Dr Z Airbrake Guitar Amplifier Power Attenuator


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Dr Z Airbrake Guitar Amplifier Power Attenuator in new condition.

Brand new condition Dr Z Airbrake. If you are looking for something to make your 100-watt amp play at bedroom levels and still preserve the tone, it doesn’t get any better than the Airbrake.

General Information

The Z Air Brake has two major applications. One is for stage use, the other is for studio or home use.

For stage use, the Z Air Brake is a useful tool to limit your overall dB level at any time during a performance. Example: the beginning of the night (when the club isn’t full) click the Air Brake to a level of attenuation to allow for smooth tone at a lower volume level. As the night progresses, reach back and remove degrees of attenuation until the desired level is reached. This will allow you to manage your amp’s overall volume without varying from your amp’s favorite settings.

At home, the Air Brake is useful for lower volume while still allowing for full output tube distortion. The Air Brake has a “bedroom” level control that, when selected, will allow for fine adjustment and maximum attenuation down to 1 watt (with amps less than 100 watts). The Air Brake can be used with 4, 8, and 16 ohm loads.

Guitarists are always getting bagged for playing
too loud, and while an obvious way to address
such ridiculous assertions is to use a power atten-
uator, many players fear their sound will suck if
they do. Designed by Trainwreck’s Ken Fischer,
the Air Brake is a transparent-sounding attenua-
tor that does not kill tone. Features include a
5-position switch that provides 3dB attenuation in
the first position, and an additional 1.8dB (which
is user adjustable if you desire more) each step
thereafter. A Bedroom Level control provides an
attenuation range of 7.2dB to 30dB—enough to
wail without waking the kids—and the device
handles up to 100 watts. Other details: a welded-
aluminum enclosure, high-quality Ohmite resis-
tors, and a costly Ohmite wire-wound pot.
Connected between a 50-watt Marshall head and
a 4×12 cab, the Air Brake did an amazing job of
reducing the blast without neutering the amp’s
tone or altering its touch sensitivity. The Marshall
sounded just as badass—and had the same
dynamic response—but at a volume that could
make even the grumpiest bartender smile. Simple
and effective, the Air Brake gets an Editors’ Pick
—Art Thompson