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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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.
The author in the spray booth.
Does the type of finish on an electric guitar—whether nitro, poly, or oil and wax—really affect its tone?
There’s an allure to the sound and feel of a great electric guitar. Many of us believe those instruments have something special that speaks not just to the ear but to the soul, where every note, every nuance feels personal. As much as we obsess over the pickups, wood, and hardware, there’s a subtler, more controversial character at play: the role of the finish. It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
It’s the shimmering outer skin of the guitar, which some think exists solely for protection and aesthetics, and others insist has a role influencing the voice of the instrument. Builders pontificate about how their choice of finishing material may enhance tone by allowing the guitar to “breathe,” or resonate unfettered. They throw around terms like plasticizers, solids percentages, and “thin skin” to lend support to their claims. Are these people tripping? Say what you will, but I believe there is another truth behind the smoke.
Nitrocellulose lacquer, or “nitro,” has long been the finish of choice for vintage guitar buffs, and it’s easy to see why. Used by Fender, Gibson, and other legendary manufacturers from the 1950s through the 1970s, nitro has a history as storied as the instruments it’s adorned. Its appeal lies not just in its beauty but in its delicate nature. Nitro, unlike some modern finishes, can be fragile. It wears and cracks over time, creating a visual patina that tells the story of every song, every stage, every late-night jam session. The sonic argument goes like this: Nitro is thin, almost imperceptible. It wraps the wood like silk. The sound is unhindered, alive, warm, and dynamic. It’s as if the guitar has a more intimate connection between its wood and the player's touch. Of course, some call bullscheiße.
In my estimation, nitro is not just about tonal gratification. Just like any finish, it can be laid on thick or thin. Some have added flexibility agents (those plasticizers) that help resist damage. But as it ages, old-school nitro can begin to wear and “check,” as subtle lines weave across the body of the guitar. And with those changes comes a mellowing, as if the guitar itself is growing wiser with age. Whether a tonal shift is real or imagined is part of the mystique, but it’s undeniable that a nitro-finished guitar has a feel that harkens back to a romantic time in music, and for some that’s enough.
Enter the modern era, and we find a shift toward practicality—polyurethane and polyester finishes, commonly known as “poly.” These finishes, while not as romantic as nitro, serve a different kind of beauty. They are durable, resilient, and protective. If nitro is like a delicate silk scarf, poly is armor—sometimes thicker, shinier, and built to last. The fact that they reduce production times is a bonus that rarely gets mentioned. For the player who prizes consistency and durability, poly is a guardian. But in that protection, some say, comes a price. Some argue that the sound becomes more controlled, more focused—but less alive. Still, poly finishes have their own kind of charm. They certainly maintain that showroom-fresh look, and to someone who likes to polish and detail their prized possessions, that can be a big plus.
“With those changes comes a mellowing, as if the guitar itself is growing wiser with age.”
For those seeking an even more natural experience, oil and wax finishes offer something primal. These finishes, often applied by hand, mostly penetrate the wood as much as coating it, leaving the guitar’s surface nearly bare. Proponents of oil and/or wax finishes say these materials allow the wood to vibrate freely, unencumbered by “heavy” coatings. The theory is there’s nothing getting in the way—sort of like a nudist colony mantra. Without the protection of nitro or poly, these guitars may wear more quickly, bearing the scars of its life more openly. This can be seen as a plus or minus, I imagine.
My take is that finishes matter because they are part of the bond we have with our instruments. I can’t say that I can hear a difference, and I think a myth has sprouted from the acoustic guitar world where maybe you can. Those who remove their instrument’s finish and claim to notice a difference are going on memory for the comparison. Who is to say every component (including strings) went back together exactly the same? So when we think about finishes, we’re not just talking about tone—we’re thinking about the total connection between musician and instrument. It’s that perception that makes a guitar more than just wood and wire. The vibe makes it a living, breathing part of the music—and you.
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.