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NY Amp Show '10
The Tikie Drive was a collaboration with Alfonso Hermida and Elliot Easton of The Cars. They created Hermida's darkest-voiced overdrive pedal yet. Its controls are Volume, Gain 1, Gain 2, Tone, and Voice.
The Blackface Drive has a voicing more in-line with Hermida's previous overdrive pedals. It is designed to add a little hair and grit to a solid clean signal, but still allow chord definition and single notes to be heard. Also, its voice is based on the 60s Fender Blackface amps. Its controls are Volume, Gain, Tone, and Voice.
The first in a line of Audio Kitchen's amplifiers, the Little Chopper was created on a need to record with a small amp that still produced AC30-type tones at a sensible volume. It comes with ECC81 and ECC83 preamp tubes and an EL84 power tube. The head can be housed by an exposed wood enclosure or with standard tolex. The controls include Gain, Bottom, Middle, Top, Stack, and Power. Also, it has Brite and Hi switches.
Audio Kitchen's two-channel Big Chopper is the bigger, bulkier brother to the Little Chopper. The first channel controls are Gain, Bottom, Middle, Top, Stack, and the second channel controls are Gain, Bottom, and Top. It has a Power control for both channels. The Power when turned full clockwise it behaves like a standard non-master volume amp, but as the continuously variable control is wound counterclockwise, it decreases the headroom of the power amp, introducing harmonic distortion in the power amp and reducing the volume. This particular model is currently in the studio with Kings of Leon lead guitarist Matt Followill. Look closely and you can see a few switches with Matt's name on them as they are his preferred tones/settings.
Damian of Probett Guitars describes his models his twisted take on a few of the classics. All of Probett's guitars are named after vintage European motorcycles. The first is the 25.5" scale International H, with a single-chamber body, under-wound Lollar '50s P-90s and Hipshot trem. The other two models are variations on the Rapide 5.9. The one in the center has a solid carved Honduran mahogany body, Lollar P-90s, a Les Paul-style neck joint and scale length. The other Rapide 5.9 has a Honduran mahogany body, but with a carved maple top, and Häussel humbuckers.
The guitar Redd is using is based on Hahn's 228 model that has one-piece swamp ash body, one-piece quartersawn maple neck with 6105 frets and is set up with hardware made by luthier Chihoe Hahn. The guitar is loaded with Budz pickups - special wound for Redd.
The Louis Electric combo is based on Fender's 5E3 Tweed Deluxe, with 6L6 power tubes rather than the traditional 6V6s. The idea behind this amp was to give players more headroom and is designed for medium-sized gigs. The controls include Tone, Volume, and Volume. The speaker in this model is a Celestion G12H30.
The Valpreaux is a 21-watt combo inspired by certain Valco, Supro, and Gretsch combos of the '60s. It features the relatively obscure 6973 power tube that imparts a different sonic signature from the EL84-based models that comprise the bulk of the Goodsell product line. The Valpreaux has a simplified front-end similar to the Super 17, with the same award-winning tremolo and non-intrusive reverb, as well as an ultra-transparent post-phase inverter master volume.
The Dominatrix 18 is same venerable 5E3 cabinet as the Unibox and 17 MkIII, the cathode-biased Dominatrix takes its inspiration from the Watkins Dominator series made in England in the '60s and '70s. It features two EL84s, three 12AX7s, and an EZ81 rectifier tube. Also, it has a 2-stage preamp and is followed by a phase inverter.
The Mudshark has a pair of 5881's (cathode biased, push/pull), a pair of 12AX7's, and a 5AR4 rectifier. It pushes about 20 watts and most people say it is very reminiscent of the old Supro's, AKA the "Chicago" or "Zep" sound.
The Little Booger is 12 watt head with a pair of 6AQ5's, a pair of 12AX7's, and an EZ81 rectifier. The Little Booger is a cathode biased, push/pull amp. It has lots of rich harmonics and plenty of gain.
The Studio 2 also features an internal load with variable line out. This allows the amp to be run sans speaker and connected via the line out directly to the effects loop return or front end of a higher powered amp, enabling the amp to reproduce its signature tone at increased volume levels.