An American icon: a 1959 narrow-panel tweed Fender Deluxe—a model that’s been used on recordings by John Lennon, Mike Campbell, Don Felder, John Fogerty, and many others.
Photo courtesy of Richard’s Gear Bazaar/Reverb
The longtime author of PG’s popular Ask Amp Man column—and one of the godfathers of the low-power-amp revolution with Budda and then EAST—returns to outline everything you need to know about tracking down the valve-propelled sound machine of your dreams.
In the immortal words of the Byrds:
“So you want to be a rock and roll star? / Then listen now to what I say. Just get an electric guitar / then take some time and learn how to play.”
But you’re also going to need an amplifier! And if you’re following the Byrds’ protocol, you want a tube amp. These are the amps that voiced all the classic music that made history and still stands the test of time. Finding your ideal tube amp can be a never-ending search, but here are a few tips that may help you get started in your search for tube-amp nirvana.
What do you expect from your amp? Do you want the amp to have a good clean sound as well as the gain you need for solos? If so, then you may want an amp with channel switching, enabling you to footswitch between beautiful clean rhythms and a powerful overdriven solo assault. Some control options to look for here: Does the amp have the ability to alter the tone of the clean and overdrive channels? Sometimes the two channels sound noticeably different, depending on the amp design. Some form of tone control—typically 2- or 3-band EQ—for each channel can help. Also, an added bonus might be a separate master volume control for the clean channel. This would allow you to crank up the gain to give you some nice crunch for your rhythm playing, while setting your overall crunch volume to match the overdrive channel.
This 1981 Mesa/Boogie Mark II B is a good example of a fixed-bias amp. Just install the right replacement tubes and you’re ready to flip the on switch.
Photo courtesy of L.A. Vintage Gear/Reverb
If you get most of your tones from pedals or maybe a multi-effects unit, then you probably won’t need channel switching and you may be best served with an amplifier that has a single channel and a simple control set. In this case, less is more, and the cleanest signal path will give your effects the opportunity to shine. A volume control and some form of tone shaping are all you’ll probably need. A good thing to remember is that many amps that have a lot of front-end gain don’t leave a lot of headroom for pedals. You might want to ask: “Does this amp take pedals well?”
“A tube amp is like a car; occasionally, it will need service.”
Know the difference between gain and volume. A gain control typically controls the amount of gain developed in the front end or preamp section of the amp. This is where most of the overdrive in the amp is developed. The volume control sets the overall loudness of the amp. A low-gain, high-volume setting equals a cleaner tone. A high-gain, low-volume setting equals a more overdriven tone. This is not the only way, however, to get an overdriven sound from an amplifier. Pushing the output tubes into distortion is also an option and has often been done both onstage as well as in the studio. So next….
Photo 1. The four basic types of output tubes: 6L6, 6V6, EL34, and EL84. The first two were typically used in American amps of the ’60s and ’70s; the latter two, in their European counterparts.
Consider the output power of the amplifier based on where you might be playing it. Most of us, nowadays, don’t need a 100-watt amp, or even a 50-watt amp, to play most venues. I currently play an EAST Duality 30—a 30-watt amp with a half-power mode, and 90 percent of my gigs are done at half power—with a six-piece band with two guitar players. It really doesn’t make sense to pay the increased cost of a 100- or 50-watt amp if you’re never going to need all that power. Tube amplifiers sound the best when the output tubes are being pushed a bit ... or a lot! In fact, many classic solos were done in the studio with a low-powered amp pushed to its limits. Fender tweed Champs and tweed Deluxes seem to shine at this, although there are definitely a few Gibson amps from the ’50s and ’60s that will give them a run for the money! If you happen to encounter a ’50s or ’60s tweed Fender or a Gibson, I would suggest plugging in. Are you gonna get Metallica? No. Are you gonna get Neil Young? All day long! The Fenders of this era have been pretty costly for a while now, but the Gibsons seem to be just catching up. Would these be good as a first amp and give you everything you want? In most instances, no, but as you get some time under your belt as a guitar player, you may appreciate these for what they are. They actually do become another instrument under your control.
“The option of different speaker cabinets with different speakers and configurations can go a long way to tailoring your sound to the gig and venue.”
There is no “best” amp, just the best amp for you! So what output tubes should you consider? Let’s get familiar with the basic types of output tubes first; then we can explore how they’re different. In Photo 1, we see the four basic types of output tubes: 6L6, 6V6, EL34, and EL84. The first two were typically used in the American-produced amps of the ’60s and ’70s. The latter two were their counterparts (more or less) and used in European amps built during this period. After a while, they started to cross pollinate and, especially in the U.S., you could find amps being built with all of these types of tubes. Because of that, you need to take into consideration what type of material you play, as they each have their own tonal characteristics.
If you’re into a classic rock or blues tone, that tone typically has more pronounced midrange content. This, in a broad-stroke kind of way, typically comes from an EL84- or an EL34-based amplifier. These output tubes typically have a more prominent and smooth midrange. If you’re more into hard rock/metal tones, a 6V6- or a 6L6-based amp may serve you better, as these output tubes typically have less midrange content with a more present top and bottom end, making it easier to establish the mid-scoop sound necessary for this music.
Hybrid amplification started with the Music Man line of amplifiers in the ’60s, which had a solid-state preamp and a tube output stage. This example is a 212 65 model from 1977.
Photo courtesy of DBM Gear Outlet/Reverb
What about hybrid amps? There are some amps out there that only have a tube or tubes in some part of their design. As far as I know, this started with the Music Man line of amplifiers in the ’60s, which had a solid-state front end and a tube output stage. Later, Fender and Marshall started offering amps with one preamp tube in the preamp stage with all other stages of the front end and output stage being solid-state. These amps certainly have less maintenance involved regarding tube replacement and can sound fine if they give you the sound you’re looking for, but personally I don’t categorize these as tube amps.
“An open-back speaker cabinet or combo will tend to fill the area around it with a more ambient type of sound, almost 3-D.”
And speaking of maintenance. A tube amp is like a car; occasionally, it will need service. Output tubes are the tubes that wear out sooner and will need to be replaced more often than preamp tubes. These are the tubes that run the hottest and provide the power to the speaker through an output transformer. Depending on the time of use as well as amount of volume, a typical rule of thumb for replacement of output tubes is six months to two years. That’s not to say that I haven’t seen tubes last 30 years, but if you’re gigging a good bit, you want your amp to be reliable. Another point to be aware of here is that most tube amps will require new output tubes to be biased when installed in the amp. There are exceptions, however. Many amps that use EL84-style output tubes are designed with what’s called cathode bias or self-biasing, where the circuit allows the tubes to find their own bias point. Other amps, such as most Mesa/Boogies, are designed with what’s known as a fixed-bias circuit, so no bias adjustment is possible. This is why they recommend purchasing only their branded output tubes, because they are selected to run within their chosen bias range. Personally, I have seen and serviced many amps with a variable bias control added so that any brand of tube can be properly biased. Either way, your amp may occasionally need a trip to your local experienced tube amp tech for a tube replacement, bias, and overall checkup. It’s worth it to keep it at the top of its game.
The author’s current favorite is one of his own EAST 30s, which he plays with a six-piece band that includes two guitarists.
Do you want a head or a combo? A combo is the easiest transportation option. If, say, you live in a city and you believe most of your gigs will require a grab-n-go option, a cab or Uber ride to the gig will be best served with your guitar in one hand and your amp in the other. If, on the other hand, you have the option of packing your own vehicle, you may want to consider a head and cabinet. Having this setup leaves you many options with regard to speakers and cabinets. While the amplifier is substantially responsible for your overall tone, the option of different speaker cabinets with different speakers and configurations can go a long way to tailoring your sound to the gig and venue. One thing to consider here is that because of all the internal vibration that occurs in a combo, it may require more frequent replacement of the tubes. Tubes are, after all, an electro-mechanical device, and vibration can affect their structural integrity.
“If you get most of your tones from pedals or maybe a multi-effects unit, then you probably won’t need channel switching and you may be best served with an amplifier that has a single channel and a simple control set.”
An open- or closed-back speaker cabinet? This choice can go a long way to getting the sound you’re looking for. An open-back speaker cabinet or combo will tend to fill the area around it with a more ambient type of sound, almost 3-D. This is especially great in a lower-powered amp, because it will help fill the stage without being overly loud. These typically don’t have much in the way of low-end sound. If you’re looking for that low-end thud, then you definitely need to focus on a closed-back cabinet. A closed-back cabinet is also much more directional, as all of the sound is coming directly from the front of the cabinet.
To loop or not to loop? Although this pertains to solid-state amps as well, it’s worth addressing here as it applies to tube amps. As I mentioned above, if you get most of your sounds from pedals or multi-effects, then you may not need an effects loop because all your overdrive, fuzz, compression, and time-based units such as chorus, delay, flange, phase, etc., are all hitting your amp through the guitar input on the front panel. If you prefer to get both your clean and overdriven sounds primarily from the amp, then you’re more than likely using a channel-switching amp. In this case, you should definitely look for an effects loop option. The reason being that the sound of time-based units changes drastically when the overdrive channel of an amp is engaged. The extra gain almost always overexaggerates the level of these effects to the point where they become overwhelming. With these types of amps, any of your gain-based units (fuzz, overdrive, compression, boost) can be connected to the guitar input of the amp, but all of your time-based units should be connected through the effects loop. The level of the signal is typically much more consistent here, so the effects levels should not vary much.
While early Fender amps have long been pricey entries in the vintage market, Gibson models, like this GA-19RVT Falcon, are just catching up.
Photo courtesy of Hear the Rooster Crow LLC/Reverb
Hand-wired or circuit board? This is a question that you may not have even thought of, and that’s just fine. Some folks may prefer one over the other, so let’s take a minute to explore both. Of course, the first amplifiers ever built were hand-wired because circuit boards did not exist in the ’30s and ’40s. All the resistors and capacitors were soldered directly to a chassis-mounted component or to a chassis-mounted terminal strip. As time went on, eyelet boards and terminal boards were developed so that components could be mounted directly to these boards, and then wire leads would be used to connect these boards to all the chassis-mounted components such as the pots, tube sockets, jacks, etc. This is how all the early Fender and Gibson amps were built. Then came circuit boards, where not only the components were mounted but a good bit of the wiring itself was part of the board in the form of circuit traces, which are actually flat copper wire attached to the board itself. The earliest examples of circuit board amps I can remember were the early ’60s Ampeg amps. Nowadays, most amps are built using circuit-board technology because it can largely be automated, with everything from component placement through soldering being done by machines.
So what’s the difference? Some players feel that a hand-wired amp just sounds better. Some feel they’re more reliable. Some feel that circuit board amps are more consistent from amp to amp because the build is exactly the same each time. All this can be true, but the bottom line is that it’s not all that important. The fact that is important remains if it’s the right amp for you. When you plug into the amp, do you hear what you want to hear? Does it make youwant to play? Are you struggling to find a sound, or does it easily get you where you want to be? These are the most important things to ask yourself. Price point is probably next, but if it’s an amp that you really bond with, and it lets you get the sound you hear in your head, then it’s probably the amp for you!
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’s Scarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Zach Nugent and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
In recent years, Samantha Fish’s most often-used guitar was this alpine white Gibson SG, but it ran into some issues last summer—“I ended up having to reglue the neck”—and it is now on hiatus.
Photo by Douglas Mason
Samantha Fish is moving in new circles these days—circles occupied by the kind of people you see a lot on classic-rock radio playlists. First there was the invitation from Eric Clapton to play at his 2023 Crossroads Guitar Festival in L.A. Then there was the summer ’24 slot on Slash’s S.E.R.P.E.N.T. tour, followed by the Experience Hendrix tour, on which she dug into Jimi classics in the company of Eric Johnson, Dweezil Zappa, and other luminaries. And, oh yeah, she opened for the Stones in Ridgedale, Missouri, on the final date of their Hackney Diamonds jaunt. That’s right, the Rolling Stones.
If you’re already a fan of Fish’s tough Delta-mama singing and high-temperature guitar work, you’ll probably think that all this is just as it should be. You gotta reap what you sow eventually, right? And Fish has been sowing for a long time, from her bar-band days in Kansas City 15 years ago through eight rootsy, eclectic albums as a leader (not counting the two early-2010s discs she cut with Dani Wilde and Victoria Smith as Girls with Guitars, or her 2013 outing with Jimmy Hall and Reese Wynans in the Healers, or 2023’s tangy swamp-rock collaboration with Jesse Dayton, Death Wish Blues) to her current tour schedule of about 150 dates per year in North America, the U.K., Europe, and Australia.
Still, even with such a solid career foundation to draw on, mixing and mingling in the flesh with folks you’ve known all your life as names on record covers could be a little intimidating. Is it? “You know, I don’t ever think about it in those terms,” Fish says on the phone from her home in New Orleans. “So when you lay it all out there like that, it feels like, ‘Aw shit, that’s crazy.’ I mean, it is crazy. When I think about the goals that I’ve made over the years … honestly, I’ve crossed off a bunch of things that I thought were even ironic being on the list, because they just seemed so far-fetched. Every interview I’ve ever done, they were like, ‘If you could ever open up for somebody, who would it be?’ And I always said the Stones, ironically. Cause when the hell’s that gonna happen? I’m a guitar player from Kansas. That’s nuts.”
With her Stogie Box Blues 4-string, heavy hitting style, and wide array of blues and rock influences, Fish is an artist of a different stripe.
Photo by Jim Summaria
Fish spits out the sentences above in a fast, excited spray, one word tumbling over another. Then she pauses for a second, and it’s clear that wheels are turning in her head. Her voice gets more playful. “I’m gonna start speaking some even wilder things into existence just to see what happens,” she cracks, her grin nearly audible over the line. “A billion dollars!No, money’s evil, but you know what I mean.”
“I wanted to lean into superpowers.”
Given her formidable chops, it’s not that daring a leap to suggest that Fish could be capable of playingsome wilder things into existence, too. She’s certainly off to a good start with the just-released Paper Doll, her ninth solo album overall and third for Rounder Records. Whether your personal taste leans more toward nasty string-snapping riffs (the aptly titled “Can Ya Handle the Heat?”), sizzling slide escapades (“Lose You”), or high lonesome twang (“Off in the Blue”), you can’t deny that the album’s loaded with prime guitar moments. And its two longest tracks, “Sweet Southern Sounds” and “Fortune Teller”—“longest” being a purely relative term (they’re both under six minutes)—offer listeners just a taste of the neo-psychedelic fantasias that can occur when Fish stretches out in concert.
“People always come up to me and say, ‘You’ve got to figure out a way to capture the live feeling on a record,’” she reports. “Sometimes you go into the studio and it’s like, ‘Shit, I gotta make the song work for vinyl, so let’s cut it down,’ and you end up hacksawing away some of these parts that are kind of the feeling and heartbeat of the song. This time we set out to make something that felt live.”
Fish made her recording debut in 2009 as the leader of the Samantha Fish Blues Band, with the punny-titled in-concert indie album Live Bait.
Photo by Curtis Knapp
That’s one way in which Paper Doll differs dramatically from its predecessor, 2021’s Faster, which delved into a poppier territory of synths, beats, and high-tech production (and, in this writer’s opinion, did so with great effectiveness; one of Faster’s highlights, “Hypnotic,” sounds like it could have been recorded at a late-night dance club hang with Prince and the Pointer Sisters). In contrast, obviously electronic sounds are nowhere to be heard on the new disc, and the music referenced stays firmly in the American roots category: soul, rock, country, juke-joint blues. For some artists, a stylistic shift like this could be seen as a retrenchment, but for Fish, it’s the result of a major departure. This is the first time she’s ever used her road band—keyboardist Mickey Finn, bassist Ron Johnson, and drummer Jamie Douglass—to make a studio album.
“Everybody’s scratching their heads about what genre this falls into, but I know where every song started—with a blues riff.”
“Usually,” Fish explains, “I’ve worked in studio situations where there’s been a producer and they want to put the people they know together. So it was cool to bring in the band that I’ve been playing with for the last couple of years instead of session musicians. I feel like the dynamic was different—the familiarity, and just kind of knowing where the others were gonna go. It might be a minute difference to a listener, but for the players in the room, it helped breed another sensibility.”
Also helping in that department was producer Bobby Harlow, late of Detroit garage-rock revivalists the Go. Paper Doll is the second Fish album that Harlow’s produced; the first was 2017’s Chills & Fever. But whereas that album was all covers, the focus this time was on original songs, more than half of them co-written by Harlow with Fish before he was even considered to produce the album.
“Last March, Bobby came out to a show we did in Detroit,” Fish recalls. “We went out to lunch, and because I was working on writing songs, I asked him to do some co-writing with me, because I love the songs he wrote for the Go. He’s really fun to be in a room with when you’re making something, because he’s incredibly devoted to it. So we started writing, and then a few months later the label was like, ‘We gotta make this album, who’s gonna produce it?’ Well, we’re on the road all summer, so I don’t know when y’all expect us to do this record. But Bobby was available, and it was like the universe bringing us back together. He was passionate about the kind of songs I was writing, and he understood where I wanted to go with it.”
Samantha Fish's Gear
Before finding her SG, Fish’s main guitar was her Delaney signature model thinline style, with a fish-shaped f-hole.
And where was that? “I wanted to lean into superpowers,” Fish quickly answers. “What are my strengths, what are the things that people know me for and recognize me for, and what can I amplify to make this a real statement record? It’s funny, because everybody’s scratching their heads about what genre this falls into, but I know where every song started—with a blues riff.”
Born out of the blues it may have been, but when the Paper Doll material reached the studio (actually, two studios: the Orb in Austin and Savannah Studios in L.A.), it went through some changes, partly due to the band’s contributions, partly due to Harlow’s conceptual leaps. “Bobby’s like a musicologist,” Fish says approvingly. “He’s deep. He pulls from so many different spaces, and he’s definitely introduced me to some things that I wasn’t hip to over the years. That’s done a lot to shape my musical tastes.” If you’ve had the significant pleasure of attending one of the many gigs in which Fish breaks out proto-punk nuggets like the MC5’s “Kick Out the Jams” and Love’s “7 and 7 Is,” well, now you know the guy to thank.
“This time we set out to make something that felt live.”
Perhaps not surprisingly, one of Paper Doll’s best tracks, “Rusty Tazor,” is a similar romp through the garage. In a rare case (for this album) of the producer bringing in someone he knows, Harlow tapped Mick Collins of cult faves the Gories and the Dirtbombs for backing vocals. “He adds such a personality to that song,” Fish says. “And I’m a punk rock fan. I love that whole era. I just love this raw, uninhibited way of playing. There’s nothing precious about it. Leaning into the edges—that’s where the real shit lies.”
Because the Paper Doll sessions took place in between periods of touring, Fish only brought her road instruments, including a new white Gibson SG and Stogie Box Blues 4-string cigar box guitar (see sidebar for more on her personal collection). But both the Austin and L.A. studios presented plenty of other options. “A ton of guitars,” Fish remembers with a laugh, “in varying degrees of disrepair. I used a rather unruly [Gibson ES-] 335 in Savannah for ‘Sweet Southern Sounds.’ You know how some guitars fight you when you play them? Well, I like a little bit of fight, but not so much that I’m pulling the strings out of the saddle, and it was fighting me like that. It was hard to push the strings down, I could only bend in certain places. But that just made the performance more intense, and it sounded good. There was also a Tele and a Strat that they had at the Orb. We had so many tools at our disposal, it was like, ‘Let’s go nuts and play with everything we can.’”
That choice of m.o. also sounds like a positive way to respond to a career moment that Fish calls “an incredible ride. Especially in the last year-and-a-half, two years, it’s just upped the ante even more. There’s nothing more to do, really. I went out, I played to the best of my ability and I did the thing that I’ve been working hard to do for the last 15 years or so. And it’s awesome to be able to show up in that capacity and perform alongside people that I’ve really looked up to. I just feel grateful. I know I’m lucky.”
Fish’s Favorites
Fish has a brawling style of playing slide, often on her cigar box. “Lose You,” on her new album, is especially representative of her approach to the classic blues technique.
Photo by Jim Summaria
For nearly a decade, Samantha Fish’s primary stage axe has been a 2015 alpine white Gibson SG that she bought new online. She’s still got it, but last year it ran into some trouble. “I ended up having to reglue the neck over the summer,” she says, “and it’s been having tuning issues. So Gibson sent me another white SG that’s just beautiful, in great shape. The neck’s a bit fatter, which is cool, different from mine. I’ve been using that one a lot”—indeed, the new SG is all over Paper Doll. “I’ve hung onto it, and I feel bad about that. I don’t want to be the person who borrows a guitar and keeps it. But it just played so great, and it was like, ‘I need this thing. What can I do to keep it?’ Luckily, the people at Gibson have been so good to me over the years.”
An even more recent addition to Fish’s electric arsenal is a Custom Shop Gibson ES-335 in silver sparkle finish, purchased in the fall at Eddie’s Guitars in St. Louis. “Because I played a 335 on ‘Sweet Southern Sounds’ in the studio, I was like, ‘Well, I’m gonna need one live, so of course I have to get this one!’ I’ve always wanted a silver sparkle, and this one is pristine. I’m so scared of the first scratch I get on it, or buckle rash. I’m probably gonna cry!”
Fish hasn’t been playing her Delaney SF1 Tele-style “Fish-o-caster” so much recently, but another Delaney model, the hollowbody 512, is still getting lots of action (often tuned to open D for slide use), as is her Stogie Box Blues 4-string, equipped with a P-Bass pickup. Her Danelectro baritone, Bohemian oil-can guitar, and clutch of Fender Jaguars are also safe at home, along with her current acoustic main squeeze, a new Martin D-45.
YouTube It
Samantha plays Jimi in this September 2024 performance from the most recent Experience Hendrix tour. The selection: “Fire.”
Dig into the details of new gear from EHX, Gibson, Martin, Dumble, Collings, EVH, and more! Check back for daily updates from the convention.
Martin D-3 Millionth
<p>Chris Martin shows off the 3,000,000th Martin serial number at their annual NAMM kick-off press conference. It’s an immaculate feat of craftsmanship that shows off Martin’s 192-year history via the tree rings across the top and a pickguard that shows a map of the locations of the company’s factory over the years. There will be three models made and only one put up for sale. Chris mentioned that there will be a “production” model that is slightly less ornate, slightly more available (30 pieces), and a bit more affordable ($300,000).</p>
Martin D-28 Billy Strings and D-X2E Billy Strings
The big news from the Martin press conference was the release of a pair of new signature models from Billy Strings. The D-28 Billy Strings was based upon his 1940 D-28 with a unique 25” scale length, custom nut, and modified low oval satin neck. It’s a pro-level model that will street for $3,799. The D-X2E Billy Strings has a MSRP of $899 and still features the same scale length and custom nut, but also includes Martin’s E1 electronics, and a hemp softshell case.
Mooer Audio have fine-tuned and updated their sleek GS1000 Intelligent Amp Profiling Processor that now allows guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
Huss & Dalton TD-R Trey Hensley Signature
<p>The adventurous bluegrass burner Trey Hensley & acoustic stalwarts Huss and Dalton combined to release a delightful dread that a thermo-cured Adirondack red spruce, wavy east Indian Rosewood for back, sides & peghead, Honduran mahogany with diamond volute, herringbone purfling, and Gotoh SXB510V open-back nickel tuners.</p>
Third Man Hardware & Eventide Knife Drop
The Third Man Pedal Universe (TMPU) gained another member via this collaboration with Eventide. It’s part fuzz, part octaver, and part synth. It will rattle the rafters and create some of the dirtiest fuzz and growls you can imagine. One of the highlights of the show so far. It’s available now for $299.
Collings 71 Model
Collings brought a brand-new solidbody model to this year’s show. The 71 model introduces not only a new offset body shape, but their first 6-in-a-line headstock. The neck feels smooth and fast and can be customized with T-style pickups from Lollar, Throbak, or Ron Ellis. There’s even a push-pull tone control for series/parallel switching.
Ernie Ball & Cory Wong StingRay II
Ernie Ball announced a new collaboration with Cory Wong called the StingRay II. Cory wanted more humbucker flavors in his arsenal, so these models feature his signature HT pickups, roasted maple neck, and stainless steel frets. They start at $2,999 with the Deluxe version listing for $3,299.
Carr Skylark Special
Boutique amp builder Steve Carr has teamed up with Ken Haas from Reverend guitars at NAMM this year, providing the combos for those who want to sample the diverse range of Reverend’s guitars. Among the amps is an updated version of Carr’s successful Skylark model, the Skylark Special, with a new rectifier structure, 2-ply construction for 5 pounds less weight and improved resonance, a deeper reverb, a 12-watt attenuator, and a wider hi/lo range. It ain’t cheap, at $3390 for the combo, but it’s badass!
Seymour Duncan Powerstage 700 Bass
Seymour Duncan unveiled the newest addition to its popular Powerstage workhorse pedal series … for bass. The Powerstage 700 Bass is a power amp with huge headroom that’s designed for use with modelers and has a rich menu of functions: drive, level gain, multi-band EQ, master volume, and EQ bypass, presence, frequency. The tag is, aptly, $700.
Seymour Duncan Joe Bonamassa Greenburst Stratocaster Set
Seymour Duncan and blues-rock hero Joe Bonamassa continue their decade-long collaboration with Strat pickups based on the set from Joe’s own fabled 1964 refin-ed Strat he calls the Greenburst. These are exacting reproductions of that guitar’s stock grey-bottom pickups, made for tone hunters, and carry a $375 MAP. They’ve got period-correct wiring and staggered alnico 5 magnets, and sound notable punchy with a higher output. The first 500 come in limited edition packaging signed by JB himself.
Dunable Stregas
<p>Dunable Guitars luthier Tony Tirado introduced his own line of handbuilt Strega 7-string guitars–a perfect cut for metal in style and sound, with pickups with extended low-range clarity, custom-wound in the Dunable shop. The guitar line, whose entries are tagged at about $3,850, is entirely the brainchild of Tirado, who explained that they are an outgrowth of his passion for metal as well as his design aesthetic, which tends toward angles, edges, and fins‑–classic flourishes with a fresh spin. They clock in at very well-balanced 7–8 pounds, but sound heavy as hell.</p>
Huss & Dalton 30th Anniversary
<p>Celebrating their 30th anniversary, Huss & Dalton brought a knockout OM that was decked out from head to tail with beautiful tonewoods, intricate inlays, and a snappy sound that'll make you forget about it's dread-dead looks.</p>
Mesa/Boogie 90s Dual Rectifier
<p>Get the JNCOs and flannels out because Mesa Boogie went back to the future with the release of the 90s Dual Rectifier that combined the best parts of the F & Rev G amps and created a modern monster. The 100W tonezilla has two channels (now with their "cloning" so you can Vintage or Modern Modes on either channel, patented switchable rectifiers (tube or silicon diode), and of course, they're using 6L6s.</p>
Gibson Murphy Lab Heavy Aged Acoustic Collection
<p>These might look like old Gibson friends (and that's the point), but these are fresh out of the factory in Bozeman, Montana. Under the watchful eye of Tom Murphy, the relic rage has fully sunk deeper into their acoustic operation as they're now offering heavy-aged options for their flattops like the 1960 Hummingbird and 1939 SJ-100, which hasn't been made in nearly 90 years!</p>
VegaTrem VT1
VegaTrem brought a new tool to the trade show with the introduction of the VT1 Evolution that works for all the Floyd-Rose freaks to give you all the dive-bomb debauchery, but with a flick of a switch, you had a blocked trem that lets you easily slide into drop-D tuning or open tunings for slide. It's a piece of machined metal, but the ingenious design will help gigging guitarists cover a lot of ground on any given set without any guitar changes.
L.R. Baggs AEG-1
With its remarkable acoustic properties, L.R. Baggs was able to successfully amplify the AEG-1 with their most accurate system yet — the revolutionary HiFi Duet. Equipped with their award-winning HiFi Bridge Plate Pickups and studio-quality Silo Microphone, the AEG-1 is versatile for any stage, big or small.
Cole Clark True Hybrid Thinline Grand Auditorium
If you can't decide between acoustic or electric, Cole Clark has you covered with their striking True Hybrid Thinline Grand Auditorium with a nitrocellulose blue top. The Hybrid is entirely made from sustainable tonewoods: AA grade Australian blackwood (top, back & sides), Queensland maple (neck), and ebony (bridge & fretboard). The thinline is loaded with all Cole Clark electronics starting with their PG3 acoustic pickup system and a H-S-S magnetic pickup set. And a three-way toggle engages (electric/both/acoustic).
NUX MG-300
NUX updated their MG-300 modeler with a MKII unit that now includes a 25 amps, plus a bunch of effects like a noise gate, two compressors, 13 overdrive & distortion sounds, a wah, two EQs, 14 modulations, seven delays, and five reverbs. And if that wasn't enough, you can create and store up to 24 user-loadable IR slots to freely create your own unique tones.
NUX Amp Core Studio & Drive Core Deluxe MKII
<p>NUX Core lineup saw a pair of additions including the Amp Core Studio & Drive Core Deluxe MKII. The Amp Core Studio boasts 26 amp models and you can store up to 20 amp presets with built-in NUX IR cabinets or 3rd party IRs. Their three scene modes switching between different amp tones in real-time.The Drive Core Deluxe MKII still has a 100-percent pure analog circuit, but now it's stocked with eight distinct TS-style sounds. Another new (and impressive) tone tweak is the post-boost function (engaged by holding down the footswitch) that gives your signal a 7dB kick in the pants! </p>
Cherub Pix Tune Tuner
If you're tired of the boring tuning game, Cherub Technology's new Pix Tune clip-on tuner offers 16 vibrant display modes that includes draining a soccer goal or swishing a basketball when getting your string in the sweet spot. It has a stainless steel clamp (with rubber pads) to make sure it's snug on your instrument's headstock for a good fit and better tune.
Ren Ferguson Slop Shoulder Dreadnought
<p>Ren Ferguson is a master luthier and has worked with several companies throughout his impressive career, but his current venture is building custom instruments under his own name (with some help from family). He's putting all the knowledge and expertise he's absorbed over the decades he's worked constructing workhorse guitars that not only sound stellar, but look the part, too. He showed us his slope-shouldered dread that was a clydesdale of an acoustic that looked regal and sounded powerful.</p>
Mayones Duvell DT6 & DT7
<p>Mayones is a dealer devilishly dashing instruments and they did not disapoint with the introduction of their Duvell DT6 & DT7 models that strip back away some of their high-end appointments to briing the guitar into a more-obtainable price point. That being said, don't be fooled, these shredders still rip and are handmade in Poland at the same small shop. These two feature a swamp ash body, a 5-ply maple-wenge neck, blackheart fretboard, TUSQ nut, Hipshot Grip-Lock tuners, and a single Velvetrone Ironside & Solium 7 pickups. (Each model has pickups made to their spec based on 6- or 7-string configuration.)May</p>
Magnatone Starlite
<p>Magnatone showed us three killer amps that have their own flair. The 1x8 Starlite Reverb is still the single-ended 5W combo with a single 6V6 & 12AX7 that can bark between a black-panel and tweed, but now it includes Accutronics Digi-Log reverb that has optimized gain stages ensure the reverb seamlessly integrates with the amp’s natural sound, preserving the true classic tone of Magnatone amps.</p>
Gibson J-45
<p>The heralded J-45 & Hummingbird Gibson acoustic models go the no-frills treatment with the release of the Special series that focuses on creating inspiring, well-built instruments that skimp on the extra but not on the tone. These American-made dreads provide the bell-like chime, sparkle, and articulate punch we love from their lineage but come in at a competitive price point.</p>
Gibson Warren Haynes Signature Les Paul
<p>You're not visiting Gibson and not checking out Les Pauls, and were lucky enough to see two fresh faces with the Warren Haynes signature that has a chunky mahogany neck, a pair of growly P-90s, and most notably, a small switch that ignites a clean boost for an angrier purr.The other Lester we saw a sunburst Standard 50s beast that had its pickup covers removed and gave it a pure 1959/60 vibe.</p>
Thorn Soundlabs Assorted Pedals
<p>Thorn Soundlabs, a brand-new pedalmaker out of Nashville, Tennessee, made a splash at NAMM with the debut releases in their product line–a whopping seven guitar pedals and two bass pedals, with a promise of many more to come. At the show, Thorn revealed the Silver Spurs ($180 MAP), a super flexible distortion; the Bad Cash ($180 MAP), a TS on steroids; the Magma ($225 MAP), a distortion and noise gate combo for metal players; the Black Swamp ($190 MAP), a flexible fuzz/OD; the Steam ($195 MAP), a compressor with a control set geared to beginners and expert players; the Tremonator ($229 MAP), a–yep–tremolo stomp; and the Freaq ($140 MAP), a double-stage booster, all for guitar. The two bass entries: an overdrive called the Basstard ($175 MAP) and a compressor dubbed the Steambass ($195). Stay tuned for more releases.</p>
Fluence Greg Koch Gristle-Tone ST Signature Pickup Set
Fishman introduced a new set of Greg Koch signatures, the Gristle-Tone ST Strat-style trio, at NAMM 2025, as part of its Fluence series. They are remarkably hi-fi sounding, with exceptional definition, clarity, and punch. And while they come stock in Koch’s latest Reverend Signature model, the Gristle ST, you can get ’em from Fishman for your S-style axe at $269 (street) per set. PS: You gotta watch the demo video!
Boss Tube Amp Expander
<p>If chasing big, bold tones is your thing–but you can’t do it at brain-crushing volumes–consider investigating Boss’ Tube Amp Expander. Highly compatible with amps and DAWs, the Expander is a power attenuator with deep controls and adaptability. It’s also easy to use. A dial on the front switches between two impedance settings, appropriate for a combo or a stack. There are 10 rig presents, and it’s easy to design and save your own, too. There’s an “air” dial for ambiance, and speaker, line out, and headphone options. If headphones is your thing, just plug in your amp and don’t worry about a cab. Running with a DAW, a wide world of IRs, effects, and more becomes available. At dealers now at a $699 street price.</p>
Radial Engineering Highline Passive Line Isolator
Naw, this ain’t a DI. It’s Radial’s NAMM-fresh Highline passive line isolator, which comes in mono ($179 street) and stereo ($249), and uses premium Jensen transformers to preserve your signal’s pure sound. The Highline takes 1/4" cable (with XLR outs) for connecting amp simulators or pedals to your amps or a DAW. It’s compact and pedalboard friendly, and the Mono version sums stereo sources down to mono. The Stereo can take four 1/4 ” inputs and deliver a stereo signal, but it can also sum stereo sources down to mono. And it fits snugly under a pedalboard.
Darkglass Kaamos
Darkglass deals in the dirty arts and the new collaboration with Taylor Swift bassist Amos Heller is no exception with the Kaamos that blends a powerful distortion with octave-down tones. Real-time routing controls let you shape your signal path with ease—stack effects in series for rich saturation or run them in parallel for intricate, layered textures. A movable effects loop, configurable in three distinct positions, opens up new possibilities, while a dedicated sub-octave output unlocks creative multi-amp setups. Every detail is precision-engineered to put you in complete control of your sound.
Godin Artisan
<p>Canadian crew Godin Guitars reintroduced their Artisan line (original run in the '90s) with some modern updates and posh appointments. Both the Artisan TC (slide 1) & Artisan ST-II (slide 2) include Canadian Laurentian basswood bodies drizzled with a barrel-proof, high-gloss Whiskeyburst finishes, hard-rock maple necks, a maple fretboard on the singlecut and an ebony board on the double cut, and the T was loaded with Fralin pickups (Split Blade Tele & Unbucker), while the ST-II comes with Fishman Fluence Classic humbuckers.</p>
Godin Guitars Multiac Nylon Oceanburst
<p>Godin unlocked a lot doors for players when they first introduced their popular Multiac. They continue striving to improve their design with slight tweaks and this year was no different as they brought a pair dazzlers that have new, comfier neck shapes (designed to lure the electric player to the nylon-based instrument) and dreamy finishes like the Opalburst (with a maple fretboard) & Oceanburst (with a richlite fretboard). They also are packed with updated custom-voiced <a href="http://www.lrbaggs.com/" target="_blank">LR Baggs</a> electronics. Both models have hollowed silver leaf maple bodies & necks, a solid cedar top with figured flame leap top (that's sunken into the body).</p>
Godin Connaisseur
<p>Our North American neighbors at Godin Guitars brought the brand-new Connaisseur MJ flattops. A solid spruce top, solid rosewood back & sides, mahogany neck, and ebony fretboard make this a sturdy, stout ride. Each of these studs come with the LR Baggs HiFi electronics, but we're not sure how much you're gonna want to plug in when this baby jumbo sings so well on its own. </p>
Spector NC-4 Frank Bello
<p>If you're gonna get caught in a mosh at an Anthrax show, you better bring your Frank Bello signature Spector NC-4! The powerhouse 4-string is constructed with an alder body, a one-piece maple neck, maple fingerboard, vintage-inspired chrome tuners and a modern adjustable bridge. This beast bites with Bello’s signature <a href="https://www.emgpickups.com/" target="_blank">EMG</a> P/J pickups. And the best part has to be the metallic purple finiish that was inspired by his mother and grandmother (their favorite color was purple) naming it the "Tina Rose" finish. It also has a matching headstock and purple acrylic block inlays.</p>
Spector Doug Wimbish Euro 4
<p>Two things that go together like peanut butter & jelly are Spector and Living Colour bassist Doug Wimbish. Making new waves with their longtime partnership they collaborated on a fresh trio of 4-strings under the Doug Wimbish Euro 4 banner that is built with a quilted maple top paired with maple body wings, Doug's preferred slim neck profile, and custom-wound EMG pickups. The bad news, it doesn't come with Doug's flashy, funky, musical</p>
Blackstar DA100 Ruby
Blackstar worked with Doug Aldrich — a man with a heart full of tone — to create the DA100 Ruby (named after his young daughter) that was unleashed this week at NAMM. A major highlight was the OD Voice function that delivers a vintage, hot-rodded Plexi-style punch with the flick of a switch. Additionally, they fine tuned the midrange to provide a chest-thumping resonance that makes every power chord hit with authority. The enhanced effects loop is now fully footswitchable, controlled by the included 5-way foot controller. The matching 4x12 is packed with Celestion Vintage 30 speakers. Here's what Doug had to say about the experience working with Blackstar: "It feels like I’ve spent my entire life chasing the perfect tone. Over the years, I’ve owned dozens of amps – from modern to boutique, modded to vintage classics. Most of them were tube amps, and each had something special, but I was always searching for more. I’ve been lucky to build great relationships with many amp companies and received several offers to create a signature amp. Yet, I never fully committed. I just wasn’t 100% sure… until now.”
Red Panda RD-1
Red Panda is known for complex, creative pedals, and that trend didn't stop with the release of their RD-1 Pitch Delay, which is a simplified version of their beloved Raster. This reduced Raster still does QUITE a bit, but offers a streamlined control set that focuses on still being a stellar digital delay that allows you to rip a hole in space and time with a frequency and pitch shifter that can be placed inside or outside of the feedback loop. You can shift all repeats by the same amount, or endlessly up or down. It's a trip worth the lowered-cost of admission!
GMI Public Address Systems 33F6
It wouldn't be NAMM without a few surprises. One we stumbled upon today was the GMI Public Address Systems 33F6 that was designed in collaboration with guitar great Troy Van Leeuwen of Queens of the Stone Age. It uses new, old-source components and gives TVL everything he's loved in old Peavey, Marshall & Fender amps. The 35W, two-channel head has four inputs, a solid-state rectifier preamp with a fully-tube power amp section (6L6). It's also outfitted with a Lar-mar style post phase inverter master volume and defeatable tone stack.
Cort X700 Mutility II
Shredmaster Hedras showed us his new Cort X700 Mutility II signature that has an American basswood body (with an ergonomic double-cutaway design), a roasted 5-piece maple-and-walnut neck, a compact 25-25.5" multi-scale setup, a roasted maple fretboard, a GraphTech TUSQ nut, and rips thanks to Fluence Open Core Modern humbuckers.
DigiTech Whammy 5
Many musicians have used and abused the various versions of DigiTech's Whammy pedal, but bass badass MonoNeon has taken the pitch shifter to new heights (and lows). DigiTech took notice and they worked with the funkmaster on a tweaking the Whammy 5 with revamped detune settings that give you distinct options for pitch-bending and harmonizing not found on the standard model. The new hypersonic mode sends your sounds straight to three octaves above input. The three octave range applies to both dry and octave modes to create an expanded, electrifying pitch palette. And best of all, it's optimized for use with both electric guitars and basses.
DigiTech HammerOn
DigiTech is synonymous with pitch shifting. At the 2025 NAMM show they introduced the HammerOn Instantaneous Pitch-Shifter that melts into your technique just like a traditional guitar or bass hammer on/pull-off. There's a total of 27 total pitches to choose from, ranging from 2 octaves up to 2 octaves down. The sequence mode allows for user-configurable 2-, 3-, and 5-note progressions. Trust us when we say this pedal is gonna raise some eyebrows and open new dimensions.
Kernom Elipse
Are you indecisive on your modulation application? Would you like to blend them? Well, Kernom has your solution with the impressively versatile Elipse is a modulation taproom with harmonic tremolo, rotary, chorus & vibrato, flanger, phaser, and vibe settings. The mood knob doesn't just select the effect, but you can blend them as you twist the knob. The all-analog, digital-controlled pedal secret sauce is in the swirl that blends a slow phaser with any modulation effect to create rich, multidimensional tones. If you can't find a sound in there you don't like, you don't have a pulse.
Kyser Capo
If you see a curl on your capo, you know it was made by Kyser in Texas. They did a unique thing by bringing production to NAMM and showed how they make their acoustic guitar capos. There's only a few parts on their capos, but they're all high-grade components that make a secure, snug, dependable hug on your guitar's neck.
Reverend Guitars
<p>Reverend always have a stable of fresh ponies at NAMM and this year's show was no different as they paraded out a collection of fresh updates, new upgrades, and reintroduction of old favorites. Clearly, they're loving the P-90 growl and painted pickguards with these dynamic releases.</p>
Hotone Ampero II Stage
Hotone brought their Ampero II Stage modeler to NAMM and let us test out its capabilities that include over 100 pedal models, 90 amp models, 68 cab models, 60 Hotone original effects models, 20 classic Celestion speaker IRs, and 300 presets. It has a built-in stereo looper with 60 seconds (max) recording time and undo/redo function. There are eight assignable footswitches with multicolor halo LEDs, with two working modes and customization support.
Kepma K3 Plus
The new K3 Plus series is a line of incredibly playable bolt-on models that offer features aimed at the beginning player—most notably the $199 price tag. each model has a slimmer neck for easier playing and AcoustiFex K-10 electronics that include built-in effects and Bluetooth capabilities.
Tubesteader Pedals
One of the new discoveries at the show was this line of amp-in-a-box pedals, each centered around a 12AX7 preamp tube. All the major food groups are covered from '50s tweed to D-style, and more. Each pedal is built to order and range from $300-$350.
Supercool Pedals
The sound of the classic ProCo Rat pedal has been the central point of so many great guitar tones. Supercool Pedals has taken inspiration from that and expanded into a deeper version packed with features. In addition to an active 3-band EQ there's also a turbo switch that instantly takes you one of the most popular variations of the classic circuit. They are available now for $199.
Tsakalis Phonkify
The latest iteration of Tsakalis' expansive envelope filter is a pure funk machine. All the classic '70s-era sounds are packed in there, but with three separate filters, you can get so much more out of it. Both the octave and filter are switchable, and with effect order switching you can really push the limits of out-of-this-world wah sounds. It will be available in March for $229.
Fender Prestige Performer
<p>Although Fender didn't have their usual presence at NAMM, we were able to get a peek at a few custom shop models. Here is a Prestige Performer, built by Levi Perry. The '80s are back! It has a 24-fret setup, Curtis Novak pickups, and a custom Strat hardtail bridge. It can be yours for $11,350.</p>
EVH Wolfgang Trans Amber
EVH's custom shop was quite busy as well. As an unapologetic fan of '90s Van Halen, the finish on this Wolfgang Trans Amber brings back so many memories. Along with the basswood body and Quilt Maple arched top, it has 22 stainless steel frets, EVH Floyd Rose bridge, and Wolfgang Black and Creme Zebra humbuckers. Streets at $5,800.
Dumble "Woody" Amp
<p>Dumble Amplification brought an impressive collection to the show, but this amp might be the most significant. Before Dumble would agree to build you an amp you had to make the pilgrimage to see him and play for him. This amp, dubbed “Woody”, would be what each player would plug into. It’s a single-channel design that has this beautiful, smooth compression. And like many of Dumble’s amp designs, there’s nowhere to hide.</p>
EHX Pedals
<p>EHX always brings some fresh goodies to NAMM and this year they showed us a trio of tone twisters. The most impressive unit had to be the POG3 that builds off their stupendous previous iterations and put lightning-fast tracking and perfect polyphony over four octaves with smoother tone and performance than ever before. It has six voices including DRY, -2, -1, +5th, +1, & +2, you can mix each with individual sliders and create enveloping stereo effects with dedicated pan knobs and selectable LEFT/RIGHT/DIRECT outputs. The effects section has been expanded to offer envelope control and adjustable Q for the new multi-mode FILTER, enhanced DETUNE section with SPREAD, and individual DRY effect selection, plus the famous ATTACK slider for subtle or dramatic swell effects. It also includes expression effects like Freeze, Glissando, Volume, Filter, X-Fade, and Warp.The pedal that launched the company got a facelift with the introduction of the Linear Power Booster (LPB-3) that has an active EQ featuring a powerful parametric mids control and up to a walloping 33dB of boost (or selectable down to 20dB). Its high-voltage rails increase the pedal's headroom and the 3-band EQ features treble and bass knobs to control the highs and lows plus a powerful parametric mids control with adjustable mid freq and q.The popular 360 looper got the Pico treatment reducing its footprint quite a bit. With 6 minutes of loop recording time with unlimited overdubs over 11 loop memory banks, the 360+ also features an OVERDUB control which sets the level of playback of previously recorded loops while overdub new loops, making it possible to create ever-changing loops and ambient sounds scapes. Adjustable fadeout time from 1-10 seconds applies a musical fade to your loop when you stop the loop. Dry and loop levels are independently adjustable for a precision blend of layers.</p>
Two-Rock Silver Sterling Signature
<p>Two Rock are tone titans and they dished us a double uppercut this year. We got to hear the Silver Sterling Signature (now in 1x12 combo format) that is a rides at either 100 or 50 watts thanks to 4-6L6 power tubes. It has foot-switchable FET and tone stack bypass, 7-position gigh and low filter rotary controls, tube-driven, analog spring reverb with send and return controls & passive effects loop. From lush, crystalline cleans to stainky blues, this amp will give you the classic sounds and more — plus look how classy it looks!The second bad boy we saw was their TS1 “Tone Secret” amp that was originally released in 2010. In 2020, they updated the layout from previous incarnations of this amplifier for more tonal shaping options and performance. The TS1 is a nod to the classic overdrive, cascading gain stage amplifier and we wanted to put our take on this design. Featuring a full tube-buffered effects loop and an overdrive channel that is incredibly touch-sensitive with a rich sustain that will inspire you to express yourself in new and creative ways. Possibly the coolest thing was the grille cloth that was made with and in the same tradition as the early Bluesbreaker combos.</p>
Jack White x Third Man Pedals
<p>We got an exclusive look at the next two pedal collaborations from Jack White and Third Man. Any guesses on what type of effects these are?</p>
Divided by 13 JRT 9/15
Fred Taccone recently retired and he wanted Divided by 13's legacy to continue but had to find the right fit. The Two Rock team jumped at the chance and are now carrying on the designs (and probably some new ones in the future that are a bit more British flavored). We heard a bit from the JRT 9/15 that is essentially two amps in one. This is accomplished by switching between 9 watts, utilizing a pair of 6V6 tubes in Class A to deliver the warm, rich tones of vintage 1950s American amps, and 15 watts with a pair of EL84 tubes in Class AB for a bright, chimey top-end and complex, musical breakup, reminiscent of 1960s British designs. The JRT 9/15 preamp drives two 5879 pentodes in tandem, each with its own independent volume control. These circuits are voiced for dramatically different responses: one provides more top-end presence and later breakup, while the other offers lower headroom with an emphasis on low-mid frequencies, delivering a dense, rich tone.
Novo Voltur B6
One of the standout models from Novo was this Voltur B6, which is their version of the classic Bass VI setup. It’s well balanced and lightweight, but really growls with the Lollar-designed gold foil pickups. They are up for pre-order now for $4,499.
Ashdown Rootmaster 500 EVO III
If you're a bassist looking for power, versatility, and portability, the Ashdown Rootmaster 500 EVO III might be the ticket. The lightweight heavyweight offers Ashdown's thunderous tone, featuring a comprehensive EQ, Ashdown sub harmonic generator, compression control, and variable valve emulated drive. Designed for reliability, it's a tool built to last a lifetime with responsible design. The EVO III also includes the Analogue Cab Sim Di output, balanced D.I., and customizable filters for your monitor mix.
Collings D1 A HC
<p>Collings is a revered guitar outfitter that is dishing out some deadly instruments. Whether it's a mandolin, electric, baritone, or a flattop, they look like a Cadillac and cruise like it, too. Our stop on their acoustic side focused on their D1 A HC (Hill Country) dreadnought that has an Adirondack spruce top, Honduran mahogany back, sides & neck, and ebony fretboard and bridge. The beautiful burst is covered with a high-gloss, ultra-thin nitrocellulose lacquer. Their goal with the top-tier HC series is to push the tonal palette to the far end of the spectrum with a strong fundamental voice that is both warm and full, along with unique appointments, such as our matching, hand-poured pickguard, rosette ring, wedge, and heel cap, plus the Collings logo stamped on the back of the peghead.</p>
Xvive Pedals
Tsakalis Mothership
The great Greeks at Tsakalis Audioworks brought an impressive powerhouse pedal that works with three major functions: tube overdrive, preamp & cabinet simulation. It has two completely independent channels, each featuring a four-band EQ, two different gain/volume sections, three selectable gain-stages and three selectable cabinet simulations. Plus, there's a serial mono effects-loop for your external effects, MIDI in and free access to Tsakalis Audioworks’ full free online library of carefully selected and curated digital cabinet simulations. Its two independent channels provide a huge range of tones from warm or sparkling cleans all the way to high gain tube-driven dirt. The two ECC83 (12AX7) tubes, run at a comfortable 240 Volts, providing touch sensitivity, headroom and plenty of gain and tube sag as required.
Sterling by Music Man & Ernie Ball
<p>Axis, Cutlass, Sting Rays, oh my! There were all those and more new stylings at the Sterling by Music Man & Ernie Ball both this year as we got a tour of all their affordable options that are out or will be coming out in 2025. We saw new stylings on signature sweets for James Valentine, Steve Lukather, Ryan "Fluff" Bruce, Pete Wentz, Tosin Abasi, Jason Richardson and more!</p>
Danelectro Guitars
<p>Danelectro keeps bring the past to the future by recreating cult classics from their history. The masonite masters brought a pair of new electrics, their Sitar in a cracked-black finish, and some new colors on the Longhorn basses.</p>
Snark Crazy Little Thing
If you blink, you'll miss it (or lose it), but Snark somehow minaturized the clip-on tuner to a button-sized package with the development of Crazy Little Thing!
IK Multimedia TONEX Cab
Audio creation specialists IK Multimedia showcased two strong new entries in their TONEX modeling and effects product line at NAMM: the powered TONEX Cab and the Joe Satriani Ltd. Edition TONEX One pedal. The lux-sounding cab, which ships in April but is available for preorder at $699 street–$100 less than the MAP–is full range, flat response with a custom 12" Celestion and a Lavoce 1" high-performance compression driver. It’s built to enhance the sonic vibe of amp modelers, and kicks out the jams at 350-watts via audiophile-grade power amps. The sound pressure level is 132 dB, so there’s plenty of punch, response, and definition. The control set includes a programmable 3-band EQ, a mike and live dial for tone, an easy-to-use preset dial, and a custom IR loader with 8 onboard presets. There are XLR and AUX outs, it’s MIDI controllable, has old-school tilt-back legs, wood construction, and swappable grille cloths. Plus, it comes with AmpliTube 5 SE, TONEX SE, and TONEX Cab Control Software.
IK MULTIMEDIA Joe Satriani Ltd. Edition TONEX One Pedal
IK’s literally shiniest new NAMM offering is the Joe Satriani Ltd. Edition TONEX One pedal. It’s got an eye-catching chrome finish with 3-band EQ and a center control for volume, gain, gate, and reverb. Satch’s work on the pedal included hauling 26 of his own amps into the studio to sculpt 20 preloaded preset tones for this pedalboard-friendly mini. The presets are customizable, and it’s powered via 9V DC or a USB-C and runs at 120 mA. The dynamic range cruises up to 123 dB, there are ultra-low-noise 24-bit/192 kHz converters, and the library of 40,000 TONEX sounds can be accessed via USB. At less than 2" wide and 4 ” long, it is a mighty mite. The stomp ships in February and is tagged at $229.
Cream Guitars
<p>Cream Guitars, designed by company founder Luis Ortiz and based in Monterrey, Mexico, has come to the past three NAMM Shows displaying prototypes and models in development. This year Luis came ready to rock with a strong line of new instruments that will soon be available for preorder via Guitar Center. (Meanwhile, you can check out his guitars and basses at <a href="http://creamguitars.com/" rel="noopener noreferrer" target="_blank">creeamguitars.com</a>.) Here’s a rundown of the standouts. The Voltage DaVinci is a tiger-toned stage guitar, with a multi-ply C-shaped neck, a roasted maple fretboard, and mahogany body, plus a Seymour Duncan ’59 PAF in the neck and a JB in the bridge. The Explorer-related body’s face also lights up and changes colors via a control set on the upper bout or Bluetooth. Other appointments include Graph Tech locking tuners and a TUSQ nut, a push-pull option for the neck pickup, 22 frets, a 3-way switch, CTS pots, and orange drop caps. All Cream instruments have a distinctive aluminum resonance plate that extends from the neck joint deep into the body, for sustain. Street price is set at $3,000.</p><p>The semi-hollow Maverick has the same scale and playability, and shares much of the setup, but a more naturalistic look, with an alder top and a red cedar body, and Seymour Duncan Red Devil pickups. Like all the Cream guitars we handled, the neck feels smooth and easy, and the well-finished medium jumbo frets were a pleasure. The Maverick also has a secret weapon: a multi-bender, which can be set for any two strings by sliding along a rail, and can be dialed in to bend a full or half step. The tag: $2,500.</p><p>The Calavera has yet another pickup configuration: a Duncan Phat Cat P-90 in the neck and a Pearly Gates in the bridge. Like the Voltage DaVinci and Maverick, it has a deep cutaway that allows access to all the frets. The neck is mahogany and the body is alder, and there’s a comfortable Bigsby-inspired whammy. It’s priced at $2,500 street. And it’s worth noting that Cream uses only sustainable woods.</p><p>The newest bass variation from Cream is the Revolver Deluxe, and it’s got a slew of sonic options via its eight independent pickups that can be reconfigured at sonic whim. Louis explains it all in our on-the-showroom floor video. There’s also a toggle that activates a piezo pickup for an acoustic tone. What else? A Seymour Duncan preamp and volume, blend, and tone controls.</p><p>Oh! And one more thing. Luis Ortiz is also interested in the literal art of the guitar, creating special instruments that are, at this point, for exhibition only and celebrate various Mexican traditions and culture. The Monarca is an especially beautiful example, with its body covered in a flowers-and-butterflies motif. Luis explains that the guitar was inspired by an incident from his childhood, when thousands of monarch butterflies, in their annual migration from all across North America to California and Mexico, descended on his grandmother’s garden. After spending time with Luis and his creations, one gets the impression that this designer is striving for sound, style, and soul.</p>
John Doe and Billy Zoom keep things spare and powerful, with two basses and a single guitar–and 47 years of shared musical history–between them, as founding members of this historic American band.
There are plenty of mighty American rock bands, but relatively few have had as profound an impact on the international musical landscape as X. Along with other select members of punk’s original Class of 1977, including Patti Smith, Richard Hell, and Talking Heads, the Los Angeles-based outfit proved that rock ’n’ roll could be stripped to its bones and still be as literate and allusive as the best work of the songwriters who emerged during the previous decade and were swept up in the corporate-rock tidal wave that punk rebelled against. X’s first three albums–Los Angles, Wild Gift, and Under the Big Black Sun-were a beautiful and provocative foundation, and rocked like Mt. Rushmore.
Last year, X released a new album, Smoke & Fiction, and, after declaring it would be their last, embarked on what was billed as a goodbye tour, seemingly putting a bow on 47 years of their creative journey. But when PG caught up with X at Memphis’s Minglewood Hall in late fall, vocalist and bassist John Doe let us in on a secret: They are going to continue playing select dates and the occasional mini-tour, and will be part of the Sick New World festival in Las Vegas in April 12.
Not-so-secret is that they still rock like Mt. Rushmore, and that the work of all four of the founders–bassist, singer, and songwriter Doe, vocalist and songwriter Exene Cervenka, guitarist Billy Zoom, and drummer D.J. Bonebreak–remains inspired.
Onstage at Minglewood Hall, Doe talked a bit about his lead role in the film-festival-award-winning 2022 remake of the film noir classic D.O.A. But most important, he and Zoom let us in on their minimalist sonic secrets.
Since X’s earliest days, Billy Zoom has played Gretsches. In the beginning, it was a Silver Jet, but in recent years he’s preferred the hollowbody G6122T-59 Vintage Select Chet Atkins Country Gentleman. This example roars a little more thanks to the Kent Armstrong P-90 in the neck and a Seymour Duncan DeArmond-style pickup in the bridge. Zoom, who is an electronics wiz, also did some custom wiring and has locking tuners on the guitar.
More DeArmond
Zoom’s sole effect is this vintage DeArmond 602 volume pedal. It helps him reign in the feedback that occasionally comes soaring in, since he stations himself right in front of his amp during shows.
It's a Zoom!
Zoom’s experience with electronics began as a kid, when he began building items from the famed Heath Kit series and made his own CB radio. And since he’s a guitarist, building amps seemed inevitable. This 1x12 was crafted at the request of G&L Guitars, but never came to market. It is switchable between 10 and 30 watts and sports a single Celestion Vintage 30.
Tube Time!
The tube array includes two EL84, 12AX7s in the preamp stage, and a single 12AT7. The rightmost input is for a reverb/tremolo footswitch.
Set the Controls for the Heart of the Big Black Sun
Besides 3-band EQ, reverb, and tremolo, Zoom’s custom wiring allows for a mid-boost that pumps up to 14 dB. Not content with 11, it starts there and goes to 20.
Baby Blue
This amp is also a Zoom creation, with just a tone and volume control (the latter with a low boost). It also relies on 12AX7s and EL84s.
Big Bottom
Here is John Doe’s rig in full: Ampeg and Fender basses, with his simple stack between them. The red head atop his cabs is a rare bird: an Amber Light Walter Woods from the 1970s. These amps are legendary among bass players for their full tone, and especially good for upright bass and eccentric instruments like Doe’s scroll-head Ampeg. “I think they were the first small, solid-state bass amps ever,” Doe offers. They have channels designated for electric and upright basses (Doe says he uses the upright channel, for a mid-dier tone), plus volume, treble, bass, and master volume controls. One of the switches puts the signal out of phase, but he’s not sure what the others do. Then, there’s a Genzler cab with two 12" speakers and four horns, and an Ampeg 4x10.
Scared Scroll
Here’s the headstock of that Ampeg scroll bass, an artifact of the ’60s with a microphone pickup. Doe seems to have a bit of a love/hate relationship with this instrument, which has open tuners and through-body f-style holes on its right and left sides. “The interesting thing,” he says, “is that you cannot have any treble on the pickup. If you do, it sounds like shit. With a pick, you can sort of get away with it.” So he mostly rolls off all the treble to shake the earth.
Jazz Bass II
This is the second Fender Jazz Bass that Doe has owned. He bought his first from a friend in Baltimore for $150, and used it to write and record most of X’s early albums. That one no longer leaves home. But this touring instrument came from the Guitar Castle in Salem, Oregon, and was painted to recreate the vintage vibe of Doe’s historic bass.
