
Dave Hunter gets down to business with the tone generating clan of tubes: output tubes.
However many fancy gizmos the techs
devise to give us “warm, tube-like" guitar
sounds, real tonehounds know it's only happening
in one place: real tubes! If you want
to get it happening for you, though, you've
got to understand what's going on with different
tube types, and learn the various ways
the wide range of tubes available will affect
your sound. (Click here to read part one: Everything You Ever Wanted to Know About Preamp Tubes.)
In the last issue I discussed preamp tubes, along with a basic primer on how and why tubes do what they do. This trip under the hood we'll explore output tubes—the big bottles at the back of your amp that pump out the serious wattage. Although some people refer to them as "power" tubes, I feel "output" is far more fitting: for one thing, these tubes create your amp's output; for another, the term "power" might cause confusion with the third type of tube in an amp—a rectifier tube—which lives in what is correctly described as the power stage of the amplifier. In any case, you mainly just need to be aware that the output tubes are the "amplifier within your amp": while the preamp tubes ramp up the signal from the guitar, the output tubes are the babies that really make it loud.
Output tubes can be recognized as the biggest, or at least tallest, tubes in the back of your amp, although a tube rectifier (if your amp has one) can also be mistaken for one of several output tube types. Your clue here will be that there's usually only one rectifier, but at least two matching or similar output tubes in any amp, other than small single-ended "practice" amps such as a Fender Champ or a Gibson GA-5. Many, many types of output tubes were used in the glory days of thermionic devices, when they appeared not only in guitar amplifiers, but in radios, stereos, TVs, and many other applications. Today, only about half a dozen varieties of output tubes are regularly used by contemporary amp manufacturers, and just four of these are seen in any great numbers. The four most common output tube types are the 6L6GC, 6V6GT, EL34, and EL84. A handful of contemporary makers still offer amps with KT66 and 6550 tubes, and a few even manufacture unusual designs using more esoteric tube types, but you'll see one of those first four in a good ninety-nine percent of amps you encounter today.
Other than EL84s, which are the same diameter as preamp tubes (although taller) and use the same 9-pin socket, all of the most common output tube types use large 8-pin (octal) sockets. While they might appear interchangeable in terms of socket size, however, most have different circuit, voltage, and bias requirements, so they cannot simply be substituted one for the other in most amps. There are a few makers today producing amps that are specifically designed to let you swap between output tube varieties for "tube tasting," and models such as THD's UniValve and BiValve, and Victoria's Regal II and Two Stroke can take any of the common 8-pin types without needing rebiasing or other adjustment. For the most part, though, a maker will design an amp with a very specific tube type in mind, and will work very specifically to the performance and sonic characteristics of that tube. Let's take a little look at the signature tones and capabilities of some of these more common output tube types.
6L6GC
photos courtesy of thetubestore.com
Think "big Fender amp tone" and you're thinking 6L6 (also sometimes substituted for the interchangeable 5881, essentially a ruggedized 6L6). This is the big-amp output tube traditionally seen in American-made amplifiers, and it has a bold, solid voice with firm lows and prominent highs, which can be strident in loud, clean amps, or more silky and rounded in softer, "tweed" style amps. A pair of these will generate around forty to fifty watts in an efficient Class AB amp; a quartet (with two pairs working in teams on each side of the phase-inverted signal) can put out up to one hundred watts. In less efficient, but juicily toneful, cathode-biased designs (socalled "Class A" amps) like TopHat's Super Deluxe or Carr's Rambler, or a mid-fifties tweed Fender 5E5 Pro, a pair of 6L6s will put out around twenty-five to thirty watts. This is the tube of anything from the Fender tweed Bassman and blackface Twin and Super Reverbs, to early Marshall JTM45 heads and "Bluesbreaker" combos, to the Mesa/Boogie Mark Series and beyond.
6V6GT
photos courtesy of thetubestore.com
Think small-tweed amp and you're hearing the 6V6GT. Smaller American-made amps of the nineteen-fifties, sixties and seventies most often carried 6V6 tubes, which are known for their juicy, well-rounded tone and smooth, rich distortion, which occasionally exhibits an element of grittiness that is not necessarily unappealing. They produce about half the output of their big brother, the 6L6, and are therefore more easily driven into distortion. The 6V6 was used in many Fender designs—the Champ, Princeton, and Deluxe lines among them— some great vintage Gibson amps like the GA-40 Les Paul Amp of the nineteen-fifties and early sixties, and countless others. From the late eighties to late nineties no reliable current-manufacture 6V6s were available, so few manufactures designed new amps around this tube. This is the course of events that led to the virtually unthinkable release of smaller Fender amps that used EL84s, such as the Blues Junior (the early-sixties Tremolux, which briefly carried EL84s, being something of an anomaly). The release of a rugged and reliable 6V6 first from Electro-Harmonix, then from other contemporary makers, has led to a renewed popularity for this tube, and it proliferates again in the twenty-watt-and-under range.
EL34
photos courtesy of thetubestore.com
Take your aural imagination across the pond, conjure up that big, British crunch tone, and your mind's ear is hearing the EL34. The classic Marshall tube, the EL34 was the big boy of British amplification from the late nineteen-sixties onward. It can be driven at higher voltages to produce a little more output than the 6L6GC, and it sounds somewhat different, too: characterized by a fat and juicy but softer low end, sizzling highs, and a midrange that exhibits a classic crispy-crunchy tone when driven into distortion. This is the tube of post-1967 Marshalls like the JMP50 "plexi" and "metal" panel amps, the JCM800, and the majority of modern models. It also appears in the classic Hiwatt models, and plenty of modern amps seeking a big Brit-rock sound. Many contemporary American makers, such as Rivera and VHT, have also used EL34s for high-gain amp designs, and plenty of boutique makers also employ this output tube.
EL84
Sometimes described as "a baby EL34" because it is another classic British output tube, the EL84 really has a tone all its own. This tall, narrow, 9-pin output tube is best known for its appearance in classic Vox amps such as the AC15 and AC30, and is most often used in "Class A" circuits, which seek to achieve a sweeter, more harmonically saturated sound at the expense of a little output efficiency. The EL84 can still exhibit a pretty firm, chunky low end in the right amp, but is most known for its chimey, sparkling highs and a midrange that is crunchy and aggressive when pushed. A pair in a cathode-biased output stage (a la Vox) will put out around fifteen to eighteen watts, and a quartet double that. These tubes also appear in many modern amps that emulate the "Class A tone," including models from Matchless, TopHat, Dr Z and others.
KT66
Rarely seen for many years other than in vintage amps that carried them (notably early-sixties Marshall JTM45s, following their brief use of 5881/6L6s originally), the KT66 (pictured at right) is a direct substitute for the 6L6, but really has a character all its own. This tube of European origin is a little bolder, firmer, and fatter than its American cousin, and can put out a little more volume. A few good recent reissues of this tube type have led some amp makers to design around it again, and Dr Z's Route 66 is one example of a popular boutique amp that takes advantage of the KT66's potential.
6550
Marshall amps exported to the USA from around the mid-seventies to the mideighties were modified to use 6550 output tubes instead of the EL34s they were originally designed for, apparently for reasons of availability and reliability. The change altered their character somewhat, as the 6550 doesn't sound especially like an EL34, but more like a bigger, louder 6L6 (in approximate terms). That's not to say it's a bad thing, just different. Many other makers have designed amps around this lesser-seen output tube, such as Alessandro and ENGL. The 6550 is perhaps more commonly seen as an output tube in big bass amps, and was used for a time in Ampeg's SVT, and currently appears in models by Traynor and others.
While each of these output tube types has its own characteristic tone, different makes of tubes of the same type can sound quite different, too. Take six different pairs of 6L6GCs from different manufacturers, for example, some old and some new, and each will sound just a little different in your amp (sometimes a lot different). Tube connoisseurs rave about NOS tubes (new old stock), meaning tubes that were manufactured in the USA or Europe many years ago, but have never been used—and certainly these can represent the pinnacle of output tube quality, provided you can find a good, tested pair that is genuinely NOS and not just used, pulled from an old hi-fi, and polished up a little. You'll hear tubeheads go all gooey over black-plate RCA 6L6s, Mullard EL84s, Brimar 6V6GTs, GEC KT66s and many other types that carry the great brand names of old, and certainly there's a lot to be said for them. Any pair you can find in genuinely good condition, tested, and guaranteed will also be very expensive these days. Grab some if you can (and certainly if you find some going cheap from an old supplier who is selling out; but also be aware of fakes and forgeries being sold online these days as NOS—there are plenty of them around). But there are also many, many excellent current-manufacture tubes today that are very good—with better quality and better selection than was available even ten years ago—and these exhibit different sonic characteristics too. Read about their respective pros and cons online (there isn't room to go into full detail here), or try a few different pairs of the types that seem like they'll suit you, and see how they change the sound of your amp. When you locate a pair that's just right, you can always keep the others for back up.
As discussed briefly in Part 1, distortion occurs in all stages of a tube amp, but the resultant overdrive tones sound a little different depending on which type of distortion is generated where. Preamp tube distortion, as much fun as it can be, will sound a little more fizzy and gritty, while output tube distortion will sound comparatively thick, rich, and dynamic (in broad terms). Old-school tone freaks tend to enjoy the distortion tones generated at the output stage, which is why you see many such players going for vintage—or vintage-styled—amps with simple circuits, no master volume (or one that's bypassable), and a minimum of bells and whistles such as channel switching and added gain stages. Such amps aim to drive the output tubes more than the preamp tubes, and to generate that creamy, harmonically saturated overdrive tone when cranked up. This love of output-tube distortion is also what's leading a lot of players, touring pros included, to use smaller amps on stage. Few players really need a big double-stack to be heard on stage these days, and it's harder to push such amps into overdrive without incurring the wrath of the soundman and blowing your band mates off the stage. Use a smaller fifteen to thirty watt combo or mini-stack, however, and you can hit the sweet spot and still (hopefully) dodge the tinnitus until well into late-middle age.
Be aware that many types of amps also need to be rebiased when output tubes are changed. This is something you can do yourself with the help of a kit (several types are available), or have done for you by a qualified tech for a nominal charge. An amp's bias is like a car's idle speed: it needs to be set correctly for the amp to operate efficiently, and an incorrect bias setting will also seriously impede your tone. Confusingly enough, "fixed bias" amps are the ones that generally have adjustable bias levels that need to be checked and reset when you change tubes. Cathode-biased amps, on the other hand, which are often billed as "Class A amps," have a bias level that is set at the factory with a fixed resistor. With these, you just pop in a good, matched pair of new tubes and away you go.
It's also worth knowing that any new set of output tubes, whether NOS or new manufacture, will need some playing-in time. They won't sound their best until you have put a few hours on them, and maybe as many as forty or eighty hours of playing time to get them into the tone zone. Not unlike a vintage bottle of wine, output tubes need to "breathe" a little before they will be at their peak. Similarly, once you uncork that prized NOS pair that has rested on the shelf for three decades and start playing them, they won't last forever. Hopefully the tonal payoff will live up to the anticipation. Test, taste, sample, enjoy—there's gold in them thar tubes!
[Updated 9/1/21]
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The two-in-one “sonic refractor” takes tremolo and wavefolding to radical new depths.
Pros: Huge range of usable sounds. Delicious distortion tones. Broadens your conception of what guitar can be.
Build quirks will turn some users off.
$279
Cosmodio Gravity Well
cosmod.io
Know what a wavefolder does to your guitar signal? If you don’t, that’s okay. I didn’t either until I started messing around with the all-analog Cosmodio Instruments Gravity Well. It’s a dual-effect pedal with a tremolo and wavefolder, the latter more widely used in synthesis that , at a certain threshold, shifts or inverts the direction the wave is traveling—in essence, folding it upon itself. Used together here, they make up what Cosmodio calls a sonic refractor.
Two Plus One
Gravity Well’s design and control set make it a charm to use. Two footswitches engage tremolo and wavefolder independently, and one of three toggle switches swaps the order of the effects. The two 3-way switches toggle different tone and voice options, from darker and thicker to brighter and more aggressive. (Mixing and matching with these two toggles yields great results.)
The wavefolder, which has an all-analog signal path bit a digitally controlled LFO, is controlled by knobs for both gain and volume, which provide enormous dynamic range. The LFO tremolo gets three knobs: speed, depth, and waveform. The first two are self-explanatory, but the latter offers switching between eight different tremolo waveforms. You’ll find standard sawtooth, triangle, square, and sine waves, but Cosmodio also included some wacko shapes: asymmetric swoop, ramp, sample and hold, and random. These weirder forms force truly weird relationships with the pedal, forcing your playing into increasingly unpredictable and bizarre territories.
This is all housed in a trippy, beautifully decorated Hammond 1590BB-sized enclosure, with in/out, expression pedal, and power jacks. I had concerns about the durability of the expression jack because it’s not sealed to its opening with an outer nut and washer, making it feel more susceptible to damage if a cable gets stepped on or jostled near the connection, as well as from moisture. After a look at the interior, though, the build seems sturdy as any I’ve seen.
Splatterhouse Audio
Cosmodio’s claim that the refractor is a “first-of-its-kind” modulation effect is pretty grand, but they have a point in that the wavefolder is rare-ish in the guitar domain and pairing it with tremolo creates some pretty foreign sounds. Barton McGuire, the Massachusetts-based builder behind Cosmodio, released a few videos that demonstrate, visually, how a wavefolder impacts your guitar’s signal—I highly suggest checking them out to understand some of the principles behind the effect (and to see an ’80s Muppet Babies-branded keyboard in action.)
By folding a waveform back on itself, rather than clipping it as a conventional distortion would, the wavefolder section produces colliding, reflecting overtones and harmonics. The resulting distortion is unique: It can sound lo-fi and broken in the low- to mid-gain range, or synthy and extraterrestrial when the gain is dimed. Add in the tremolo, and you’ve got a lot of sonic variables to play with.
Used independently, the tremolo effect is great, but the wavefolder is where the real fun is. With the gain at 12 o’clock, it mimics a vintage 1x10 tube amp cranked to the breaking point by a splatty germanium OD. A soft touch cleans up the signal really nicely, while maintaining the weirdness the wavefolder imparts to its signal. With forceful pick strokes at high gain, it functions like a unique fuzz-distortion hybrid with bizarre alien artifacts punching through the synthy goop.
One forum commenter suggested that the Gravity Well effect is often in charge as much the guitar itself, and that’s spot on at the pedal's extremes. Whatever you expect from your usual playing techniques tends to go out the window —generating instead crumbling, sputtering bursts of blubbering sound. Learning to respond to the pedal in these environments can redefine the guitar as an instrument, and that’s a big part of Gravity Well’s magic.
The Verdict
Gravity Well is the most fun I’ve had with a modulation pedal in a while. It strikes a brilliant balance between adventurous and useful, with a broad range of LFO modulations and a totally excellent oddball distortion. The combination of the two effects yields some of the coolest sounds I’ve heard from an electric guitar, and at $279, it’s a very reasonably priced journey to deeply inspiring corners you probably never expected your 6-string (or bass, or drums, or Muppet Babies Casio EP-10) to lead you to.
Kemper and Zilla announce the immediate availability of Zilla 2x12“ guitar cabs loaded with the acclaimed Kemper Kone speaker.
Zilla offers a variety of customization to the customers. On the dedicated Website, customers can choose material, color/tolex, size, and much more.
The sensation and joy of playing a guitar cabinet
Sometimes, when there’s no PA, there’s just a drumkit and a bass amp. When the creative juices flow and the riffs have to bounce back off the wall - that’s the moment when you long for a powerful guitar cabinet.
A guitar cabinet that provides „that“ well-known feel and gives you that kick-in-the-back experience. Because guitar cabinets can move some serious air. But these days cabinets also have to be comprehensive and modern in terms of being capable of delivering the dynamic and tonal nuances of the KEMPER PROFILER. So here it is: The ZILLA 2 x 12“ upright slant KONE cabinet.
These cabinets are designed in cooperation with the KEMPER sound designers and the great people from Zilla. Beauty is created out of decades of experience in building the finest guitar cabinets for the biggest guitar masters in the UK and the world over, combined with the digital guitar tone wizardry from the KEMPER labs. Loaded with the exquisit Kemper Kone speakers.
Now Kemper and Zilla bring this beautiful and powerful dream team for playing, rehearsing, and performing to the guitar players!
ABOUT THE KEMPER KONE SPEAKERS
The Kemper Kone is a 12“ full range speaker which is exclusively designed by Celestion for KEMPER. By simply activating the PROFILER’s well-known Monitor CabOff function the KEMPER Kone is switched from full-range mode to the Speaker Imprint Mode, which then exactly mimics one of 19 classic guitar speakers.
Since the intelligence of the speaker lies in the DSP of the PROFILER, you will be able to switch individual speaker imprints along with your favorite rigs, without needing to do extensive editing.
The Zilla KEMPER KONE loaded 2x12“ cabinets can be custom designed and ordered for an EU price of £675,- UK price of £775,- and US price of £800,- - all including shipping (excluding taxes outside of the UK).
For more information, please visit kemper-amps.com or zillacabs.com.
Featuring a preamp and Dynamic Expansion circuit for punch and attack, plus switchable amp simulations.
"Like a missile seeking its target, Heatseeker will give you the explosive sound of rock! Inspired directly from the gear setup used by Angus Young,it features the most important sonic elements to match the tone of the short-pants-rock-God.
It’s no secret that a major role to his sound, along with the Marshall-brick walls, played one of the first wireless systems for guitar that quickly became a classic among guitar greats, the Schaffer Vega Diversity System."
The preamp along with the Dynamic Expansion circuit found in the wireless transmitter/receiver gave it its distinct sound. Besides boosting the signal, the preamp tightens up lower frequencies and slightly accentuates mid frequencies while the Dynamic Expansion circuit enhances the dynamic response and harmonics of the signal giving punch and attack to ensure that it will cut through the mix. Instead of opting for a prefix setting for the Dynamic Expansion circuit as found in the original unit, we have re-imagined our version with the enhanced knob on the Heatseeker to have more control over the guitar tone’s dynamic response. Setting it around 10 o‘clock is a good starting point to add some extra sparkle. Max it out to bring back to life even the most dull and colorless sounds.
Utilizing an all-analog JFET circuit, running on 27 volts via an internal voltage boost (DO NOT plug higher than 9V DC power supply), we have captured the tone and feel of three British tube amplifiers, synonymous with the sound of rock and roll, with an excellent clean-to-mean dynamic response. With the flip of a toggle switch, you can capture the sound and feel of a JTM45, 1959 Super Lead, or JMP 2203. A smart switching circuit follows the signal path and respective gain stages tuned for each amp and combines them with an actual Marshall style EQ and power amp simula-tion circuit for thundering rock tones. Angus Young usually plugs into Channel 1 or High Treble input of his JTM45s and Super Leads so we opted for that sound when we started visualizing Heatseeker on the drawing board. We have also extended the range of the presence control beyond the original so that the user will be able to match the pedal to any amp or gear setup. The master volume offers plenty of output so that you can also use the pedal as a preamp and plug it into a clean power amp or straight to your DAW. Note that the pedal doesn’t feature any speaker simulation circuit so we recommend using a separate hardware or software guitar speaker simulation when going direct to DAW or a full-range speaker.
A new feature to our booster/drive + amp-in-a-box line of pedals, recreating legendary sounds, is the switchable WoS (Wall of Sound) circuit. We have carefully tuned this circuit at the output of the AMP section of the Heatseeker to open up the soundstage by increasing the output, adding thundering lows, and thickening high mid frequencies. Imagine standing in front of a wall loaded with Marshall amp heads and 4x12 speaker cabinets, grabbing your SG, and hitting a chord. You will be blown away by the sound projection! In combination with the tube power amp simulation and the enhanced circuit of the right section, we’ve made sure that the pick attack will be as dynamic as it gets, so¥er picking will produce clean and slightly crunchy sounds, and hard picking will give explosive distorted sounds! While primarily designed for Angus Young sounds, Heatseeker will definitely open the door to countless other guitar-great tones that use these Marshall amps and/or the Schaffer Vega Diversity System. Think of KISS, Peter Frampton, and Van Halen to name a few.
Like our other dual overdrive/amp-in-a-box designs, Heatseeker features a passive effects loop to give you the option to connect your beloved pedals between the preamp/enhancer and amp-in-a-box circuit or use the two sections as separate and independent effects when using an external bypass switcher/looper. SND is the output of the BOOST/ENHANCE section, RTN is the input of the AMP section. SND is connected to RTN when no instrument jacks are inserted in the effects loop. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of the Heatseeker are in bypass mode.
Heatseeker features a power-up bypass/engage pre-set function for the footswitches. You can change the default function by holding down the footswitch(es) during power-up. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people who use remote pedal switchers/loopers as they only set the state of the pedal once and then operate from the controller.
Street/MAP Price: $279
For more information, please visit crazytubecircuits.com.
Creed extend their sold-out Summer of ’99 Tour with 23 additional dates.
Produced by Live Nation, the dates begin July 9 at Rupp Arena in Lexington, KY and wrap August 20 at the Scotiabank Saddledome in Calgary, AB with support from 3 Doors Down, Daughtry, Mammoth WVH and Big Wreck. *Check individual dates for lineup in each market.
When it kicked off in 2024, The Summer of ’99 Tour quickly became “one of the most anticipated tours of the summer” (USA Today) and “one of the hottest rock tickets of the year” (Billboard) for a return that “may be something this industry has never seen” (Pollstar). To date, CREED’s Scott Stapp, Mark Tremonti, Brian Marshall, and Scott Phillips have performed over 60 sold-out concerts throughout North America, selling over 800,000 tickets and breaking venue records in multiple markets.
“Thirty years in, it’s been a blessing to pick up right where we left off with longtime fans and to meet the next generation for the first time. It’s been an incredible ride, and we aren’t done, so here’s to a ‘Summer’ that never ends. We’ll see you on the road,” states Scott Stapp.
Creed will close out 2024 with shows in Las Vegas, NV (Dec. 30 & Dec. 31) and their newly announced dates in 2025 will follow their already sold-out Summer of ’99 and Beyond cruise sailing April 9– April 13 from Miami to Nassau with Sevendust, Hoobastank, Lit, Hinder, Fuel and more. Also in April, the band - whose audience has included fans of mainstream, rock, and country for over 25 years - will perform at Stagecoach.
For more information on all Creed tour dates as well as the opportunity to purchase entry into Mark Tremonti’s guitar clinic can be found at https://creed.com.
Tour Dates
CREED: SUMMER OF ‘99 TOUR 2025 DATES:
3DD – 3 Doors Down / D – Daughtry / BW – Big Wreck / MWVH – Mammoth WVH
Wed Jul 09 | Lexington, KY | Rupp Arena – 3DD/MWVH
Fri Jul 11 | Syracuse, NY | Empower Federal Credit Union Amphitheater at Lakeview – 3DD/MWVH
Sat Jul 12 | Camden, NJ | Freedom Mortgage Pavilion – 3DD
Tue Jul 15 | Wantagh, NY | Northwell at Jones Beach Theater – D/MWVH
Wed Jul 16 | Scranton, PA | The Pavilion at Montage Mountain – D/MWVH
Sun Jul 20 | Columbus, OH | Schottenstein Center – 3DD/MWVH
Tue Jul 22 | Hartford, CT | Xfinity Theatre – 3DD/MWVH
Thu Jul 24 | Charleston, SC | Credit One Stadium – 3DD/MWVH
Sat Jul 26 | New Orleans, LA | Smoothie King Center – 3DD/MWVH
Sun Jul 27 | Memphis, TN | FedExForum – 3DD/MWVH
Tue Jul 29 | Wichita, KS | INTRUST Bank Arena – D/MWVH
Fri Aug 01 | Lincoln, NE | Pinnacle Bank Arena – D/MWVH
Sat Aug 02 | Ridgedale, MO | Thunder Ridge Nature Arena – D/MWVH
Mon Aug 04 | Albuquerque, NM | Isleta Amphitheater – D/MWVH
Wed Aug 06 | Chula Vista, CA | North Island Credit Union Amphitheatre – D/MWVH
Thu Aug 07 | Palm Desert, CA | Acrisure Arena at Greater Palm Springs – 3DD/MWVH
Sat Aug 09 | Mountain View, CA | Shoreline Amphitheatre – 3DD/MWVH
Sun Aug 10 | Stateline, NV | Lake Tahoe Outdoor Arena at Harveys – 3DD/MWVH (Not a Live Nation date)
Wed Aug 13 | Ridgefield, WA | RV Inn Style Resorts Amphitheater – 3DD/MWVH
Thu Aug 14 | Auburn, WA | White River Amphitheatre – 3DD/MWVH
Sat Aug 16 | Vancouver, BC | Rogers Arena – BW/MWVH
Tue Aug 19 | Edmonton, AB | Rogers Place – BW/MWVH
Wed Aug 20 | Calgary, AB | Scotiabank Saddledome – BW/MWVH
Previously Announced CREED Dates:
Sat Dec 28 | Durant, OK | Choctaw Casino & Resort (Sold Out)
Mon Dec 30 | Las Vegas, NV | The Colosseum
Tue Dec 31 | Las Vegas, NV | The Colosseum
Apr 9 – Apr 13 | Miami – Nassau | Summer of ’99 and Beyond Cruise (Sold Out)
Sat Apr 26 | Indio, CA | Stagecoach