Maybe it’s a generalization, but I’ve noticed that many guitarists who prefer modern high-gain amps also tend to be more open-minded about using amp-modeling technology.
As a result I’ve found it a little perplexing that Universal Audio’s UAFX pedals only offered emulation of amps from the ’50s and ’60s. Fortunately, that just changed with the recent introduction of the UAFX Anti 1992 High Gain Amp pedal, which rounds out the UAFX line with its rip-roaring bona fide high-gain guitar amp tones and more.
Most guitarists know that the most famous high-gain amp to emerge in 1992 was the 5150, and that’s exactly the primary character of what the Anti pedal offers.
However, it goes further than that, thanks to its slightly wider EQ and gain range, built-in noise gate that delivers outstanding noise-free clarity and definition and TS overdrive (Tube Screamer) and TC preamp (possibly based on the rare TC Electronic Integrated Preamplifier used by Meshuggah?) overdrive/boost features.
It also includes mic/speaker emulations of five 4x12 and one 2x12 guitar cabinets, three of which being “bonus” download cabs provided to encourage registering the pedal. As a result, Anti is more than just an amp emulator as it actually provides the sounds and performance capabilities of a full rig.
Anti features the same six-knob, three-toggle, dual-footswitch configuration of UAFX’s other amp pedals. Here, the knobs consist of Pre Gain/Resonance, Presence/Gate, Output, Low/Overdrive, Mid/OD Tone, High/OD Level controls.
Many digital emulations of high-gain amps are available in software and various hardware products, but I’ve encountered very few that deliver the authentic dynamic response and gut-rumbling punch of a real-world amp
The Cab toggle selects UK V30, CA V30 or White 75 cabinet emulation (or 2x12 D65, 4x12 Celestion 80 or 4x12 Brown JB emulation with the bonus cabs loaded instead); the middle toggle selects Amp or Alt mode (the latter shifting the knobs to control Resonance, Gate and TS/TC overdrive settings) and offers a momentary Store function; and the Channel toggle selects Rhythm, Crunch or Lead channel settings.
The two footswitches can be set to four different modes: Live/Preset, Overdrive/Live-Preset, Gate/Live-Preset or four-cable mode.
Rear panel features consist of ¼-inch stereo input and outputs, a USB C jack, Bluetooth Pair switch and 9VDC jack for a power adapter (not included, 400mA or higher required).
I auditioned the Anti pedal in a variety of setups and applications, including inserted into the effects loop of a Friedman Pink Taco, connected direct to a DAW audio interface and connected direct to a live sound system mixer.
The sound quality remained consistent through each setup, delivering those truly iconic (the real definition, not the watered-down trendy usage) high-gain tones we’ve heard so often and loved over the last three-plus decades.
The midrange has that same distinctive definition and punch that cuts to the front of a mix, accentuating pick attack and harmonic chimes and squeals. The bass is mammoth and carnal and, just like when using the real world pedals, the TS and TC effects roll off some of the gnarly low end to keep the sound tight and focused.
The pedal connects via USB to the UA Connect app for Mac and PC, which is mainly used for downloading firmware updates. The UAFX mobile app is designed for day-to-day uses, such as storing and downloading presets, setting “hidden” parameters like selecting the footswitch modes, adjusting the noise gate’s five parameters, selecting bias mode, bright switch, high/low input routing, overdrive type selection and Post Gain and Room settings.
Currently the app provides 19 factory presets and 10 artist presets from Diamond Rowe, Jeff Loomis and Ryan Knight. Only one preset can be loaded into the pedal at a time.
Many digital emulations of high-gain amps are available in software and various hardware products, but I’ve encountered very few that deliver the authentic dynamic response and gut-rumbling punch of a real-world amp that the Anti pedal pumps out through studio or stage monitors.
The pedal makes it jaw-droppingly easy to get dialed-in, pro-quality high-gain distortion tones in the studio or live without the hassles and difficult-to-repeat variables of mic placement, unwanted noise and hum and (particularly for someone like me who lives in a 1940s house) inconsistent performance due to fluctuating voltage levels.
I’ve said it before and I’ll say it again, as much as we guitarists love big, heavy tube amps, their days are numbered when all of those great sounds and performance can be packed into a box like Anti, that fits in a gig bag pocket.
Specs
- PRICE: $399/£379
- TYPE: Amp emulator pedal
- ORIGIN: Malaysia
- FEATURES: UAFX dual-engine amp modeling, six Classic Mic/Speaker Pairings, noise-gate, boost, TS-style overdrive
- CONTROLS: Pre-gain (Resonance), Presence (Gate), Output, Low (Overdrive), Middle (OD Tone), High (OD Level), 3-way cab select switch, 3-way preset select switch, 3-way channel switch
- CABINETS: UK V30: 4x12 British cab with V30’s, CA V30: 4x12 Oversized American cab with Vee30’s
- White 75: 4x12 British cab with C75’s
- 3 Bonus Cabs For Moshpit Worthy Tone
- 2x12 cab with D65, 4x12 cab with C80, 4x12 Brown
- CONNECTIONS: 1/4" Mono/Stereo inputs/outputs, USB-C, power input
- POWER: 9V DC,
- CONTACT: Universal Audio
