Don't miss your chance to get loud with these amps!
<p>The Revv Generator 120 MK3 is the world's first stereo-direct-output reactive load & IR Loading tube amp. It brings you 4 channels of all-tube finely-tuned tone based on feedback from touring artists, session guitarists, & engineers. It also features Two notes Torpedo-embedded technology for going direct to FOH, studio monitors, or headphones. No cabinet required. A built-in noisegate & lush reverb are accompanied by a host of switching & voicing options to make getting the sound in your head faster than ever.<br><br>The Blue Channel is chimey with tons of headroom, & now includes a "Wide" switch to give you a wide-range frequency boost for more push & sustain. The Green Channel features 3 all-new drive modes to take this dynamic channel from edge of breakup, to fat overdriven tones. The Purple Channel is famous for its razor-sharp metal clarity, & now in MK3 it receives more low end & saturation with no loss in tightness. Finally, highest gain - Red Channel has an all new touch-sensitive feel which takes you from warm oldschool overdrive to the most massive modern tones available.<br><br>Revv Amplification is committed to bringing you the most complete amplifier experience available. Clarity, feel, & tone – for stage, studio, & home.</p>
<p>The PRS HX 100 captures the flexibility, power, and balance of late 60's British-inspired tone. A continuation of PRS's popular HXDA amplifiers, PRS HX amps feature a refined control layout and a newly-documented "Authentic Hendrix" Touring Circuit. This circuit is heavily inspired by one of Hendrix's personal amps, purportedly used at Woodstock, which Paul Reed Smith and PRS Amp Designer Doug Sewell were able to study in 2018.</p>
<p>Designed in collaboration with Robert Keeley of Keeley Electronics as a follow-up to the bestselling Custom 10, the Keeley Custom 12 is built to seamlessly integrate your pedals into the heart of an all-tube Supro amplifier. The preamp and 2-band EQ section are voiced perfectly for running your gain pedals in front of the amp, while still maintaining Supro's signature midrange heft and phenomenal touch dynamics.</p>
The MOD 102+ is a great place to start for those interested in building their own tube amp. It is based on a classic American tube-circuit design combined with a British-style Class A output tube section that produces 8 Watts of power. At low volume it produces a clean, chimey tone that moves into smooth overdrive at higher volumes. The amp features a three position progressive toggle switch for off-standby-power. In addition, each control features push-pull functionality - pull out the bass control knob for "mid boost", pull out the treble control knob for "bright", pull out the volume control knob for "turbo". These features along with a JJ ECC803-S (a long plate 12AX7 known for its complex mid range tones) allow for a wider variety of tones and extra control for the user. All parts are included along with a pre-drilled steel chassis, wire, and tubes.
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<p>The Two-Rock Studio Signature is the latest generation of the single channel 35 watt amplifiers. Making some changes to the original Studio Pro 35, the new Studio Signature model remains a 6L6 clean amplifier for a solid pedal platform with some additions that will make the Studio Signature a continued legendary product.</p><p>New build techniques, layouts, and materials implemented over the last few years were the key starting points to this amplifier's new construction. The added boost toggles are an obvious change at first glance, allowing the use of our potentiometers with custom tapers. Reverb send control on the back panel and a Return control on the front give room for these toggles. The Gain Structure switch can also be found on the back, allowing the same functions as the flagship Classic Reverb Signature essentially giving 3 front-end types to this already versatile clean amplifier.</p><p>New aluminum chassis, anodized in silver or black and donning new silver knobs, a black bronco cab, and black matrix grill cloth give this amp a stunning new look.</p>
Mighty Bass 50BT is a versatile bass amp for practice, rehearsing and recording. It's equipped with a premium 6.5" loudspeaker and driven by a 50-watt classic D power amp.
NUX's iconic TSAC modeling technology provides various nice-sounding amp models and all the essential effects with great playability & response, while IR offers you more cab sounds! You can engage drum function with APP, and record phrase loops with footswitch.
Mighty Bass 50BT has 3 channels, you can save one preset in each. For deep tone editing, simply use its Mobile APP and PC Software!
-Bass Amp Modeling with Cab IRs, expanding possibilities of tones
-IR loading (1024 samples) with Edit Software
-Whitebox compressor effect offers you analog touch & response
-Independent IR toggles for Amp and DI out
-USB Audio Stream for recording interface with routing setup
-Footswitch to remote Drum&Loop (60s)
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Classic-rock warriors Doug Aldrich and Glenn Hughes show us their latest touring set ups.
The Dead Daisies play classic rock—a catalog of songs practically etched in the granite of popular music history.
When we rolled into Nashville's Mercy Lounge during soundcheck, the band was roaring through the Deep Purple classic "Mistreated," with Glenn Hughes hitting all the requisite high notes and Doug Aldrich laying down the song's heavy riff. Drummer Tommy Clufetos and bassist Hughes had the groove in a headlock, and guitarist David Lowy—who leads this musical collective—was grinding out the rhythm.
After the check, we talked to legends Aldrich, of Whitesnake and Dio fame, and Hughes, whose bona fides include Deep Purple, Black Sabbath, and Black Country Communion, about the gear they're using to push up Daisies, who have a new album called Holy Ground. So, get ready for gold tops, Marshalls, a killer Nash bass, and a couple stacks of Orange-flavored goodness.
[Brought to you by D'Addario's XPND Pedalboards: https://ddar.io/xpnd.rr]
Doug’s Gold and Black Beauty
For the Dead Daisies' current tour, Doug Aldrich is slinging three LP-style gold tops. His main instrument is this black-pickguard-wearing road-warrior. It's his favorite among the six gold tops he owns, yielding what he describes as a "big, open sound." (True that!) He acquired this '57 Gibson Custom Shop reissue in 2008 and replaced the pickups with his Suhr signature high-outputs. The tuners are by TonePros and the well-played axe has been refretted by Bruce Nelson of L.A.'s Nelson Guitar Works. Otherwise, it's stock. And he uses .11–.50 Dunlop strings and tunes down a whole step on all his guitars for Dead Daisies.
The Golden Ruby
The Golden Ruby was built by Leo Scala and named for Aldrich's pre-school-aged daughter. In addition to being onstage, it's gone to class with her for show-and-tell. It's a bit different from his Gibsons, although it also sports his Suhr signature pickups, in that the neck's got a slightly thinner profile—"but still chunky," Doug adds. "I like a chunky neck." There's also a wraparound bridge and, like most L.P.-style guitars, it's got a mahogany body and maple top.
The most immediately noticeable difference on Aldrich's Scala L.P.-style is its hand-tooled headstock, which features a distinctive top cut and Scala's signature logo.
A Real Signature Model
And Ruby's done a little customizing on this Scala herself. It took a few practice runs to nail this autograph for daddy.
Born on the Sunburst
It was love at first site when Aldrich saw this '59 reissue at a friend's house during the COVID lockdown. It was sent to his pal by Gibson, and the high eye-appeal of its flame top made it a must-have. This one has Gibson tuners and his signature Suhr pickups. He also had it refretted. And there's another customization—tooth marks on its bottom, top, and one dial courtesy of another COVID acquisition: a Boston terrier puppy. This guitar's voice accents the high-mids a bit, making it perfect for covering Ritchie Blackmore leads.
Did You Say Marshall?
You want rock tone? You get rock amps. Aldrich plays a pair of John Suhr-modded 100-watt Marshal JMP heads. The one on the left is from 1978 and was a one-master 4-input head until Suhr added another master "so I can kick it up a little bit for solos," the guitarist explains. There's also an effects loop. In that loop resides an Eventide H9, set only on 27.DIGD to provide a reverb sound its owner loves.
On the right, a 1979 model with an added master. It's the first amp Doug bought when he moved to Los Angeles in 1981. The 4x12 cabs are both reissues, with Celestion Vintage 25s. The cabs are always miked live with SM57s and behind them lurks a Palmer line driver.
Doug Aldrich's Pedalboard
Aldrich is big fan of the tried-and-true sounds of MXR pedals. First stop on his board is a Phase 90 set slow, and then a Dunlop-made Custom Audio Electronics (CAE) wah, a CAE Boost/Overdrive, a DVK GoldTop (which was standing in until his preferred Dunlop Authentic Hendrix '69 Psych Series Uni-Vibe Chorus/Vibrato pedal arrived just in time for the gig), a Boss TU-2 Chromatic Tuner, an MXR Talk Box, an on/off for the Eventide, and a boost switch for the amps. His wireless is a Lectrosonics.
Glenn Hughes' Main Bass
This custom Bill Nash-built bass has traveled with Glenn Hughes for 12 years. It's a JB model with Lollar pickups and a custom thin neck. And has it got a voice!
Hughes powers up two Orange AD200B MKIII heads running through two 8x10 Orange OBC810 cabinets.
(A second tower is at stage right of the drum kit, and those are David Lowy's Friedmans at front-view right.)
Glenn Hughes' Pedalboard
It's a short but sweet affair: a Black Cat Bass Octave Fuzz, a Nice Rack Y-boost, and a DigiTech X-Series delay.
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Cedar sonics mean super value in a smooth-playing contemporary concert flattop.
Rich, balanced output. Smooth, easy playability. Excellent bass resonance for a concert-sized body. Great build quality. Excellent value.
In spite of great overall balance, midrange might be too strong for some. Modern styling might estrange some traditionalists.
Breedlove Discovery S Concert CE
Good affordable acoustics are wonderfully plentiful these days. But that doesn't mean there isn't room for a guitar like the $499 Breedlove Discovery S Concert CE to make an impression. It's surprisingly punchy and robust in the low-end, for a flattop of its size, and uses a solid Western red cedar top and layered African mahogany back and sides to achieve a balanced, colorful, and complex voice. It's also a pleasure to play—feeling fast under the fingers and as accommodating to haymaker blues leads as to a soft fingerstyle approach or rowdy strum-around.
Purebred Ply and Singing Cedar
One of the nicest things about Breedlove's affordable, China-built Discovery series is the option for a solid cedar top, which we selected for our review version. (Sitka spruce and African mahogany tops are also available.) Fondness for particular top-wood tonalities are as individual and subjective as favorite ice cream flavors. But I love Western red cedar's balance of warmth, reactivity, and focus on the bass side of the frequency spectrum—qualities that make it equally well-suited for a classical guitar top wood or a baritone acoustic. All three of these attributes can be heard and felt when you play the Discovery S Concert CE.
The back and sides are crafted from a 3-layer African mahogany laminate that Breedlove calls Eco Tonewood. Structurally, Breedlove's mahogany laminate differs from many other laminates in that the middle ply is African mahogany rather than a softer wood like poplar or a sheet of wood composite. It can be difficult to gauge the effects of such construction methods on overall tone and playing dynamics. But it's clear that the all-mahogany ply laminate is not a liability. It's easy to discern many classic qualities of a mahogany back—especially the pronounced midrange and focused overtones— working with the snappy and resonant top to create a very detailed composite tone and a dynamic playing experience.
The strength and complexity of the bass fundamentals and overtones are a nice surprise in a cedar-and-mahogany guitar of this modest size.
Bass With Backbone
Most of the bold midrange and pronounced-but soft-around-the-edges treble sounds you hear from the Discovery S Concert CE are representative of what a carefully designed and well-built cedar and mahogany concert-sized body can deliver. But the strength and complexity of the bass fundamentals and overtones are a nice surprise in a cedar-and-mahogany guitar of this modest size—not to mention its price category. In de-tuned settings in particular, the guitar exhibits low-end resonance that inhabits a near-ideal balance between the lowest and highest strings. It's a great guitar for fingerpicking, in this respect, but that balance also makes it shine as a strumming guitar. And unlike a lot of concert-sized instruments with similar tonewood make-ups, the Breedlove's output doesn't turn brash or into a messy, muddy overtone soup when you put a little muscle behind it.
Breedlove bills the Discovery S Concert CE as a beginner-friendly instrument. And while that's certainly true, the label might do a disservice to how complete and pro-friendly the guitar really is. It's very well put together. It's a smooth, easy player and feels fast, and if you're not dogmatic about traditional acoustic styling, you'll dig how much the cutaway extends its already impressive playability. If a jack-of-all trades flattop is what you're after, this Breedlove gets mighty close at a very appealing price.
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Watch an in-depth demo of a brand-new series of mid-priced acoustics that use sustainable tonewoods.
Breedlove's new ECO Collection Rainforest S Series of affordably priced guitars honors the sounds of the magnificent, mysterious Congo River Basin—the caws of colorful birds and calls of the chimpanzee. Crafted with Breedlove's earth-conscious, sonically superior EcoTonewood technology, all African mahogany Rainforest guitars bring you a warm, immediate sound with a strong midrange emphasis and a ringing sustain, along with true environmental sustainability! Versatile Concert body Rainforest guitars come in dazzling finishes like Papillon, Midnight Blue, Black Gold and Orchid, and feature Side-mounted Fishman Presys I electronics (with built-in tuner, volume, contour and phase controls).
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