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WazaHead-xlarge.jpg



BOSS 150-watt Waza Amp Head at a Glance:
  • Wide range of rock tones
  • From a whisper to a scream
  • I/O that caters to your needs
Wide range of rock tones
The Waza Amp Head is designed to be a wonderful-sounding rock amp head. But the onboard controls offer a huge range of tones within that paradigm. A 3-position Amp selector switch picks between the internal tone, the pre-installed Waza Brown Sound tone capsule, and an empty tone capsule slot for your own future expansion (keep your eyes peeled on the Sweetwater website to get the right tone capsule for you). And four independent, footswitchable channels can take you from any of your preset tones to another with the tap of a toe.

From a whisper to a scream
At 150 watts, the BOSS Waza Amp Head has plenty of power for any guitarist's needs. A four-position Power Control switch changes the amp's output between 1-, 50-, 100-, and 150-watt settings for getting great power tube-type breakup at lower volumes. This is ideal for stages that need to keep the volume low, for rehearsals, and for recording. It's even able to be used direct without being plugged into a cabinet.

I/O that caters to your needs
The Waza Amp Head also boasts a lot of I/O to integrate easily with your current guitar rig. The amplifier has two separate effects loops that can be run in either series or parallel, depending on what effects you have in the loop. A DI out is great for going direct to the board when performing. This does away with the need for miking a cabinet. And the DI and USB outputs have an Air control that mimics a few sounds of miked up cabinets. And you can control it all with the included foot control.

BOSS 150-watt Waza Amp Head Features:
  • 150-watt solid-state amplifier built for ultimate rock tones
  • 3-position amp switch selects between 2 voices and a tone capsule slot
  • 4 independent switchable channels
  • Power switch offers 1-, 50-, 100-, and 150-watt settings
  • Dual effects loops can be used in series or parallel
  • USB output is ideal for recording
  • DI output offers multiple air settings
  • Foot control included
The BOSS Waza Amp Head delivers dependable rock tones with plenty of power.

Tech Specs
Type Solid State
Number of Channels 4
Total Power 150W (1W/50W/100W settings)
Reverb Yes
EQ 3-band EQ
Inputs 1 x 1/4"
Outputs 3 x 1/4" (8 ohm/16 ohm), 1 x 1/4", 1 x XLR (line out), 1 x 1/4" (headphones)
Effects Loop Yes, 2 x stereo loops
MIDI I/O In
USB 1 x USB Type B
Footswitch I/O 1 x 1/4"
Height 8.8"
Width 20.8"
Depth 11.8"
Weight 33 lbs.
Manufacturer Part Number WAZA-HEAD
 
No way. I don't care for most boss pedals, why in the world would I drop that kind of coin on a amp from them.
 
Nah. Besides I doubt it's the same caliber as a Pearce amp (which was a very highly rated, and very expensive solid state amp) was.
 
This is also one of those situations where marketing annoys the crap out of me. Good marketing coins terms that people hear and say, "oh... it must be good" or "that's just what I've been missing".

But the term "tube logic" just annoys me. It's as if they said, "this will make people feel good about playing a solid state amp because we have tube logic". wtf?!?!?!?!

it sounds too much like a buzzword they made up to try to sell this amp
 
Wow, how am I not surprised that the overwhelming reaction is to shit it all over it without even hearing it and objectively considering the carefully included host of on board I/O and circuit routing options that could very well be very much the thing that separates it from the boys.

I'll just go ahead and reserve judgment until it's had a chance to prove itself.

Here we are once again with the old school sticks in the mud decrying the warmth and subtleties of a basic two channel tube amp whose entire character is more the result of its failings than its strengths, while invalidating anything that challenges that bizarre "logic".

The last 3 shows we performed, one of them on a massive outdoor stage at full concert volume before literally thousands of people... I didn't even bring an amp. At all. I plugged my hated and constantly failing Line 6 HD 500 straight into the direct inputs for the main sound board. Three of the foot switches are dead, the expression/volume pedal capped out about a month ago, I played the entire sets on a 1987 SQUIER branded Strat without once having to pause between songs to tune it, and I'll be damned if I didn't sound like a motherfucking guitar hero for most of the night despite my shitty gear and woefully limited abilities.

After each show there would be AT LEAST one guy approach me blowing rainbow bubbles over how insane and massive my "tones" were and wondering where I had hidden all the magical old school crap to achieve it. The realization of the truth was always met with total disbelief, as if I were joking. Joke's on them.
 
Wow, how am I not surprised that the overwhelming reaction is to shit it all over it without even hearing it and objectively considering the carefully included host of on board I/O and circuit routing options that could very well be very much the thing that separates it from the boys.

I'll just go ahead and reserve judgment until it's had a chance to prove itself.

Here we are once again with the old school sticks in the mud decrying the warmth and subtleties of a basic two channel tube amp whose entire character is more the result of its failings than its strengths, while invalidating anything that challenges that bizarre "logic".

The last 3 shows we performed, one of them on a massive outdoor stage at full concert volume before literally thousands of people... I didn't even bring an amp. At all. I plugged my hated and constantly failing Line 6 HD 500 straight into the direct inputs for the main sound board. Three of the foot switches are dead, the expression/volume pedal capped out about a month ago, I played the entire sets on a 1987 SQUIER branded Strat without once having to pause between songs to tune it, and I'll be damned if I didn't sound like a motherfucking guitar hero for most of the night despite my shitty gear and woefully limited abilities.

After each show there would be AT LEAST one guy approach me blowing rainbow bubbles over how insane and massive my "tones" were and wondering where I had hidden all the magical old school crap to achieve it. The realization of the truth was always met with total disbelief, as if I were joking. Joke's on them.

So are you gonna get a Helix?
 
Wow, how am I not surprised that the overwhelming reaction is to shit it all over it without even hearing it and objectively considering the carefully included host of on board I/O and circuit routing options that could very well be very much the thing that separates it from the boys.

I'll just go ahead and reserve judgment until it's had a chance to prove itself.

Here we are once again with the old school sticks in the mud decrying the warmth and subtleties of a basic two channel tube amp whose entire character is more the result of its failings than its strengths, while invalidating anything that challenges that bizarre "logic".

The last 3 shows we performed, one of them on a massive outdoor stage at full concert volume before literally thousands of people... I didn't even bring an amp. At all. I plugged my hated and constantly failing Line 6 HD 500 straight into the direct inputs for the main sound board. Three of the foot switches are dead, the expression/volume pedal capped out about a month ago, I played the entire sets on a 1987 SQUIER branded Strat without once having to pause between songs to tune it, and I'll be damned if I didn't sound like a motherfucking guitar hero for most of the night despite my shitty gear and woefully limited abilities.

After each show there would be AT LEAST one guy approach me blowing rainbow bubbles over how insane and massive my "tones" were and wondering where I had hidden all the magical old school crap to achieve it. The realization of the truth was always met with total disbelief, as if I were joking. Joke's on them.

I'm totally fine being without tubes. I used to gig with my Line 6 POD XT Live direct into the board and it was great. I loved that set up.

For me, my main beef with the amp is the price tag. I've heard a bunch of clips and I think they sounds pretty good, but the price just kills it for me.
 
Solid state is going to make a comeback at some point. There are loads of guitarists out there using 100+ watt heads as power amps and just getting their tone from pedals. At some point it makes sense to just stop spending money on tubes. But they’re not going to pay the price of a premium tube amp for that.
 
I have to agree about the price point...I just can't see me paying that much for SS technology that previously sold for FAR less than any PTP tube amp.

I think SS technology has come a long way since my Crate half stack that I had back in 1988. Maybe Marshall was onto something with the Valvestate line but never saw it "fully realized." I owned a Valvestate years ago and it sounded good but not THAT good. Not EL34 good.
Now that the Kemper is gaining so much popularity I wouldn't be surprised to see a lot of amp builders go that route.
 
Wow, how am I not surprised that the overwhelming reaction is to shit it all over it without even hearing it and objectively considering the carefully included host of on board I/O and circuit routing options that could very well be very much the thing that separates it from the boys.

I'll just go ahead and reserve judgment until it's had a chance to prove itself.

Here we are once again with the old school sticks in the mud decrying the warmth and subtleties of a basic two channel tube amp whose entire character is more the result of its failings than its strengths, while invalidating anything that challenges that bizarre "logic".

The last 3 shows we performed, one of them on a massive outdoor stage at full concert volume before literally thousands of people... I didn't even bring an amp. At all. I plugged my hated and constantly failing Line 6 HD 500 straight into the direct inputs for the main sound board. Three of the foot switches are dead, the expression/volume pedal capped out about a month ago, I played the entire sets on a 1987 SQUIER branded Strat without once having to pause between songs to tune it, and I'll be damned if I didn't sound like a motherfucking guitar hero for most of the night despite my shitty gear and woefully limited abilities.

After each show there would be AT LEAST one guy approach me blowing rainbow bubbles over how insane and massive my "tones" were and wondering where I had hidden all the magical old school crap to achieve it. The realization of the truth was always met with total disbelief, as if I were joking. Joke's on them.

I don't care if that is the greatest sounding amp ever built that can control with my mind, I'm not paying $2500 for a head.

I need a single channel amp with 1 tone and a volume knob.

I'll add a pedal or 2 to that, I don't need a million of tones.

If I wanted a solid state amp, a Roland JC is what I would get.
 
I don't care if that is the greatest sounding amp ever built that can control with my mind, I'm not paying $2500 for a head.

I need a single channel amp with 1 tone and a volume knob.

I'll add a pedal or 2 to that, I don't need a million of tones.

If I wanted a solid state amp, a Roland JC is what I would get.

I'm with you.

The most I ever spent on an amp was a Fender Cyber twin ($1100 or so). It was also the worst sounding amp I've ever owned.

I do like channel switching amps and effects loops, but two channels and 1 loop is as much as I want.

And I'm perfectly fine with a single channel amp with no effects loop, but a few pedals.

I don't need a rig that gives me 100 sounds. Give me clean, overdrive, delay, reverb, maybe some phase and wah on occasion, and I'll be just fine.
 
I'm with you.

The most I ever spent on an amp was a Fender Cyber twin ($1100 or so). It was also the worst sounding amp I've ever owned.

I do like channel switching amps and effects loops, but two channels and 1 loop is as much as I want.

And I'm perfectly fine with a single channel amp with no effects loop, but a few pedals.

I don't need a rig that gives me 100 sounds. Give me clean, overdrive, delay, reverb, maybe some phase and wah on occasion, and I'll be just fine.
I think this is why so many "boutique" amp makers are doing so well these days. I believe that most people just want a nice simple 1-2 channel amp that just sounds great. I owned a JVM Marshall up until a couple of months ago. Good amp but it was trying to be "all things to all people" instead of just being a great Marshall. I still have and play a JCM 800 2204. Single channel amp with fx loop (previous owner installed). It really only does one thing but man does it do it good! I have 1-2 od pedals for various color and I use the volume knob on the guitar. I have that rig set up so it gives me everything I need.
 
Now that the Kemper is gaining so much popularity I wouldn't be surprised to see a lot of amp builders go that route.

I don’t think we’ll see most builders going that route. It’s too expensive for other small firms to play catch up with Kemper, Fractal, Positive Grid and Line 6 now that there’s a tech boom and salaries are skyrocketing again. But in a few years lower hardware costs will mean cheap consumer units, and when that happens the big amp companies will buy up the companies with great modeling tech to take it mainstream.
 
I don’t think we’ll see most builders going that route. It’s too expensive for other small firms to play catch up with Kemper, Fractal, Positive Grid and Line 6 now that there’s a tech boom and salaries are skyrocketing again. But in a few years lower hardware costs will mean cheap consumer units, and when that happens the big amp companies will buy up the companies with great modeling tech to take it mainstream.
I'm not trying to say the Marshalls and Bogners of the world will try to play catch up with Kemper. But other companies, maybe ones we haven't heard of yet will. People love to copy what is successful. Behringer has built their business doing just that.

But you bring up a valid point about the cost, right now probably being a factor for some builders.
 
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