
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.
The Spring King Junior follows in the footsteps of the original Spring King reverb, however, with a much smaller footprint.
Building on a 25-year legacy, Danelectro has launched the brand new Spring King Junior reverb pedal.
"Danelectro’s new Spring King Junior offers authentic reverb from a real built-in spring tank…but in a more compact pedalboard-friendly size. And the Spring King Junior passes the ultimate spring reverb test with flying colors: bump it and you’ll get thunderous reverb sound, just like vintage spring reverbs."
Spring King Junior features include:
- Built-in spring reverb tank
- True bypass soft switching
- Two knobs for controlling reverb Depth and Tone
- Standard 9-volt DC input; no battery compartment
- Rugged die-cast case measuring 2-1/2” wide x 6” long x 2-1/8” high
Danelectro’s Spring King Junior carries a street price of $199.
Two new acoustic models from Cort with solid red cedar tops and black satin finishes.
The new MR500F-CED and L100OCF-CED acoustic guitars have solid red cedar tops and black satin finishes. Cedar is a highly sought after tone wood for acoustic guitars. Often reserved for nylon stringed instruments or high-end, hand-crafted steel strings, cedar topped guitars bring warmth and resonance to production models at an attractive price point. Both models are now available online and at select retailers worldwide.
To complement the cedar tops, both models feature mahogany back and sides to balance the overall tone and response of the guitars. The black satin finish is isolated to the top while a clear satin finish is applied to the back and sides. ABS ivory binding and rosette adorns the body. With their ivory pickguards, the guitars are immediately reminiscent of classic guitars from yesteryear. The dovetail construction allows the mahogany neck to transfer sustain to the body and provide enduring performance. At a 25 ½” scale length, the 20 fret ovangkol fretboard makes for comfortable playing. Tuning stability is provided with an ovangkol bridge, a PPS nut, die cast tuners, and D’Addario EXP16 strings. Onboard electronics are provided by the Fishman Presys VT and S-Core system.
Cort’s MR500F-CED is a full-size dreadnought body. With a wider lower bout and deeper body, the dreadnought is full of powerful bass response and loud projection. They are a flat pickers dream and the cutaway provides easy access to the top end of the fretboard. Perfect for dynamic chords and heavy strumming, these guitars measure 1 11/16” (43mm) at the nut for easier navigation.
The L100OCF-CED has an orchestra body. Compared to the dreadnought, an orchestra model is a considerably smaller but with a wider string spacing, measuring 1 ¾” (45mm) at the nut. This smaller, cutaway body and string spacing make these guitars ideal for finger pickers and provide great comfort for extended playing for players of all sizes.
To learn more about these new models, see us at NAMM BOOTH 5102 or visit us online at www.cortguitars.com.
Street prices are:
$369.99MR500F-CED BKS
$369.99 L100OCF-CED BKS
The newest pedal in Supercool's lineup, designed to honor the classic RAT distortion pedal with more tone customization, a dead-quiet circuit response, and an eye-catching design.
The Barstow Bat is designed to offer a versatile 3-band EQ section to create colors and tones beyond that of its influence, with a surprisingly quiet and calculated circuit under the hood. For even more sonic versatility, the TURBO button swaps between classic silicon RAT distortion and a more open and aggressive TURBO RAT LED clipping mode.
Features
The Barstow Bat highlights include:
- Classic RAT Distortion with a super-quiet noise floor
- Eye-catching graphics based on the work of Hunter Thompson and Ralph Steadman’s iconic Fear and Loathing in Las Vegas
- Massive output volume
- Active isolated 3-band EQ for a wide range of tones
- Selectable clipping modes (Standard or TURBO)
- True Bypass on/off switch
- 9-volt DC power from external supply, no battery compartment.
- Hand assembled in Peterborough, Canada
- LIMITED EDITION BLACK version available until 2025
Megan and Rebecca Lovell don’t use many effects pedals. They didn’t even use amps until they were 16.
The sisterly Southern-rock duo learned to be more vulnerable with one another, and it’s led to a new album—and their biggest success yet.
Larkin Poe, the fiery roots-rock band fronted by sisters Rebecca and Megan Lovell, have managed to achieve something that so many touring bands never do: They feel content with their level of success. In their case, that includes a Grammy for Best Contemporary Blues Album, for 2022’s Blood Harmony; packed-out headlining shows at many of the best-sounding clubs and theaters in the country; and delicious, nutritious prepared foods.
“We don’t necessarily need to sell out Madison Square Garden to be like, ‘Oh, we’ve made it, we’re a success, mom,’” Rebecca chuckles. “We’re a lot more comfortable at this point in our lives and our career with truly defining what success means to us. Being able to have houses, roofs over our heads. We’ve got the cash that, if on tour we want to stop and pay for the Whole Foods hot bar, we can do that. That’s luxury enough for me, at a certain point.”
“I was sort of playing catch-up for many, many years. I still feel like I’m playing catch-up.”—Rebecca Lovell
That sense of modesty and self-awareness is admirable, though when it comes to making new music, Larkin Poe continue to swing for the fences. Their latest album, Bloom, which the sisters co-produced with Rebecca’s spouse, guitar slinger and vocalist Tyler Bryant, represents both a continuation and striking progress. Throughout these 11 tracks, Larkin Poe deliver the driving, stomping grooves and post-Allmans interplay that have made them buzzworthy torchbearers for electric blues and blues-rock. With Megan on electric lap steel and Rebecca on a Strat, their guitar-frontline dynamic has become as intuitive and instinctive as their harmony singing. “We’re constantly ‘foiling’ for one another [on guitar] … acting as a foil,” says Rebecca. “So if I’m going low then she’s going to automatically go high, and vice versa.” Rebecca, who also handles lead vocals, describes her sister’s keen ear with awe. “I can sing something at Megan onstage and she can immediately play it back to me,” she says. “She’s so comfortable with her instrument.”
On Bloom, sisters Megan and Rebecca Lovell continue their mastery of southern music, from bluegrass to Allmans-style boogie to blues rock.
“I was sort of playing catch-up for many, many years,” Rebecca adds. “I still feel like I’m playing catch-up.”
Where Bloom really ups the ante is in its songcraft, in terms of both the depth of expression and sheer number of earworm hooks. In “Mockingbird,” “Little Bit,” “If God Is a Woman” and other standouts, bits inspired by ’70s singer-songwriters and rootsy Music Row pop elevate the sisters’ rock ’n’ soul. To say it another way, with these songs Larkin Poe could open a tour leg for Taylor Swift and absolutely kill, preaching their gospel of blues-soaked guitar heroism all the while. Many, many online orders for entry-level lap steels would ensue.
On Bloom, Rebecca explains, “I do think the songwriting was the center of the creative process, which it always is. But I think that we were especially meticulous in writing for this record.” The songs were built from the ground up, in a spirit of absolute collaboration shared among the Lovells and Bryant. What’s more, the sisters, both now in their 30s, became comfortable enough to dig deep and reflect on their lives with candor. “Somebody will come up with an idea,” Megan says, “and it’s really neat this time around being able to set aside some of the … I don’t know what was stopping us before—sibling rivalry? Who knows what it is?Rebecca Lovell's Gear
Guitars
- ’60s-style Fender HSS Custom Shop Stratocaster
- 1963 Gibson SG
Amps
- Fender Princeton
- Fender Champ
- Square Amps Radio Amp
Effects
- Vintage Roland Space Echo
- MXR Phase 90
Strings & Picks
- Dunlop .60 mm pick
- Ernie Ball Coated .011s
“I think you have to be especially vulnerable when opening yourself up to write a song with people, and Rebecca and I have always struggled with that a bit over the years. But it was like some sort of a veil fell away and we were able to come together in a way we hadn’t really before.”
“I think you have to be especially vulnerable when opening yourself up to write a song with people, and Rebecca and I have always struggled with that a bit over the years.”—Megan Lovell
If you’ve followed the rise of Larkin Poe, it might be hard to believe that Rebecca and Megan could get any closer. Born in Tennessee and raised in Georgia, they entered music through classical training but made their names as two of the three Lovell Sisters, an acoustic unit grounded in bluegrass. As Megan explains, “Bluegrass is the foundation of the way we put riffs together and the way we approach our musicality.” To this day, she calls square-neck resonator hero Jerry Douglas her foremost inspiration as a player, and she believes bluegrass set a standard of musical excellence that the sisters have retained in Larkin Poe. “My expectation of what I should be able to do is quite high,” she says.
Growing up, the sisters absorbed a broad range of music at home: During our chat, the name-checks include Ozzy Osbourne, Alison Krauss, Béla Fleck, and the Allman Brothers, whose albums Rebecca pretty much used as a guitar method. Her more recent 6-string influences include her husband and other Strat masters like Stevie Ray and Jimmie Vaughan. “I can hear how much of a Bryant flavor I do have,” she says with a laugh. “Which is kind of cute, maybe kind of sad. I don’t know. The internet will decide.”
Megan Lovell's Gear
For Larkin Poe, success sometimes looks like the hot food bar at Whole Foods while on tour.
Photo by Zach Whitford
Guitars and Basses
- Beard Electro-Liege
- Amps
- Tyler Amp Works Dumble clone
Effects
- Electro-Harmonix POG
- Universal Audio Starlight Echo Station
Strings & Picks
- Dunlop Zookies thumbpick
- ProPik fingerpicks
- Scheerhorn stainless steel tonebar
- D’Addario .013–.014s
Almost 15 years ago, Rebecca and Megan came together officially as Larkin Poe, refocusing on Southern blues-rock and, over the years, fostering their love of profound country-blues like Skip James and Son House. “We didn’t stand in front of amplifiers until we were 16, 17 years old,” Rebecca says. “For many years, it was so startling to stand in front of any amount of wattage. That was something that has definitely taken some time to really get used to.”
“We’ve had just enough taste of what the top feels like to know that happiness lies wherever it is that you put it.”—Rebecca Lovell
Perhaps because of their background reveling in acoustic tones, the Lovells’ amplified sound is bliss for anyone who adores the undiluted sonics of excellent guitars plugged into well-crafted, overdriven tube amps. In our age of mile-long pedalboards and amp modelers, the Lovells remain closer to the ideal that Leo Fender and Jim Marshall had perfected by the mid-’60s. “Megan and I are pretty militant about never doubling or stacking guitars,” Rebecca says, “and we are trying to create big, fat sounds between just the two of us.”
Bloom was captured at Tyler and Rebecca’s no-frills Nashville studio, the Lily Pad, with a small but mighty arsenal of no-nonsense axes and amps. The goal, as ever, was to bottle the energy and ambiance of the live show. Rebecca tracked using low-wattage tube combos and her trusty HSS Fender Custom Shop Strat. Megan, who plays primarily in open G (G–B–D–G–B–D), relied on the Electro-Liege she developed with Beard Guitars and a Dumble clone by Tyler Amp Works. “It was the best tone on the record,” Megan says, “and I could never get away from it.” The holy grail sound for her, she explains, is David Lindley’s “Running on Empty” solo. “Having come from the acoustic background,” Rebecca adds, “we’ve always been very sparse in terms of effects pedals.”
It’s a humble, self-aware approach to gear that savors the fundamentals. What else would you expect? More than anything, the Lovells’ greatest gift might be their ability to understand what’s actually important. “We’ve been doing this now since we were young teenagers,” Rebecca says, “and we’re on a slow-burn path, buddy. We have played shows to just the bar staff. And we’ve had just enough taste of what the top feels like to know that happiness lies wherever it is that you put it.”
Late last year, Larkin Poe cut a live performance for the German television show Rockpalast. Enjoy the full, blistering 80-minute set.