This month, Anthony "Big Tony" Lucas sits down with Pyotr Belov and the converse about coming up with new amp ideas.
This month I spoke with Pyotr Belov, director of amplifier development for Loud Technologies’ Blackheart Engineering division.
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It starts from a serious meeting with our marketing expert, Kevin Van Pamel (director of marketing and product development), in a dodgy watering hole. Tools are good beer, a pen, cocktail napkins and vivid imaginations.
Are you trying to fill a niche or trying to emulate similar products on the market?
Both. It’s amazing how many companies take the stance of “we know what the customer wants, therefore we will make it and they will buy it.” Instead, we keep our finger on the pulse and our ears to the ground, seeking the opinions and demands of players on the street. Then we try exceeding their expectations. Some gear is proven, but priced at a level where the average person can’t afford it. We take the hype out of boutique prices, keep the quality and make it where anyone can afford it.
Do you aspire to create a specific tone when designing the amp?
I am a product of old school technology and rock – I like pretty organic sounds. A guitar should sound like a guitar. I desire the amp to be the extension of the player and guitar. Some amps make any guitar and player sound the same. I like making the amplifier a blank canvas for the player and guitar. Many players rely on the front-end gain structure of the amp to achieve easy sustain – I think that’s a crutch, the tone should come from your hands. The best way to develop this is to take off the training wheels, plug in and turn up old school style. I like to take players back to the roots where amps were all tube, rock was pure and you had to be a hell of a player to get laid after the show.
What role does the speaker play in your overall tone?
Major! It is the last and probably one of the most important components to your overall tone. Not having the right speaker is like running out of gas as you approach the finish line.
Do you design the amp around the speaker or design the amp and then find a complimentary speaker?
When I was an independent amp builder I designed an amp and catered the circuit to the speaker. Now I have the luxury of using speakers fine-tuned to the circuit just as much as the circuit to the speaker.
How do you go about finding the right speaker? What factors are considered?
Efficiency is a big factor. A small amp can sound huge with an efficient speaker and a big amp can – but doesn’t have to – sound like crap with a speaker that has a low efficiency rating. Then there’s break-up – early or late? Is it going to be an open back or closed back cabinet? Do I want an American or British vibe? I generally just tell Eminence what I want and then they translate my request into their mad science and deliver what I need.
Do you prefer custom designed or off-theshelf speakers and why?
Custom! I like to feel special. Seriously, there’s nothing wrong with off-the-shelf speakers. In fact, when requesting a custom designed speaker I use standard models as references, but having a custom speaker option is hard to pass up.
How do you decide the power of the amp and what role does the power of the speaker play?
Blackheart has amps from a fraction of one watt to 100 watts. In each case, we try creating a speaker that best compliments the specific circuits. At the same time, we realize our extension cabinets may be used with other amps, so we also ensure that they complement other amplifiers and their respective power levels. I heavily lean towards high efficiency speakers rated much higher than the amp.
What features of the amp are you pleased with? What’s cool and different about your amps?
Boutique design and quality construction at a working musician’s price is one of our greatest features. Let’s face it, for tube amps, the building blocks every designer relies on are the same used in the first amps ever built. Some technologies have been developed, but the bare bones of a great tube amp are as simple as the V8 block from the 1950s. Building an amplifier that captures the player’s eyes and ears with useful features, quality components and top workmanship without bending them over the barrel is the magic behind Blackheart Engineering. As much as I refer to price being important, that’s not where we start. We nail down an idea we’re excited about and run the numbers last. If both can exist in a world true to the BHE mission, the planets are aligned and there is great peace in the universe. We’re just a bunch of average guys that like to hang out and make the world a better place through tubes and wires. In the words of Brian Johnson, “For those about to rock, we salute you!” At Blackheart Engineering, we salute those who work hard, play hard and like to get something of substance for their hard-earned cash.
For more information on Blackheart products please visit blackheartamps.com.
Anthony “Big Tony” Lucas
is a guitarist and Senior Lab Technician at Eminence Speaker LLC, where he specializes in guitar-speaker design and customer support. Big Tony has been with Eminence for over 10 years and is responsible for many well-known guitar speaker designs.
Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.