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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The Aerosmith axeman recounts how he ripped the blazing lead on the Rocks hit, dishing some critical history along the way.
Behind Steven Tyler’s unhinged howls, Aerosmith’s twin-guitar attack with Joe Perry and Brad Whitford cemented them as one of the greatest hard-rock bands of the ’70s. “Last Child,” the street-strutting, hard-blues hit off their breakout 1976 record Rocks, is one of the greatest demonstrations of this dangerous duo’s interplay. While Perry holds down the funky rhythmic chord stabs, Whitford burns through a volcanic, first-take solo. Did any pedals help snare that screaming tone? Nope. Just a ’57 goldtop Les Paul and a 100-watt Marshall.
That combo just “makes you play real good,” Whitford says with a grin on this week’s episode. Whitford gives Shifty the background story on how Rocks came together between the band’s Massachusetts rehearsal space and the Record Plant in New York. They dig deep on Aerosmith’s influences and the guitar players that shaped Whitford’s lead style, including the shredders that knew when to pause. “Whatever you play, you’re still replicating the human voice for the most part, and you have to take a breath,” Whitford notes.
Later on, Brad’s son Graham—an established player in his own right—joins the episode to talk about raiding his dad’s guitar and amp vault, and Brad muses on a big question: Will Aerosmith’s upcoming tour be their last?
Aerosmith - Last Child (Live From The Office Depot Center, Sunrise, FL, April 3, 2004)
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Marty Friedman's new single "Dead of Winter" from his upcoming album Drama features vocals by Chris Brooks.
Marty Friedman shares "Dead of Winter" the second single from his upcoming new solo album 'Drama', due out May 17th via Frontiers Music Srl. The track features vocals by Chris Brooks from Like A Storm and while normally an instrumentalist, this is Marty's first solo release featuring a vocalist.
"Dead of Winter" is accompanied by a new music video starring Skylar Erna and is available below.
About the track, Marty had this to say:
"The lyrics of 'Dead of Winter' as well as the story in the video, both sum up the way I would like people to feel about my music in general-- something that will be there to uplift you when the times are hardest and give you a tangible jolt of positivity to last until life inevitably smooths out."
Marty Friedman - "Dead of Winter" (featuring Chris Brooks of Like A Storm) - Official Music Video
May 17th will see the release of Marty's latest solo album, Drama where he only slightly revisits the atmospheric elements of his acclaimed 1992 release Scenes, elevating them to a modern and exotic collection of epic, extravagant, and unapologetically emotional mini-symphonies.
Tracks like "Illumination" and "Mirage" transport listeners to captivating realms, evoking sudden tears and chills. The entire album spotlights Marty's mesmerizing melodies, game-changing arrangements, and heart-tugging motifs, even more than any of his previous work.
Recorded in Italy, where Marty had access to a treasure trove of vintage guitars along with his modern signature models, 'Drama' is a pure, uplifting musical experience.
The new music video for "Dead of Winter" stars Skylar Erna, internet personality and daughter of Sully Erna from Godsmack. Skylar and Sully represent The Scars Foundation - a charity devoted to starting conversations about mental health to raise awareness about the issues facing so many people in our communities today.
With the rise of suicides, bullying, addiction, abuse, and so many other challenges, The Scars Foundation is dedicated to providing resources and tools to educate and empower people on a global level who struggle with these burdens.
May is Mental Health Awareness Month. If somebody you know is going through a hard time and needs help, please visit HERE for resources.
For more information, please visit martyfriedman.com.
Alex Lifeson’s signature 30-watt, 6L6-powered combo offers tones from clean to scorching, that offer much more than just Rush sounds.
A powerful grab-and-go tube combo with gutsy lead and rhythm tones from an admirably simple control complement. Nice construction quality.
Independent lead and rhythm gain controls would be a plus.
$1,999
Lerxst Chi Combo
mojotone.com
In addition to being one of the world’s most-accomplished rock guitarists, Alex Lifeson is, it seems, a dab hand at product conceptualization, too. The latest evidence is the CHI Combo, a new addition to the Lerxst amp series, which is Lifeson’s collaboration with Mojotone of Burgaw, North Carolina.
The CHI was designed as an easily portable amp that Lifeson can reach for when a last-minute show pops up. It’s ostensibly “Marshall-y” in attitude, though it’s also very much a modern-voiced circuit with footswitchable clean and lead channels. It generates 30 watts via two 6L6EH output tubes and three 12AX7s in the preamp and phase-inverter stages. It’s a straight-ahead amp, wonderfully free of excess features to throw you off course. And while it's perfect for the diehard Rush fan (manual-suggested settings for several Lifeson signature tones, including “Limelight,” “Fly by Night,” and “Working Man,” confirm as much), there’s plenty here to satisfy guitarists outside the Canadian prog-rock obsessives club.
Greek to Me
The CHI exudes a businesslike demeanor, but it’s also stylish enough to stand apart from the scores of lookalike classic clones out there, dressed up as it is in race-grey levant vinyl, red-garnet piping, and black-matrix grille cloth. The logo panel sports a striking red font inspired by the text on the iconic Moving Pictures album cover, and the control panel carries an etched Starman graphic that lights up red when you flip the power switch (there’s no standby on this model). The 24" x 20" x 9", 49-pound amp, with its Baltic birch cabinet, feels solid and substantial, too. Mojotone’s reputation for quality cabinets extends back further than its amplifier business, and the company has supplied many top boutique amp builders. It’s easy to imagine why.
“Access to the fluid, singing tones that define much of Lifeson’s playing with Rush is easy.”
Controls include input gain, lead master, output master, treble, middle, bass, and presence, and there’s a pull switch for a “rhythm clip” function on the input gain, which adds a little dirt to erstwhile clean tones. Around back, you’ll find a jack for the single-button footswitch, a send and return for the effects loop, two 8-ohm speaker outs, and a single 16-ohm out. Inside, the CHI’s circuit is wired across a primary printed circuit board. Three smaller boards host output-tube connections, effects send/return and speaker outs, and the LED array that lights up the Starman. Workmanship is tidy throughout, with neat wire runs and tube sockets that are bolted to the chassis for support in addition to their connections to the respective PCBs.
The CHI’s 30-watt rating comes courtesy of cathode-biased 6L6s. The configuration slightly reins the power from these tubes, which can produce around 45 watts in a fixed-bias configuration, but they can often sound a little juicier and more harmonically complex when cathode biased. The setup also means you can replace the output tubes without having to reset their bias. (We will say, though, be careful when removing or reaching behind the amp’s upper-back panel: A sharp edge on the roughly cut protective screen left this reviewer with a slice on my index finger.)
A Ride in the Red Barchetta
Tested with a Gibson ES-355 and a Fender 1956 Stratocaster Reissue, the Lerxst CHI swiftly revealed itself as a versatile performer—able to do far more than the expected Lifeson-alike tricks that would appear to be its raison d’etre. Going straight to the gained-up lead channel with input gain set at 2 o’clock or more—a route that’s hard to resist on an amp like this—accesses a boatload of muscular grind, sustain, and sizzle. Attaining the fluid, singing tones that define much of Lifeson’s playing with Rush is easy. Dial down the input gain to noon or below, though, and you can tap into plenty of earthy, rootsy rock ‘n’ roll tones. A little tweak here and there delivers everything from gritty classic rock to dirty blues to gnarly garage-rock tones.
Rhythm channel tones will stay relatively clean at pretty hot settings, so you can play loud without sounding muddy. This capability will be a boon for texturalists who need headroom for detailed time-based and modulation effects. But the rhythm channel also works great with overdrive pedals (a TS10 Tube Screamer and Wampler Tumnus Deluxe both sounded excellent). Pulling out the input gain knob for rhythm clip is also an effective tool for adding dirt to the rhythm foundation. The overall level drops slightly, too, but since it’s not a footswitchable function you’re more likely to use this very practical mode with its own gain settings.
With that in mind, it’s worth noting that the CHI’s gain staging, and the knobs that control it, take some getting used to. Since input gain controls the drive level for both channels, you’re tied to finding a compromise between them, then balancing the lead output via the lead master control, and the overall volume of both channels at the output master. Including just one more knob to allow for both rhythm gain and lead gain controls would be more intuitive. As it is, the setup certainly works once you get the hang of it, and both channels can sound great, but it sometimes requires a little deviation from your ideal tone on one channel or another.
The Verdict
The Lerxst CHI combo is a convenient, versatile amp with more than enough punching power to keep up with a heavy drummer, and still sounds great when reined in to basement practice levels. While saturated rock sizzle is very much its forte, the medium-grind overdrive tones are appealing, and both cleans and clipped settings on the rhythm channel are useful and satisfying. Independent rhythm and lead gain controls would have been a plus, but the CHI combo has much to offer just as it is, whether you’re a Rush fan or not