that area in the mobile company that I work for.

I've been playing for about 35 years. Most of my stuff is hard rock, heavy blues, spacey sounding like a mix of SRV, Led Zeppelin, David Gilmour. This unit helps me get the sound I want.
I mainly play Strats, but also Tele's, Ibanez and Les Paul. When I play out in clubs, I play through a Fender Prosonic and HotRod Deluxe in stereo, with a pretty hot sound. It's amazing that when I record with my Sansamp, I can cop that same sound almost dead on.
If this unit were lost, stolen, or blew up, I would immediately replace it with the same unit...and fast.
I can't even begin to recall all the other products on the market that I compared this to, but I tried almost every unit out there that was geared for direct recording with overdriven tube amp sounds. Nothing back then, or even newer models can compare. Price-wise, it was probably about in the middle of all the other products that I compared it to. I also own a Line6 Pod which is a great product, but doesn't sound as much like a real tube amp as the Sansamp does...IMHO.

It takes a little bit of time to get a great sound out of it, but the sample settings in the manual help. One time I reset everything to "middle" position (DIPs off) and it was really thin and trebly, so it's easy to make some "bad" sounds as well. The manual is OK as a starting point, but you will find your own sound guaranteed.

I've been using the Sansamp since 93. Before that I used a 6-space rack set up and right before a studio session I came across this pedal. I left the rack at home and used this instead. I think that this makes me sound more like myself if anything. It's main strength is to enhance your sound, I imagine by adding "rich harmonics" or something. I use it mostly to add gain to my sound (it's a pre-amp after all) but even in bypass mode it makes my guitar sound obviously warmer. I've played around with other distortion units but they all sound like gimmicks. I usually play this through non-tube amps and I can't tell that there are no tubes involved. But when playing through a Fender Super-reverb tube it's through the roof...
The only negative is that when you have the gain up pretty high you get hum/buzz (I'm using humbuckers) but that's pretty common with hi gain anyways, and also when hitting the footswitch there is a faint "click", tho maybe I just need to spray it. It's getting kinda old, so I dont know if it was like that in the beginning.
In sum, the sound is great, lends itself very well to creating self-expression, but it will take time. I found a nice set up after a few hours, then a few weeks, and then 14 years later I changed it all again...

The unit is built like a bludgeoning weapon. I don't think it could be damaged even by a Boss pedal. It's never failed me except when the battery got low. I change the batteries about twice a year. Batteries last a long time. I have no backup.

Never contacted them.

I've used this for rock, alterna-rock, shoe-gaze, metal, classic, funk, jazz, fusion, harsh noise, psychobilly, ambient, doom, everything. The thing is, even in bypass mode (clean for me) it adds depth when going into an amp.
I've been playing 23 years, my main guitar is an Ibanez RG550 and a Fender Tele. I just got a Roland Cube 60 which I love. I've used the Sansamp with good results with Fenders and Marshalls. Actually I've tried it thru a JC120 and it wasn't too good, that was weird. Yet the Cube 60 sounds great...
If lost I would get another immediately without a second thought.
The only feature I wish it had was some way to save your presets, but then that would be the other model.
Does it help make music? I can't really make amplified music without it. Plugging my guitar into some signal chain without this in there would just be wrong. I would probably cry. Actually 2 in a row would be cool, since then I could use 1 as a preamp, and 1 as an OD. At this point I can't easily make it sound like a MetalZone pedal. It's not meant for that anyways.
I know lots of people use this thing and yet no one sounds like the other. That's the beauty of this thing, you still sound like yourself, only better.
Several years ago I "quit" the guitar and stored my gear at a friend's house. Actually I sold everything except the RG550 and the Sansamp. 2 years later I want to start playing again but I have to fight with my friend to get my Sansamp back since now he says it's "like (his) baby". Somehow "storage" translated to "bringing it on tour.." We don't really talk much now...

Well, it's not too complicated. The 8 tiny switches are just too little, but otherwise it's very easy to use.

It certainly has a sound of its own. Kinda "dark" sounding to my taste. It's very good for direct recording, though. I play through this at home, but wouldn't use it live. I also have a Tri AC, which is a good piece of equipment, too. The two units sound different and that helps me to get different sounds, obviously. I use them both a lot.

It's the original SansAmp and it still works fine. No problems here.

It's good for any kind of rock music. May be not for metal, but anything else is just fine. As I mentioned I also have the Tri AC and I really want to buy the GT2, too. I think they're all different, but very good.

I don't understand the guy, who said this is a piece of crap. He said only tubes sound good. I think anything that sounds good is good, tubes or not. I've tried many digital units too, but I disliked them. Effects like delay or reverb are good in digital devices, but I find the distortions and amp-sims cold sounding. I like Tech 21 products a lot, especially the pedals.

Getting good soun was easy probably because I starded with one of the manuels suggestions and went from there. I did read it front to back.
My setting are set for the amp I use. Once I got the sound I like the tone comes from me. Nothing against C.Santana.

The character switches work fine. YOu need to be about 6-10 feet from the speakers to get them right. I have not heard any noise from the SANs except when I practice and use the CD remote. I am pushing it through A Fender Super reverb and/or Peavy Musician III.
I like the consistancy from the SANSAMP during recording. NOTE: listen to the monitors to set sound if you have not previously set it for your guitar and not the head phones. it will save time during the mastering process.

Ive had it since 93. Never a problem. I've always use the plug.
I don't use a backup in church but I've carried backups for everthing since 84.for club gigs. think beer and electronics, It just makes sence.
For seasoned guitarist that are not trying to copy multiple guitarist sounds, This is the perfect piece of equipment. for you new-bees trying to recreate panateraor slayer one minute,creed the next then go with line 6 or the like. if you want a sound to complement your style as well as be consistent during studio punch ins,this is it.

Never the company but the sales reps were very helpful, especially the guy at Mid County MusicBeaumont, tx. that suggested Id get a consistant live sound if I use the power amp imput instead of the guitar inout on the peavy.just add delay down stream maybe a wah and EQ up stream.I did n't even purchase this from this store. Cept my Jackson Rhandy rhodes.
I'm assuming Tech 21 trained these guys. So...8 if not, no opinion
Didn't not like the look of the newer non classic so no upgrade for me.

I play Blues, Reggae and old funk. Think AWB, Prince, Isleys and SRV. I get my best sound from the neck pickup no matter the guitar, single or humbucker. I began in 75 on bass switched to lead after hearing Black diamond by KISS and MAGGOT brain by FUNKADELIC. My backups are behriger v-amp, A-B switch KORG 105OD(no Problems)when the set requires, A MORLEY Distortion one, IBANEZcp9 comp/lim, and Yamaha EQ. The sanAmp lets ME come through and the consistancy keeps me from distractions. I don't even use a monitor for inside gigs. steal it and I'd get another after I put a curse on your mom and your little%#@%!!! NOTE It does what they say it will dovery well,nuff said

The 8 pin DIP switch is kinda hard to get used to, but it's necessary to keep the unit small. Also, having 8 more knobs would make the unit "seem" to hard to use. The rack version "gasp rack" has knobs if the switch is really a problem, but I know how most kids hate racks...

Its really easy to get tons of good tones out of it. I've never used a distortion device that had so many totally different sounds in it.

You can nail anything from AC/DC to Dream Theater to Metallica, or anywhere in between. Even "slow hand" blues tones, 'cause the tube emulation is absolutely spot on!!! The sound quality is really amazing. Pick attack is completely transparent! No matter how much gain you use, the real guitar tone still comes through. Its not even really a "distortion pedal" but rather an amplifier simulator.

The DIP switch is prone to dust and dirt, so reasonable care is necessary in a live environment. But the case is solid.

Never needed support, so I really can't say...

I would say the best setup for this unit would be a real clean amplifier and full range speakers. Not a Marshall head going into celestion speakers...as thats Marshalls version of a guitar sound. Give the unit a try through a quality amp and good full range speakers, and you WILL find your tone! I've been playing for 12 years and have had every pedal they make, a $3000.00 tube amp, and a 12 space rack full of top end gear, and nothing comes close to the true guitar tone you can get from one of these things.

Now, all I use is a Crest Stereo Power Amp, and a couple of 12" Bagend studio monitors!! I run one signal straight to the board, and one to my amp. It sounds like I'm standing in front of a wall of amplifiers. The whole setup is so small you wouldnt believe it!!!



There really is nothing like it!! Absolutely amazing!!! Every guitarist should have one, especially for recording. Put a compressor in front of it and you can get sustain that ends when you tell it too.

Spend some time with it. With all the options available, it's going to take some tweaking. On my particular unit, the knobs are VERY touchy. For the rare live use, I've had to use electrical tape to keep them in place. Everything is pretty much self-explanatory, the manual is kind of unncecssary.

Setup: Strat w/bridge humbucker or Les Paul - Barber Tone Press - Crybaby - Keeley modded Boss Blues Driver - Zinky True Grit - (occasionally)Sansamp Original - Digitech TSR-12 (in switchable loop) - Boss GE-7 - Marshall JMP Mk 2 50W- Celestion V-30 4X10 cab.
It's kind of an odd duck, is it a stompbox or a preamp? Depends on how you use it. When things go terribly wrong you can go straight to the board with it, and I've found that's when it shines. I don't leave home without it now, it's the ultimate backup. Compared to the other stompboxes it doesn't stack up too well, the more gain you use the less note definition you have, and it's not transparent at all. Very much has it's own tone and that's what it will sound like no matter what you run it into. Direct to the board and recording, I'd give it an 8, as a stompbox in the pedalboard, a 6. So the overall rating I'll split the difference and give it a 7.

I bought it used and non functional on ebay, resoldered a couple connections on the battery clip and the in and out jacks, and it's worked great ever since. That's been about 2 years, and it was well-worn then. I've had issues with other Tech 21 products, namely the footswitch on the Trademark 60, but this thing has proven itself, never let me down and saved my butt on more than one occasion.

Never had an issue with this product, but with the Trademark 60, I sent in the footswitch and they sent back the same one saying it had been tested and no problem found. Admittedly the problem was intermittant, but it persisted and instead of dealing with turnaround times again (and who knows how many times), I sold it as is.

Ive been playing for 22 years, 15 professionally, and I've used a lot of Tech 21 products. They're better than most modeling technology, but for me they have mostly been stepping stones. Had the PSA-1 before the Marshall JMP-1, the XXL before the Zinky True Grit, etc. This one is a keeper just for it's backup value. I don't have to carry a backup amp. Funny it only has "HI" eq control, "LOW" would be nice. I'd probably replace it if lost, they're not too expensive (God bless ebay!). It has it's own tone, and it's not very "shapeable", but it's still my first choice when recording distorted tones straight to the computer. To me, Tech 21 is a cut above their competition and I've found that $ for $ they're products are a great value.

compared to a guitar fx processor with LEDs and such, this is very hard to use. i mean dip switches aren't rocket science but if you are used to an RP5 or something with readouts and presets, this is difficult.

I bought this to emulate my Fender Hot Rod amp so I can record at night when the wife & kids go to sleep. I have been able to do that to a reasonable degree. The only thing that is missing is that bell like reverb that I can't quite get from post-recording FX processors.

dropped it... it still works.

never had to deal with them... thankfully.

does just what I needed for it to do. This is not a POD and its not so much an effects processor as much as a dynamics processor.

I can't imagine anybody not being able to figure this thing out. The infamous tiny DIP switches may be inconvenient for live use, but they are perfectly logical. In other words, for studio use, this thing couldn't be easier to figure out. For live use, having only a single channel and very small DIP switches may be impractical. Somebody below mentioned this and it's so true: The SansAmp is in the form of a pedal, but it's probably better used as a table-top Pod-type device. Also, the manual looks to be written by a 3rd grader, but SansAmp doesn't need much explaination anyway.

I give it a "10" for Ease of Use because I think it's very easy to use when you use it for its intended purpose: A quick/easy way to get classic amp tones to tape without shaking the walls. If you need a fully programable rig for live use, look elsewhere.

I'm not giving a number rating here because I think it's important that we define what we're talking about instead of just saying, "I give it an x for sound."

When you hear a recording of a real amp, you are hearing the product of many factors. You hear the tone of the amp/speaker; you hear the effect of the sound passing through the air; the microphone and its position affect the sound; and the track is almost always EQed further at the mixing console.

SansAmp emulates only part of that long chain: It emulates the behavior of typical tube amps.

Note that I said "behavior" and not "sound". If you've played a bunch of tube amps and compared the tone, you'd hear how different they all sound. Amp 'A' may sound very nasal when compared to Amp 'B', which may sound woofy when compared to Amp 'C'. SansAmp doesn't really have these colorations. The sound of SansAmp can be perceived as having a very flat EQ curve when compared to real amps. Because of this, I think you'll NEED an EQ with a decent amount of control to shape the raw sound of SansAmp into something that sits naturally in a mix. Without EQ, you'll probably find that the SansAmp sounds junky as other instruments are added to the mix.

So now that we have that out of the way, how well does it emulate the "behavior" of a tube amp? I'd say it's great at classic rock tones but probably too spitty-sounding at high-gain settings to do a tight Metallica-type distortion. If, like me, you get off on the sound of a raw Marshall, you'll probably be able to get something you like out of SansAmp. If you're looking for that processed metal sound, you may be better served by a different device.

A lot of people complain that it doesn't have the dynamics of a real amp, but then I see these same people cranking the Amp Drive knob full up. Turning the Amp Drive to about 12:00 yields more realistic results because you're not over-compressing the signal.

Adding reverb (not included) can make the direct sound more realistic, too. But certain production styles call for very dry sounds so you may not even need to use too much. If your reverb device can create only early reflections without the whole decay tail, that's a nice effect to try.

Dropped it to the concrete basement floor many times and it still works.

My first SansAmp was defective, but they fixed it withour problem. See below.

I've only dealt with Tech21 once several years ago. They were a small company and that allowed them to have a very one-on-one relationship with their customers. I don't know if anything has changed or not.

My first SansAmp needed to be fixed because it just stopped working. My warranty was up so I called Tech21 and they invited me up to their office in NYC. I worked close by so it was easy. I walked in and they just replaced a part free of charge on the spot. Then we started yapping about guitars and gear and stuff--It was a very friendly atmosphere. They even Xeroxed some additional sample setting for me. I hope nothing has changed. I would definitely work with this company again.

While SansAmp can do many things--Headphone amp, act as a distortion pedal infront of an amp, direct recording--It only really does one thing very well: Emulating tube amp behavior in a way that's easy to record. As I said before, I think it's only part of a longer chain. If you have the equipment and knowledge, you can fill in the missing links and get some great classic rock tones. This is not an all-in-one recording solution.

-2 for it taking awhile to tweak
-1 for a somewhat limited versatility
-1 for battery life

this takes a bit of tweaking to get it right. i made sure i found all the sounds in this little box before i rated it. it eats batteries relatively fast; must faster than my proco rat, maybe a little better than alot of boss pedals. i don't think the little switches are bad at all, because their size actual makes it hard to change settings while playing. the DI function is great, as an modeling preamp it's ok

i liked it. i was able to dial in a host of cool and interesting clean sounds. my favorite was the bassman mode with about half treble, presence about 1:30, amp drive at about 12 o'clock, and output around 12, with mid boost 1, low boost, vintage tubes, and clean amp on. the manuel's pre-set "hiwatt" setting is interesting, but not that great. this thing has no real high-gain function. the highest it goes just sounds like overdrive. i discovered that the dirtier the box got, the less it sounded like a tube amp. just my opinion, though. i think the best way to use it is with a good amount of drive and the "clean amp" setting on. then it cleans up nicely when you roll the guitar output down. all-in-all, it's pretty useful in the sounds you can get from it.

well, it's made of cast iron, so i have no fears of the actual components breaking. it runs down batteries pretty fast, though. it has a good bypass, though. it doesn't start to kill you signal for awhile when it's off even if the batteries are basically dead

they sent me a manuel for something i didn't buy new that they don't make anymore without asking questions. what can i say?

i'm in a punk rock band (think minor threat, black flag, etc., meets nirvana meets the hives or the white stripes or something). this doens't meet my need for high gain at all. this coupled with its limited battery life makes it virtually useless for gigging. but that's not what i bought it for. i bought it because i found something that will enhance the clean and slightly overdriven sound on my amp. it's great DI or through a small amp for clean sounds. i recorded something onto my comp through a peavey rage amp, and it sounded awesome. it doesn't replace my other stompboxes (proco rat and boss ds1 for gigging; various other effects for recording), but it does what i bought it for. i might sell it and buy something else if i get tired of it, but i'm in no hurry

If you're looking for a plug-n-play stomp box, this isn't it. The dip switches are where the "power" is, but don't expect to be able to switch tones in the middle of a tune. This unit is stomp box size with a stomp switch, but it isn't a stomp box. Anywho, once you get familiar with the dip switches, knobs, and switch on the side, you'll be fine.

The Sansamp can sound as good or as bad as you want or don't want ;) How's that for cryptic? I've had great results getting many excellent tones for live and recording. Bear in mind that this box is marketed as "getting recorded mic'd tube amp tones". Do recorded tube amps move the hair on your arms as if you're sitting next to one? No... so don't expect this thing to sound exactly like you're sitting in front of a Marshall cranked to Nigel. Having said that, I was getting better Marshall tones out of my Sansamp and Roland JC120 than my buddy was out of his Marshall Valvestate!

For recording, the box is awesome. Guitar tracks have to be tweaked to sound good in the mix. The Sansamp makes the tweaking easier.

I got mine as part of a rent payment. Very used and abused and it was doa. So I fixed the battery wire and all is well. The housing is beat to poop and it still works like a champ! I gig w/o a backup, but I also have a other places in my guitar chain to get a crunch tone.

They were awesome. Very prompt and very helpful. They emailed me the manual plus some additional settings for free.

I love mine and would replace it. I'm contemplating getting a ps1 because I like a little more versatility and ease of channel/sound switching. For gigging, it sounds good, but isn't versatile in a live application. For recording, it is simply awesome.