The Diezel D-Moll is a 100-watt powerhouse that delivers crystal clean tones and smoldering overdrive from six ECC83 preamp tubes and a quartet of KT77 power tubes.


Tubes: Four KT77 power tubes, six 12AX7 preamp tubes
100 watts at 4, 8, or 16 Ω
Clean, OD1, OD2
Master presence, deep, mid-cut intensity and level, and two master volumes; independent gain and volume on each channel, shared 3-band EQ for channels 2 and 3, independent 3-band EQ for channel 1
Additional Features:
Switchable series and parallel FX loop with parallel Return Level control, compensated recording out, MIDI switching, 7-button footswitch


Pros: Incredible note separation. clean tones with humbuckers sound surprisingly clear. Drive channels have a perfect balance of girth, punch, detail, and cut.

Cons: Channels 2 and 3 share an EQ section. Expensive.


Ease of Use:



Street: $2,999

The Diezel D-Moll is a 100-watt powerhouse that delivers crystal clean tones and smoldering overdrive from six ECC83 preamp tubes and a quartet of KT77 power tubes. Each of the three channels—clean, crunch, and lead—has dedicated gain and channel volumes. The clean channel uses a dedicated 3-band EQ, while the crunch and lead channels share a 3-band EQ.

Diezel also threw in their highly regarded variable mid-cut circuit, along with two master controls, a series/parallel effects loop, and a pair of presence and deep knobs for tweaking the highs and lows. The amp’s channel-switching, midcut, effects loop, and muting functions can be activated from the front panel, a standalone MIDI controller, or Diezel’s own Columbus footswitch.

Diezel amps have always been known for refined tone and smooth response, and the D-Moll does not disappoint on either count. The clean channel does a bang-up job at delivering massive body and warmth from the dark-toned humbuckers in a Les Paul, but also adds a beautiful piano-like chime in the upper mids and highs. Few high-gain amps have clean tones on par with a great Fender or Vox, but the D-Moll’s exquisite clarity could easily bump it onto that exclusive list.

Channel 2 delivers the smooth and highly detailed overdrive that the third channel from Diezel’s VH4 made famous, but with spongier lows and a more rounded top end. Both single notes and riffs have monstrous body, and the midcut circuit yanks back the low mids for supremely vicious metal tones.

The third channel has considerably more gain than the second, but except for a stronger upper-mid focus, their voices aren’t that different, and channel 3’s fluid lead tones are a perfect compliment to channel 2’s ripping onslaught.

The ferocious nature of the D-Moll’s overdrive makes it pretty intimidating, But it’s the remarkable note separation, midrange detail (which is present across the entire gain range), and refinement at even high-gain settings that make the amp truly special in its class.

Watch Ola Englund demo the amp:

See more Monsters of High Gain 2013 reviews and videos:

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Adam Shoenfeld has helped shape the tone of modern country guitar. How? Well, the Nashville-based session star, producer, and frontman has played on hundreds of albums and 45 No. 1 country hits, starting with Jason Aldean’s “Hicktown,” since 2005. Plus, he’s found time for several bands of his own as well as the first studio album under his own name, All the Birds Sing, which drops January 28.

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• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.

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Knowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
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