Don't miss your chance to get loud with these amps!
REVV GENERATOR 120 MK3
The Revv Generator 120 MK3 is the world's first stereo-direct-output reactive load & IR Loading tube amp. It brings you 4 channels of all-tube finely-tuned tone based on feedback from touring artists, session guitarists, & engineers. It also features Two notes Torpedo-embedded technology for going direct to FOH, studio monitors, or headphones. No cabinet required. A built-in noisegate & lush reverb are accompanied by a host of switching & voicing options to make getting the sound in your head faster than ever.
The Blue Channel is chimey with tons of headroom, & now includes a "Wide" switch to give you a wide-range frequency boost for more push & sustain. The Green Channel features 3 all-new drive modes to take this dynamic channel from edge of breakup, to fat overdriven tones. The Purple Channel is famous for its razor-sharp metal clarity, & now in MK3 it receives more low end & saturation with no loss in tightness. Finally, highest gain - Red Channel has an all new touch-sensitive feel which takes you from warm oldschool overdrive to the most massive modern tones available.
Revv Amplification is committed to bringing you the most complete amplifier experience available. Clarity, feel, & tone – for stage, studio, & home.
HX 100
The PRS HX 100 captures the flexibility, power, and balance of late 60's British-inspired tone. A continuation of PRS's popular HXDA amplifiers, PRS HX amps feature a refined control layout and a newly-documented "Authentic Hendrix" Touring Circuit. This circuit is heavily inspired by one of Hendrix's personal amps, purportedly used at Woodstock, which Paul Reed Smith and PRS Amp Designer Doug Sewell were able to study in 2018.
Keeley Custom 12
Designed in collaboration with Robert Keeley of Keeley Electronics as a follow-up to the bestselling Custom 10, the Keeley Custom 12 is built to seamlessly integrate your pedals into the heart of an all-tube Supro amplifier. The preamp and 2-band EQ section are voiced perfectly for running your gain pedals in front of the amp, while still maintaining Supro's signature midrange heft and phenomenal touch dynamics.
MOD® Kits, MOD102+ DIY Guitar Amp
The MOD 102+ is a great place to start for those interested in building their own tube amp. It is based on a classic American tube-circuit design combined with a British-style Class A output tube section that produces 8 Watts of power. At low volume it produces a clean, chimey tone that moves into smooth overdrive at higher volumes. The amp features a three position progressive toggle switch for off-standby-power. In addition, each control features push-pull functionality - pull out the bass control knob for "mid boost", pull out the treble control knob for "bright", pull out the volume control knob for "turbo". These features along with a JJ ECC803-S (a long plate 12AX7 known for its complex mid range tones) allow for a wider variety of tones and extra control for the user. All parts are included along with a pre-drilled steel chassis, wire, and tubes.
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Two Rock Studio Signature Amp
The Two-Rock Studio Signature is the latest generation of the single channel 35 watt amplifiers. Making some changes to the original Studio Pro 35, the new Studio Signature model remains a 6L6 clean amplifier for a solid pedal platform with some additions that will make the Studio Signature a continued legendary product.
New build techniques, layouts, and materials implemented over the last few years were the key starting points to this amplifier's new construction. The added boost toggles are an obvious change at first glance, allowing the use of our potentiometers with custom tapers. Reverb send control on the back panel and a Return control on the front give room for these toggles. The Gain Structure switch can also be found on the back, allowing the same functions as the flagship Classic Reverb Signature essentially giving 3 front-end types to this already versatile clean amplifier.
New aluminum chassis, anodized in silver or black and donning new silver knobs, a black bronco cab, and black matrix grill cloth give this amp a stunning new look.
Mighty Bass 50BT - Modeling Bass Amp with IR
Mighty Bass 50BT is a versatile bass amp for practice, rehearsing and recording. It's equipped with a premium 6.5" loudspeaker and driven by a 50-watt classic D power amp.
NUX's iconic TSAC modeling technology provides various nice-sounding amp models and all the essential effects with great playability & response, while IR offers you more cab sounds! You can engage drum function with APP, and record phrase loops with footswitch.
Mighty Bass 50BT has 3 channels, you can save one preset in each. For deep tone editing, simply use its Mobile APP and PC Software!
Highlights:
-Bass Amp Modeling with Cab IRs, expanding possibilities of tones
-IR loading (1024 samples) with Edit Software
-Whitebox compressor effect offers you analog touch & response
-Independent IR toggles for Amp and DI out
-USB Audio Stream for recording interface with routing setup
-Footswitch to remote Drum&Loop (60s)
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A digital pedal designed by Andrew Barta to replicate the dynamics and responsiveness of analog tube amplifiers. This stompbox offers preset clean, dirty, and lead tones, MIDI interface, and rugged all-metal housing.
As a staunch proponent of analog, Andrew Barta has never had the desire to venture into digital designs. The inventor of the SansAmp tube amplifier emulation technology, which debuted in 1989, Barta has remained loyal to the analog domain. That is, until now.
According to Barta, “To me, the main drawback of a digital modeler is the feel and the sound quality. It lacks dynamics and responsiveness. It sounds one-dimensional and it isn’t touch-sensitive, so the nuances of your playing style get lost. It limits your ability to change the tone by using your volume knob, picking lighter or harder. No matter how hard you hit the strings, the result is mostly the same. There’s no headroom and it doesn’t breathe. You are forced go to a different patch for a different tone. Ultimately, you have to conform to the device and play in a different way. So your artistic expression suffers. Artists have told me it’s like being in a cage. You have to wrestle harder to squeeze out the results and their fingers get really tired.
“Whatever device you’re using, be it an amp or SansAmp or modeler, it’s really a part of your instrument. Your instrument actually consists of the entire signal chain, not just the guitar. Digital is just a numeric translation and isn’t capable of preserving the individual personality of the guitar you use. The output is pretty much the same whether it’s a Fender or Gibson or Ric.”
Just as the original SansAmp was a personal mission to encapsulate tube amplifier sounds in a compact, portable pedal, Barta has long been on a quest to do the same in the digital domain. Never one to jump on a bandwagon, Barta wouldn’t “go digital” until he found a way to replicate the dynamics, responsiveness, and fluidity of its analog counterpart.
After many years, Barta “cracked the code.” This happened to coincide with the opportunity to collaborate with Marty Friedman. The result is the Marty Friedman Signature SansAmp.
An iconic guitarist who eloquently serves up enchanting and tearful melodies, as well as complicated notes that make your head spin, Marty Friedman surprisingly likes to keep his arsenal quite simple. The goal for Tech 21 was to embody his tone in a neat, compact, plug-and-play footprint. Marty’s focus is always on the music taking the spotlight rather than complex gear with distracting bells and whistles or requiring a cumbersome learning curve.
The Marty Friedman programmable Signature SansAmp comes preset with his main clean, dirty, and lead tones. Operationally similar to the SansAmp PSA 2.0, there are two modes: Performance mode to have your 3 main presets at the ready and Studio mode for up to 128 locations for custom presets.
Says Marty, “This is it! This pedal has been in the works for a long time and only an exceptional design engineer like Andrew Barta could make something with these beautiful tones so incredibly simple to use. Such bonehead easy-to-use effects haven’t been known to have world class sounds in them until now. I’m proud to put my name on the first one."
Controls include Reverb, 3-band active EQ, Drive, and Level. There’s also an adjustable Gate that dynamically and smoothly cleans up the signal, rather than cutting it off abruptly. Filteralters the tonality by manipulating the mid-range and is specifically voiced for Marty’s unique sound.
Other features include a MIDI interface to control the SansAmp externally, a chromatic tuner, an effect loop, 1/4-inch and XLR Outputs, and rugged all-metal housing and knobs. Utilizes included 9V DC auto-switching power supply with interchangeable international plugs for use anywhere in the world. Measures 7.5”l x 5.25”w x 2.0”h.
For more information, please visit tech21nyc.com.
Every level of player uses backlines, from the smallest stages to the biggest. Here, SIR Chicago sets up a backline for Bettye LaVette before she opened for the Rolling Stones at Soldier Field.
On the road, in the clubs, or on outdoor stages, you’re going to encounter all kinds of gear, from ace to disgrace. If you need to assemble one of your own—or don’t have backline experience—here are some things you should know—straight from one of Nashville’s top providers.
Picture this: You’ve been tapped to play a small stage for a date on the Warped Tour. You find out that you’ll be on at around 4 p.m., and your band is slotted third in a lineup that includes seven other groups. You think, “How could they possibly turn the stage over between each band swiftly enough to make every set happen on time?” That’s where a backline comes in.
At some point in your gigging life, you can likely expect to run into a situation where you’ll be plugging into a pre-arranged backline. A backline, as defined by the production pros we spoke with for this article, is essentially all the equipment that you, as a band, need to play a show. It’s usually either provided by the promoter that has hired you to play, or you’ve provided a backline supplier with a rider that lays out exactly what your band needs to execute your set just the way you want. But that latter situation is usually reserved for bands that are already operating with quite a bit of success. If you’re just starting out and you don’t have the dough behind you to have a supplier set you up for every gig, it’s more likely that the first time you run into questions about backline will be in the context of a festival or showcase.
Case Jumper, the live events manager of backline supply company and rehearsal studio Soundcheck Nashville, lays out the way things go down for the Country Music Association’s summer extravaganza, CMA Fest.
“We do five small stages of backline, then we do the River Stage, which is a larger package, and then we do Nissan Stadium,” Jumper says. “So, on the smallest stages, CMA says, ‘Look, we need something where bands can come up, play, get off, and get the next band on in 30 minutes.’ It has to be a very quick turnaround, and that means that it has to be things that people are going to play and use. So for something like CMA Fest, on the small stages, you’re probably going to get a Nord keyboard. There’s going to be a Fender Twin, there’s going to be a Vox AC30, there’s going to be a [Fender] Deluxe [Reverb], and then there’s going to be probably a Gallien-Krueger bass rig, and then an assorted drum kit with cymbals. I give them those specs, and then they use that in their advance with bands. With something like the River Stage, which is still that same format of ‘quick-on, quick-off,’ but it’s a little bit larger scale, we up it. There are multiple key rigs but also a Hammond B3 and Leslie, and a pretty giant drum set. Sometimes we do a grand piano, and then the amp range goes more. So there’re Peavey Nashville 400s, there’s a Marshall JCM900 rig. There are Voxes, Twins, maybe some Deluxes, probably a Roland KC-550 keyboard amp. It just becomes a larger thing. For the stadium, we basically build it out per band. Then we get into specifics of riders, where we’re doing exactly what they’re asking for.”Here are some of the most common pieces you’ll see on backlines in Nashville. Do you know how your guitar and effects rig sounds through them?
Vox AC30
Fender Twin Reverb
Fender Deluxe Reverb
Marshall JCM900
Gallien-Krueger bass amp
Peavey Nashville 400
Nord keyboards
Hammond B3 organ
“For the stadium, we basically build it out per band. Then we get into specifics of riders, where we’re doing exactly what they’re asking for,” says Soundcheck Nashville’s Case Jumper.
Photo by Case Jumper
The equipment provided in a backline changes in every situation, but generally a band can expect that, onstage, they’ll be provided amplifiers, drums, and microphones. Depending on your needs, you might also have a keyboard and keyboard amp, and some stands. Generally it’s up to your band to bring your guitars, basses, pedals, and your drummer’s breakables, plus snare drum. But because the situation differs with every gig, it’s best to have an in-depth conversation with whoever is providing backline so that no one is left high and dry without the gear they need to get through the show. Some things get overlooked more than others. When we asked Jumper to tell us the most important thing for guitarists and bassists to remember about dealing with backlines, he immediately provided a pro tip: “Bring your cables!” And capos, he adds.
When it comes to the specific amp brands and models that one might expect from a typical backline which has been put together without artist input, Jumper notes a few common examples. In Nashville, AC30s, Twins, and Deluxe Reverbs are nearly ubiquitous. In Los Angeles, players might be more likely to find Marshall and Mesa/Boogie rigs. “Depending on what the sound of the area is, I think that dictates which amps you’re going to use,” says Jumper. “Bass rigs are another prime example. Ampeg SVT rigs may be more prevalent in Nashville, where Aguilar might be more prevalent in New York and L.A. And maybe Gallien-Krueger and some of the more funk rigs are more prevalent in Atlanta. Then Texas is its own market. It’s such a mix.”
It’s a good idea to figure out how your rig interacts with Fender Twin Reverbs, because you’ll encounter plenty of them on backline gigs.
Photo courtesy of Fender
Vox AC30s come up often in Jumper’s responses, for good reason. He notes that they’re incredibly versatile, which makes them great for many situations.
"You can go very clean, but very loud, still [with an AC30],” he says. “And then it works well, because most players are coming in with a pedalboard system. So while some old-school, L.A.-type players might still use the gain structures from a Marshall head or a Mesa head, most of the people are doing that all internally now.”
On that note, Jumper has noticed that in Nashville many players have been moving away from guitar amps altogether and opting instead for modelers and profilers like Kempers and Fractals.
“It’s a unit, much like a keyboard, where you say, ‘I’m looking for this particular sound,’ and you can plug in and it’ll get you very close to that sound,” says Jumper. “So maybe you’re a touring guy, and you’re having to do lots of flights—instead of trying to work with a backline company to make sure they have all your exact amps in every city, you might invest in a Kemper, and outfit the Kemper to sound exactly like you want. That way you’re just rolling into every venue with an SKB case instead of wondering what you’re gonna get.”
If you’re a backlinin’ bass player, you should probably know your way around Gallien-Krueger amps, like these Legacy 800 heads.
Photo by J.B. Stuart, SIR Phoenix
It’s worth pointing out, too, that every company is different, and some backline providers don’t necessarily advise clients about what they should use in specific situations, or build one-size-fits-all sort of packages. Some companies, like Studio Instrument Rentals [SIR] in New York, work pretty much strictly with equipment riders provided by bands or promoters, putting together their preferences exactly. So it’s also best to know exactly what you might need to ask for if you know you’ll be in a situation where backline rentals will make up a large part of your on-stage gear.
The best way to get that in order is by writing out an equipment rider. Jumper notes that it’s important to keep that rider constantly updated in order to avoid unnecessary confusion come gig day, pointing out that plenty of artists just forget to update riders after they’ve made changes in their sound.
An equipment rider is exactly what it sounds like—a document that very clearly lays out all the gear you’ll need to play a show. It will certainly contain the number of pieces per gear you’ll need (e.g. two guitar amps, one bass amp, etc.), but it should also note preferred brands and models, as well as brands and models that will work if your preferred amps are not available; wattage and power specifications; sizes of speakers; drums and drum sizes; and microphone preferences, if you have them. Essentially, you want to get down to the nitty-gritty of what must be on stage to pull off a great show. With a detailed equipment rider, backline pros can solve problems more quickly, giving them the tools they need to improvise when your preferred amp or mic isn’t available locally.
Do you have an equipment rider and stage plot for your band? Those are the first steps to getting ready for pulling together your own backline.
Photo by William O’Leary, SIR New York
Another document that works either alone or in tandem with a detailed equipment rider is the stage plot. As noted above, it’s not necessarily common that you’ll run into a situation where you’re able to simply ask for everything you want. But you will definitely wind up in situations where a stage manager needs to know how to set everything up. The stage plot is a visual document that indicates how gear should be arranged. This should include the placement for microphones, amps, drums, keyboards, and any other instruments, helping a stage manager quickly discern where band members will be standing or sitting.
If you’ve got any worries about your potential backline situation, or communication with the promoter leaves you with more questions than answers, it might help to generally expect workhorse gear. As Jumper says, in this part of show business, reliability is key—the aforementioned AC30s and Fender Twins are reliable, as are solid-state bass rigs. So it’s likely that you’ll encounter this gear on the regular. It could be a good idea to get familiar with these pieces and how your specific rig interacts with them.
And, of course, if you do get the privilege of working directly with a backline supplier, clear and friendly communication goes a long way to making sure your big gig goes off without a hitch.
“When people are coming to Soundcheck, I want them to ask how I can help them make their event, whether it be a festival or one-off, run as smoothly as possible from a backline perspective,” Jumper says. “I obviously can’t run it all, but I can make it so our gear is not faulty, you know—we’re not the chain that breaks. That allows artists to focus on whatever else they’re having to worry about. They know that Soundcheck is always going to provide top quality equipment, and they’re always going to provide people to make sure it works right.”
There’s so much to explore when you decide to dip your toes into altered tunings.
There’s so much to explore when you decide to dip your toes into altered tunings. The jangly beauty of DADGAD and the new shapes found in open E and open C offers new inspiration. Caitlin Caggiano teaches you not only the easiest way to get into these tunings, but also a few handy shapes that will kickstart your playing today.