
Welcome to the tube zoo, where you’ll get to know about the nature and habits of output and preamp tubes. And how they perform in the wilds of amplification—and in your own amp.
Of all the tonally tweakable elements in the extensive chain of components that define your sound as a guitarist, the tubes tucked into your amplifier might be the most enigmatic. Working symbiotically with the circuits and transformers housed alongside them, these tubes help to determine the way your playing is translated, from the signal produced at the guitar’s pickups to the sound waves ultimately pumped into the air by the speaker and broadcast to listeners’ ears. Given their role in the signal chain, tubes can greatly influence the feel of your playing, as well as the sound.
Alternative guitar amp options have threatened to bury tubes for six decades—since the arrival of solid-state amps in the 1960s to the proliferation for modeling amps in recent years. Yet the rumors of the tube amp’s death have been greatly exaggerated, and they continue to be used by more pro and hobby players around the world than any other type of amplifier. Even the sounds of modeling rigs are based on the tone and playing feel of myriad classic tube circuits.
Didacts will occasionally argue that tubes themselves don’t have a sound. Certainly, that’s true as far as the silence you’ll hear if you unplug a tube and hold it up to your ear. So, sure, the design and circuit of the amp in which any tube is used sets the foundation of its overall tone. But tubes do very much enhance or define certain sonic characteristics of amps, which is something you discover pretty quickly when you swap one tube type for another (in amps that allow this)—only to discover a distinct shift in your amp’s tonal personality.
“A survey of many classic and boutique amps usually reveals specific tube types enhancing distinct sonic characteristics time and again.”
It’s probably best, therefore, to think of many classic amps and traditional tube types as working hand-in-hand to present familiar sonic templates. For that reason, throughout this guide we’ll nod to a handful of familiar amplifier makes and models when referencing many tubes—and output tubes in particular, since the most common preamp tubes are often interchangeable between drastically different amp designs.
Also, while it might be true that a good amp designer can coax nearly any tone out of any conventional type of output tube, a survey of many classic and boutique amps usually reveals specific tube types enhancing distinct sonic characteristics time and again. For example, Dick Denney might have built the most famous iterations of the Vox AC15 and AC30 around EL84s, because they were plentiful and affordable, but now that those sounds have been blueprinted, we know which tubes to turn to for consistently achieving them.
Let’s start our guide with a look at the main output tube types used in guitar amps, then we’ll move on to common preamp tubes. Per-tube prices quoted are for current or recently manufactured examples made in Russia, Eastern Europe, and China, as surveyed at reputable dealers such as Mojotone, Antique Electronic Supply, Sweetwater, Telefunken, the Tube Doctor, EHX, and the Tube Store. Tags for special or limited versions of tubes are typically a little higher.
Output Tubes
Output tubes (also called power tubes) are the larger of the tube types within your amp and are usually found toward the opposite end of the chassis from the amp’s input. These tubes receive the guitar signal that the preamp tubes have already amplified slightly and amplify it much more, into a signal that can be pumped through a speaker via an output transformer. Let’s take a family-by-family look at these tubes
6L6 Types
Tone Template: Big American
Price: $25 to $50 street
Courtesy of The Tube Doctor
Used in pairs for 35 to 50 watts or quads for 80 to 100 watts, 6L6s are the classic big American tube, probably best defined by the sound of the larger, legendary Fender amps of the ’50s and ’60s: the tweed Bassman, the black-panel Twin Reverb, the Super Reverb, and more. This tube has a bold, solid voice with firm lows and prominent highs. The sound can almost be strident in loud, clean amps that were designed for maximum headroom, or silkier and more rounded in smaller amps—like many of the tweed era—that allow for easier and earlier clipping.
Different 6L6s offer varying types of tonal performance. The 6L6GB and 6L6GC, for example, are a little softer/rounder and firmer/bolder, respectively, while the latter is also capable of handling higher voltages and delivers later breakup with increased headroom. (Note: These aren’t better/best distinctions. Either tube may be preferable according to your sonic needs, or might be required by your amp’s specifications.) A “W” designation on either of these denotes a more rugged tube originally intended for military use.
“6L6s are the classic big American tube, probably best defined by the sound of the larger, legendary Fender amps of the ’50s and ’60s.”
The original 5881 tubes manufactured in the U.S. in the ’50s and ’60s are a tougher sibling of the 6L6. They put out a little less power and break up a little earlier than the 6L6GC. Currently manufactured 5881s, however, are usually 6L6 types that have been relabeled, and therefore don’t vary greatly in their characteristics. If you’re lucky, you might find some new old stock (NOS) originals (see sidebar at bottom of page).
In many amps, all of the tubes mentioned in this 6L6 section can be swapped for each other, with some caveats. Always refer to your amp manufacturer’s instructions before doing so, and be aware that higher-powered amps designed with 6L6GCs in mind might run at voltages too high for 6L6GBs or 5881s.
For a further sonic reference point, 6L6 types also appear in many vintage Gibson, Silvertone, Danelectro, and Valco amps, plus early Marshall JTM45s, many Mesa/Boogie Mark Series models, Dumbles, many powerful Soldano and Bogner amps, and boutique favorites like the Carr Rambler and Dr. Z Z-28 MkII.
EL34s
Tone Template: British Stack
Price: $23 to $50 street
Photo courtesy of Telefunken
EL34s, used in pairs for 45 to 60 watts or quads for 100 to 120 watts, are responsible for the archetypal 50- and 100-watt tone from across the Atlantic, as delivered by the classic Marshall plexi variations. It is characteristically thick and mid-forward, with round lows, crispy highs, and a slightly granular texture overall—and smoothly compressed and aggressive when driven hard. The EL34 can also deliver tighter and bone-crunchingly punchy sounds to arena-rock stages in amps that can be pushed up to 120 watts with sets of four tubes, such as the Hiwatt DR103. That’s thanks to this tube’s ability to handle very high plate voltages.
The EL34 is featured in post-1967 Marshalls like the JMP50 and JMP100 plexi and metal-panel amps, later Master Model 2203s and 2204s, JCM800s, and the majority of modern models. These tubes are also used by (as mentioned) Hiwatt, Orange, and Sound City, and in Vox’s AC50 and AC100, as well as several amps from Selmer and Traynor. Contemporary makers seeking that Brit-stack kerrang! at full volume usually turn to EL34s, so they are also part of the formulation of high-gain-design builds from Rivera, Bogner, Friedman, and Mesa/Boogie, as well as the Matchless Clubman, TopHat Emplexador, and Komet K60.
KT66s
Tone Template: Bold British
Price: $45 to $70 street
Courtesy of The Tube Doctor
This large, imposing Coke-bottle of a tube was Britain’s response to the American 6L6. As such, it has broadly similar characteristics and produces roughly the same wattage in pairs and quads, although it can handle higher voltages and adds its own sonic personality to the brew. Given this, the KT66 can be used in place of 6L6GCs in many amps, although you should check your manufacturer’s guidelines just to be safe.
The KT66 is probably best known, in vintage amps, for its use in many Marshall JTM45s of the early ’60s, which started with 6L6s and 5881s (following their inspiration of Fender’s tweed Bassman circuit) before moving to the British-made tube when the American “valves,” as the Brits call tubes, became scarce in the U.K. In recent decades, the KT66 has been rediscovered by many boutique amp makers. It’s the tube of choice for the Dr. Z Route 66 and the original single-ended Carr Mercury, among others. Along with its good balance and clarity throughout the frequency range, the KT66 generally offers a slightly bolder low end than the 6L6, and what some players hear as a sweeter, juicier midrange response—making it something of a good blend of the 6L6GC and the EL34.
6550s and KT88s
Tone Template: Punchy, Powerful, and Surprisingly Versatile
Price: $50 to $80 street
Courtesy of Telefunken
A big, powerful tube capable of producing massive wattage in the right circuit, the 6550 has also been used somewhat against type by a surprising number of creative boutique amp makers. In the late ’60s and ’70s, the 6550 was more likely to be found in bass amps—six of them created the original Ampeg SVT’s stadium-rumbling tones—but was also used, for a time, in Marshall guitar amps exported to the U.S. because its ruggedness and greater availability eased servicing issues.
Sonically, the 6550 is bold, clear, tight, and well-composed, with very little compression when pushed, but an aggressive, muscular crunch when it does begin to break up. Some makers—George Alessandro, for one—have cleverly used it to achieve more nuanced tones, but usually it’s a tube that’s employed when massive wattage is the ultimate goal.
Courtesy of The Tube Doctor
Although not identical to the 6550, the KT88 is a common substitute that presents many of the same characteristics. Sonically, it leans somewhere between the 6550 and EL34, but with the tighter low end and massive output of the former. It can usually be swapped directly for a 6550, and often for an EL34, with some slight modifications (as ever, consult your manufacturer or a good amp tech). The mighty 200-watt Marshall Major is the best vintage reference point for this output tube, but it has also been used more recently in the RedPlate BluesMachine and Fryette Sig:X, among others—generally amps seeking either high headroom or a greater proportion of preamp-tube overdrive to output-tube distortion.
“If you’re curious about the sonic effects of variations in 12AX7s that can be used in your amp, it’s worth trying a few to check out the phenomenon for yourself.”
6V6GTs
Tone Template: Juicy, Smaller American
Price: $22 to $55 per tube
Courtesy of Telefunken
Originally an American-made tube (though later produced elsewhere), the 6V6 is often thought of as the little brother of the 6L6. But, despite its use in the smaller- to medium-sized amps made by golden-age American companies of the ’50s and ’60s—who used 6L6s in their larger amps, it really has a sonic signature all its own. A pair will generate around 15 to 18 watts in a cathode-biased amp (think tweed Deluxe) or upwards of 22 watts in a fixed-bias circuit (Deluxe Reverb), and they were also sometimes used in quads to produce 30 to 50 watts. Their sonic personality? Round, rich cleans and a juicy, relatively mid-forward sound when pushed into distortion, with notable compression and a hint of granularity at the core.
In addition to the notable Fender models the 6V6 appeared in, these tubes were also deployed in the most popular Gibson amps of the ’50s and have been used in near-countless reissue and boutique models over the past couple of decades. The Tone King Imperial, Bogner Goldfinger 45, Carr Mercury V and Skylark, Divided By 13 CJ 11, and Victoria Silver Sonic all used 6V6s in their output stages.
EL84
Tone Template: British Chime
Price: $17 to $38 per tube
Courtesy of Electro-Harmonix
In something of a parallel to the American 6V6, the EL84 (originally a British and European tube) is often talked of as a “junior EL34,” although, again, it has a personality very much its own. This tube is notable for being the only 9-pin (noval) tube in our selection (most tubes are octal, having 8 pins), and it can look much like a taller preamp tube. The EL84 delivers around 15 to 18 watts in pairs, or from 30 to 36 watts in quads.
Far and away most famous for its use in the Vox AC15 and AC30, the EL84 is known for its sweet, bright, chimey clean tones and succulent, textured, harmonically saturated overdrive. “Shimmer” and “bloom” are among the adjectives players use to describe EL84s in the sweet spot, just at the edge of breakup. In addition to the archetypal original Vox amps and later reissues, the EL84 has been popular with a long list of other companies, including boutique builders who clearly take their inspiration from the British classics.
Popular amps like the Matchless Lightning, Spitfire and DC-30; Dr. Z Carmen Ghia and Maz (the latter has two equivalent 6N14Ns power tubes); 65amps London and Soho; TopHat Club Royale; Friedman JJ Junior; Mesa/Boogie Mark Five: 25 and 35; and Fender Blues Junior and Pro Junior all use this tube.
Preamp Tubes
Generally speaking, preamp tubes are less likely to define the foundational sound of any given amplifier, although swapping one for another—even of the same type, but a variation or a tube from a different maker—can still impose a noticeable change on your tone. One reason we think of preamp tubes as less of a defining element in most guitar amps is because the vast majority of amps use the same preamp tube types. The 12AX7 is far and away the most common preamp tube and has been since the early ’50s. Again, variations on makes of 12AX7s can still stamp elements of their own personality on the sound of any amp, and swapping one manufacturer’s 12AX7 for another might produce dramatic sonic changes, but not the same sort of tectonic shift in the basic characteristics of any given amp as output tubes.
If you’re curious about the sonic effects of variations in 12AX7s that can be used in your amp, it’s worth trying a few to check out the phenomenon for yourself, in order to select a favorite. Otherwise, it’s probably more informative to discuss their different levels of gain available via various preamp tubes. That will alter the sound and feel of most amps, since the proportions of clean and overdriven sound, the point on the volume control at which distortion sets in, and other gain-related factors all play a big part in shaping what we think of as our tone.
Each major type of preamp tube exhibits what we call a “gain factor,” and the relative comparison of this spec gives us some indication of how hard that tube will drive the preamp stage of any amp. To that end, despite the 12AX7’s domination of the market, let’s also look at a few other tubes, too. (Note: We’re only discussing common 9-pin (noval) preamp tubes here, but the lesser-used, octal-based preamp tubes, more common up until the early to mid-’50s, are still enjoyed by some players.)
Dual-Triode Preamp Tubes
12AX7s (aka ECC83s), 5751s, 12AT7s, 12AY7s
Price: $18 to $35
Each of these tube types contains two triode gain stages within one bottle—hence, the “dual-triode” name—and they can perform their duties in two parts of the preamp circuit simultaneously using each triode. [Each triode gain stage consists of three electrodes: a cathode filament, anode plate, and control grid. For more background, check out Dan Formosa’s article “Tube-Amp Basics for Beginners,” in the June 2021 issue, or at premierguitar.com.] In theory, any one of these tubes—listed above in descending gain levels—can be substituted for each other with little chance of damage to your amplifier. Technically, the 12AT7 is usually biased differently than the others, so might not perform optimally in a circuit set up for a 12AX7, but you’re unlikely to damage your amp by trying it out. (If you’re curious, swap it in for a short period of time, and if you like the results, check with your amp’s manufacturer or a good tech before using it full-time.)
By the way, here are the specific gain factor ratings—the measures for how much a tube amplifies the input signal—for these tubes:
12AX7: 100
Courtesy of the Tube Doctor
5751: 70
Courtesy of Electro-Harmonix
12AT7: 60
Courtesy of Electro-Harmonix
12AY7: 40
Courtesy of The Tube Doctor
The main effect of swapping between these tubes of descending gain factors will be increased headroom and a later onset of distortion as you run down through the ranks. Each comes with its own nuanced sonic characteristics, too, which are difficult to define when divorced from the specific circuit in which they are used. Note, however, that many players find the 12AT7 (most commonly seen in reverb and phase-inverter positions) to be a little dull or cold-sounding, even as compared to the lower-gain 12AY7.
The 12AY7 is notable for its use in the first gain stage of most tweed Fender amps of around 1952 to ’60. Over the years, many players have swapped these for more common 12AX7s, which delivers earlier breakup and is desirable for some playing styles. This hotter tube can lead to a somewhat “fizzier” distortion when pushed hard in this type of circuit, though, and the 12AY7 is still considered to deliver the proper tone of classics like the 5E3 Deluxe, 5F4 Super, and 5F6-A Bassman.
Pentode Preamp Tubes
EF86, 5879
Price: $35 to $200
Courtesy of The Tube Doctor
Seen far less often but still beloved by some players, the pentode preamp tube houses a single pentode gain stage within a glass envelope that’s otherwise identical to the 12AX7 and the others above. As you might guess, pentode tubes have five electrodes, with screen and suppressor grids added to the 12AX7 family’s three. These are not, however, interchangeable for dual-triode tubes, so don’t even try it!
The most common pentode preamp tube is the EF86 (aka 6267), found in the classic iteration of the early ’60s Vox AC15. This tube reputedly has an even higher gain factor than the 12AX7—although the exact number is debated—and is characterized by a fat, rich sound. It’s prone to less self-distortion than the dual-triodes, too, meaning it passes a full-frequency signal along to the next stage in the amp without adding much of its own fizz or sizzle, although it can certainly contribute to tube overdrive. It also resists collapsing into mush when hit by an overdrive pedal in front of the amp. Boutique amps that employ the EF86 include the Matchless DC-30 (in channel 2, for high gain), the Dr. Z Z-28, and the Matchless DC-30.
Another pentode tube is the American-made 5879, which has similar characteristics to the EF86, although it also has different internal pin connections and therefore cannot be used in place of it. Probably best known for its use in the Gibson GA-40 Les Paul amp of the late ’50s, this one has most notably been employed in several current models from Divided By 13.
The Skinny
Okay, now you know all the basics about tubes. Use it as you will—to experiment, to hold your own in debates with fellow gear nerds, or as another stepping stone on your path to becoming a tone sensei.
Follow Your NOS
Courtesy of the Tube Store
Courtesy of the Tube Store
Courtesy of the Tube Store
As you get deeper into the world of replacement tubes for guitar amplifiers, and particularly if you fuel your knowledge by perusing online forums, you’re likely to come across the term “NOS” again and again, along with the recommendation that those are the tubes you need to buy. Short for “new old stock,” NOS tubes are those that were manufactured many years ago—usually during the golden age of American and European tube production—but have never been used. They are old stock, but are essentially new because they have never been installed in an amplifier.
The demise of the vacuum tube industry in the U.S. and Europe began in the late 1960s and early ’70s, when transistors took the reins for just about all amplification duties other than those of guitar amps. Production dwindled through the ’70s and all but disappeared after, although a few tubes were made in the U.S. (the 6550, in particular) in relatively small numbers right up until 1993. More to our point, though, since the early ’80s all new tubes have been manufactured in Eastern Europe and China, particularly because these regions still needed them for use in military equipment that was slower to update to new tech. It’s worth remembering that once the technology in military and consumer electronics moved forward, the guitar-amp and audiophile markets weren’t enough to sustain the tube industry.
Guitarists have been plundering whatever stocks of NOS tubes they could find for a good three decades or more. So, there aren’t a whole lot of genuine NOS tubes left, and those that remain are very expensive. Beyond this, the bigger issue with acquiring NOS tubes today revolves around quality and verification: a lot of sub-par tubes that were rejected during testing over the years have ended up being recycled as NOS, as have a lot of used tubes pulled from old amps and polished up. Buying NOS from a reputable dealer can help mitigate these issues, but, once again, you will pay a premium. For example, we recently spotted an Amperex Bugle Boy 12AX7 for sale at $349.95. Is it that much better than a JJ Electronic 12AX7 for 20 bucks?
No matter how much chat-room pundits rave that you must use NOS tubes, current (or at least recent) tubes provide good tone and excellent reliability in the vast majority of guitar amps in use today. It’s also worth considering the fact that contemporary amp makers are usually designing and fine-tuning their circuits with current-manufacture tubes in mind, so while a rare and expensive NOS substitute might get a little more out of them, that is by no means guaranteed.
Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the “Insanely Fire 1970’s Pool Party” 2025 SuperJam, Bonnaroo’s legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the “Closer” RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this year’s most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue – presented in partnership with Polygon Live – boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the world’s largest, most immersive, 360° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
Daði Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolf’s Insanely Fire 1970’s Pool Party Superjam (Saturday)
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments – and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes – chrome and black – the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out – the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Tech’s Ratio machine heads, Nordegg saw an opportunity to enhance the system’s ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Here’s what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Tech’s new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.
The celebrated NYC-based veteran talks the heyday of New York’s jazz scene, playing with the greats, arts funding in America, and more.
Mike Stern has been around the block. The jazz-guitar virtuoso earned his stripes through the ’70s and ’80s in New York’s jazz scene, playing 6-string with drummer Billy Cobham before tapping in with artists like Miles Davis and Jaco Pastorius—even at a time when guitar wasn’t necessarily a cornerstone piece of a jazz outfit. In this episode of Wong Notes, Stern fills Cory Wong in on the ups and downs of 50 years spent in one of the most complex and underappreciated music genres.
Stern made the leap to New York from Boston when Davis invited him to join his band (back when jazz was the pop music of the day, notes Stern), but it was a rocky ride—Stern says he and many other musicians were “bottoming out” from addiction, until a friend went sober and convinced them to give sobriety a try. Stern talks about Miles’ hidden love for the guitar, and how he succeeded in fitting into non-guitar environments.
Wong and Stern touch on the decline of arts spaces and cultures in America (thanks, Stern says, to misallocated funding), playing gigs where the band outnumbers the audience members, the benefits of running the same rig in every room, and how to pick the right pick—for Stern, that involves a bit of wig glue. Tune in to get the details, and be sure to check out our 2018 Rig Rundown with Stern, too.
Neural DSP introduces Archetype: Rabea X, a revamped plugin featuring updated effects, amps, and the Overlord Synth. With a redesigned UI, additional speaker option, and optimized performance, this plugin offers a wide range of tonal options for guitarists.
Neural DSP today announced the introduction of Archetype: Rabea X, a reinvention and reimagining of the original Archetype: Rabea plugin, another in Neural DSP’s celebrated series of collaborations with the world's most creatively and technologically adventurous guitarists.
Rabea Massaad, as both a solo artist and a member of innovative bands Dorje and Toska, is the quintessential modern musician, as at home on YouTube as he is on the fretboards of guitars. He’s also a teacher, the creator of dozens of instructional and informational videos on playing, performing, and gear. That same artistic versatility that was originally captured with Neural DSP’s acclaimed Archetype: Rabea is now taken to new heights via the Archetype: Rabea X plugin. It offers updated takes on key processors that are critical parts of his sound, including Octaver, Fuzz, and Overdrive effects, as well as stereo Delay and Reverb effects with their own unique parameter controls.
Archetype: Rabea X features a unique and innovative suite of amps and effects, as well as the groundbreaking Overlord Synth. There’s also a new speaker option, a redesigned UI, two new noise options for the oscillators (White & Pink), a portamento Glide knob for smoother transitions between notes, and Quad Cortex compatibility via a future CorOS update. All told, this plugin embodies the uncompromising creativity that defines Rabea’s artistry.
"Rabea is a brilliant guitarist, musician, and teacher all in one, and that’s what we’ve set out to do with Archetype: Rabea X — bring that brilliance to other musicians in a way that’s authentic and accessible,” said Douglas Castro, Neural DSP Technologies CEO. “It’s an incredibly versatile plugin, distilling his sonic vision and designed to offer a wide variety of options for players in search of his unique tonal. Today, we proudly present to you, Archetype: Rabea X.”
What's New
- Revamped Overlord Synth: Updates include a fully redesigned UI with visual waveform representations for a more intuitive tone-shaping experience, two new noise options for the oscillators (White and Pink), and a Glide knob for smoother transitions between notes.
- Additional Speaker: The cabinet for the Lead Amp now includes a V30 speaker, offering expanded tonal versatility.
- Redesigned UI: A refreshed interface with updated visuals offers an intuitive, user-friendly experience.
- Optimized Performance: Enjoy faster, smoother, and more responsive functionality.
- Updated EQs: The onboard 4-band semi-parametric equalizers for the Clean, Rhythm, and Lead amps now include high and low-pass filters.
Pre Effects
Featuring a Dual Compressor, Octaver, Fuzz, and Overdrive to cover everything from chimy blues to colossal distortion. Use the vintage/modern switches on the Octaver, Fuzz, and Overdrive to toggle between independent algorithms with era-appropriate characteristics.
Amps
Three remarkable amplifiers meticulously tweaked with Rabea to deliver a world of vintage and modern tones.
- Clean: Traditional Cali cleans with added modern chime, this simplistic amp is truly one for the classic players.
- Rhythm: An all-rounder by no exaggeration! This amplifier excels at edge-of-breakup, searing gain, and everything in between.
- Lead: An incredibly malleable modern high-gain amplifier, delivering all the tight or saggy chugs you could ever possibly desire.
Cabsim + IR Loader:
A comprehensive cabsim module with IRs captured by Neural DSP. Featuring six virtual microphones that can be easily positioned around the speakers. In addition to the included IRs, this module can be used to load your own impulse responses.
Room Reverb
The Room Send controls in the cabsim module introduce a subtle room reverb effect, adding natural depth to your sound.
Post Effects
With somebody as renowned for their abundant use of delay and reverb as Rabea, Neural DSP crafted the plugin’s post-effects section to deliver exceptional tonal versatility:
- Stereo Delay: As analog as you can get in a plugin! This delay features all the usual parameters you’d expect, with Icicles and Cross-feed controls for infinite dreamy delay sounds. Toggle the pre/post switch to position the delay before the amplifier for a vintage approach to tone crafting.
- Reverb: Vast, rich, and endlessly expansive, just as you’d imagine! Hit the Freeze button while playing a chord to suspend it in space, transforming it into a pad you can jam over while using the independent “Volume” and “Pitch” controls to change its sound.
Operation Overlord
Archetype: Rabea’s legendary Overlord Synth — a full-featured subtractive monosynth playable with any standard guitar (no keyboard or MIDI programming required!) — has received significant updates. These include a fully revamped UI with visual waveform representations for more intuitive tone-shaping, two new noise options for the oscillators (White and Pink), and a Glide knob for smoother transitions between notes. You’ll also retain its fantastic features, such as proprietary note triggering, pitch tracking, and envelope tracking algorithms, enabling seamless synth control with your guitar.
“Archetype: Rabea X is the next step in Neural’s dedicated mission of creating flawless virtualizations of the world’s most amazing and creative guitarists,” concluded Dan Davies, Neural DSP Technologies Chief Marketing Officer. “We worked tirelessly to assure that users of Archetype: Rabea X will enjoy the full Rabea experience!”
The new Archetype: Rabea X plugin is free as an update to existing Archetype: Rabea plugin users. New users can get 30% off Archetype: Rabea X from December 18th, 16:00 EET, until January 6th, 16:00 EET.
For more information, please visit neuraldsp.com.