Pedalboard_Of_Choice -> Tube_Amp_Of_Choice -> Grendel_Dead_Room (iso cab with RWB and e906) -> ART_Tube_Mic_Preamp -> TC_Nova_Reverb -> Yamaha_MSR400 (powered monitor) I have tried the Marshall PowerBrake, THD Hot-Plate, Z Air Brake, Ultimate Attenuator, Weber Mass, Suhr Power Scaling in the Badger, OD pedals and master volumes and nothing has worked at capturing the tone and feel of a cranked tube amp at low volumes as well as the configuration above! With attenuators, power scaling and master volumes, I always find the tone gets too ratty and bright at low volumes, ostensibly because the speaker (and OT?) isn't working hard enough and, therefore, isn't smoothing out the tone enough. Being able to run the speaker hard (in addition to the whole amp, front to back) seems to be the missing piece of the puzzle! In that regard, the Dead Room is a pretty significant advance, IMO, and I think all of our bright minds should be spending their time on iso cab advances instead of attenuators! With the iso cab approach, you get the full preamp, power amp, OT, speaker and cab response. You get your choice in speaker, mic(s) and reamplification medium. I know people have complained about traditional iso cabs sounding boxy and constricted and/or emphasizing some frequencies too much over others, but I haven't found that to be the case with the Dead Room. It sounds a helluva' lot like running a traditional cab in a really well insulated studio while hearing it played back through monitors in the control room. Cool! Some would argue that mic'ing and reamp'ing is a compromise, but in A/B comparisons between Power Scaling into a traditional speaker/cab (my previous "best" solution) versus running at full power into the Dead Room rig described above, I found that you gain more than you lose with the iso cab. Yes, as alluded to above, it does sound a little bit like a great recording of a great amp versus the great amp live, but we listen to and love recordings of great amps all the time and use them as benchmarks for our live tone. At professional level gigs, we hear the mic'ed cab into a full range PA anyways, so there's no difference here. It's just all being done at a lower volume, much like what we listen to and love on our home and car stereos. Another advantage of the iso cab approach over the traditional unmic'ed cab approach is the ability to precisely choose which part of the speaker dispersion pattern you want the audience to hear (i.e. your ideal "sweet spot") versus getting the traditional on-axis "hot spot" and varying degrees of roll-off as you move off-axis. With full range, high dispersion re-amping, everybody gets to hear your ideal tone. No need for Beam Blockers here! Yet another advantage is being able to get OT, power tube and speaker harmonics and then place your time domain effects (reverb, delay, chorus, etc.) after that, where they belong, just like what we're accustomed to hearing on recordings. Another advantage is being able to use ANY guitar amp you desire without fear of being too loud or not having an FX loop. This system solves both issues! I'll do my final eval on this system at rehearsal this weekend, but so far I am extremely impressed with this approach and had to share it with y'all!