Naturally, when you are looking for a practice amp, something for the office, or a vacation companion, there are some sacrifices that will need to be made. Check out this list of 10 options that aim to balance power with portability.
ZT Amplifiers Lunchbox Reverb
Need a lot of power on the go? This 100-watt beast offers stage-level volume in a package that can fit in your carry-on. It’s loaded with a spring-style reverb, 2-band EQ, and a DI/headphone output that offers speaker emulation.
$499 street
Positive Grid Spark
This 40-watt combo offers a lot of tech under the hood. Alongside deep integrations with streaming services, the mobile app uses the company’s BIAS software to emulate your favorite amps and effects. It also offers handy learning tools like smart chord detection, looping, and more.
$299 street
Yamaha THR30II Wireless
The latest iteration of the THR series is a 30-watt, battery-powered wonder that models 15 different guitar amps and three bass amps. Bluetooth connectivity offers a way to edit presets via the mobile app and jam along with streaming audio. A big bonus is that it can also function as a recording interface via USB.
$549 street
Blackstar FLY 3
Even though this uber-portable setup only pumps out 3 watts, it offers a wealth of features that are perfect for practicing on the go. Along with Bluetooth, aux input, and a headphone jack, it uses Blackstar’s Infinite Shape Feature to get the most out of its 3" speaker.
$75 street
Vox Adio Air GT
Even though the classic look of Vox is represented here, the Adio Air GT offers a cross-section of tones ranging from Texas-style dirt to over-the-top gain machines. It boasts 50 watts of stereo output, VET (Virtual Elements Technology), and 19 types of effects.
$329 street
Roland CUBE-10GX
Inside this 10-watt combo are three amp models (clean, crunch, and lead), a 3-band EQ, and a handful of effects including chorus, reverb, and delay. If you pick up the mobile app, you can access even more models including bass and acoustic amps.
$171 street
Orange Crush 12
Desktop rock in a little orange box. Designed to emulate the dirty channel of a Rockerverb, this mini marvel sports a no-frills setup that features a 3-band EQ, overdrive and gain controls, and a CabSim output that aims to mimic an Orange 4x12.
$99 street
Pignose 7-100
The OG of portable amps has been a staple for lo-fi rock since the ’60s. This solid-state setup not only runs on a handful of AA batteries, it has a preamp output that can feed a PA, DAW, or even a bigger amp.
$123 street
Boss Katana Mini
Decked out in sleek, modern style, this 7-watt combo houses a multi-stage analog circuit that fuels three different amp models (clean, crunch, and brown). Practice junkies will dig the cab-emulated output and aux input for jamming along with backing tracks.
$109 street
IK Multimedia iRig Micro
A recording interface is the magic ingredient in this 4-watt setup. Using a built-in iRig 2 HD, this micro combo functions as a fully formed audio interface for when you need to record on the run. Combine that with the company’s AmpliTube software and you get a deep well of tones.
$149 street
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Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
