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GALLERY: Nashville Flood Guitars for Auction
Check out some of the flood-damaged instruments donated by artists like Keith Urban, Brad Paisley, and Peter Frampton to benefit uninsured musicians affected by this spring''s flood.
Keb' Mo's Will Hirsch Mandolin
This mandolin was hand-carved by Will Hirsch in 2003 and features a tree-of-life inlay. Lot #2, Nov. 1 - 10. Sold for $278.
Click here to read more about NasH2O, including how to bid on the remaining items.
Attack—essentially the rate and intensity with which a note rises in volume from its point of creation—is one of the coolest musical expressions you can mess with. If you play an instrument from the violin family it’s a fundamental part of your vocabulary. It’s used frequently in synthesis to conjure spooky, low-gravity atmospherics, and it’s an essential tool for taking the front end off some psychotic Moog sound that might otherwise explode like a foghorn six inches from your ear.
Guitar players know the potential of this effect well too. Volume swells can drastically recast a guitar line—evokingreverse tape,pedal steel, and deep space. But doing it well is not easy. Even on guitars like theStratocaster that lend themselves to volume swells by design, it takes technique, practice, and usually a very flexible pinky finger to make it work right. Electro-Harmonix’s Swello, which has origins in the attack filter section of the POG2, can do a lot of that work for you. But it’s capable of more than simple swells, with the ability to generate envelope filter- and wah-like sounds, big synth-style pads that are ripe forlooping, and much stranger fare.
Swing in Smoothly
Though they can be mellowing, soft attack and volume swell effects aren’t always subtle. For many players that prize precise, immediate attack, they are anathema. Swello—especially in the sans-filter “green” mode—is great at backgrounding the effect and making it more subliminal. At the lowest attack levels, you can use Swello in a capacity similar to a compressor to soften picking irregularities. At slightly higher but still subtle settings, it imparts a beautiful legato quality to melodic lines—especially enchanting in understated or deeply ambient delay and reverb contexts. At much slower attack rates, it evokes lush pedal steel tones and remarkably natural volume pedal or cello-like effects. There’s a lot of range to explore in the attack control alone.
"Swello ’s capable of more than simple swells, with the ability to generate envelope filter- and wah-like sounds, big synth-style pads that are ripe for looping, and much stranger fare."
While the Swello’s control set is minimal, players without experience in synthesis or in using filters and envelopes with guitar may find them less than intuitive. This isn’t a shortcoming of the EHX design—it’s simply inherent to the complex interplay between filter and attack effects. If you start twisting knobs casually and with no particular intent you can end up with filter and attack combinations that make a guitar sound 30 feet underwater—if not altogether absent. So, it pays to move slowly though these controls, observe the sensitivities in their interactions and pay attention to how very small, incremental changes—as well as where you play on the fretboard—can alter the response and output. Though getting to your destination can be tricky and require patience, there are many surprises to find along the way.
Overtone Organizer
As a player that uses volume swells as both an expressive tool and crutch, I loved Swello’s very natural volume pedal and cello-like effects. But I also own a POG2 and treasure that pedal’s capacity to add -2-octave content to an upswelling tone. That can be a preposterously big sound with reverb (the low synth parts in Vangelis’ Blade Runner opening sequence and the Golden Gate Bridge foghorn at the distance of a couple miles are a couple handy points of reference). And there’s plenty of it here when you get a deep resonant peak, slow attack, and filter modulation working in sync, and hang out on the low strings.
As with the POG2, boosting the high frequencies can make the pedal sound less organic—and at times even a bit cloying. Some settings also introduce digital artifacts, most noticeable in the quackier, mid-forward envelope filter-style tones. These sounds can be fun, but they’re not the Swello’s strong suit (and may disappoint players that demand vintage Mu-Tron authenticity from envelope filters). That said, there are plenty of ways to use high-frequency emphasis for pleasant coloration and to shape the attack, and at many such settings the output is largely free of digital aftertaste.
The Verdict
Swello, as the name suggests, specializes in very cello-like volume swells that sound organic, and enable you to keep your fingers on the strings and your feet away from expression pedals. At less than $150, it’s a great value for the slow-attack effects alone. However, players who explore its compression-like dynamics and the vast, unconventional tones found at atypical filter frequency and modulation settings will discover that the Swello is far more than it appears—truly greater than the sum of its parts.
On November 14, 2025, I’ll be giving a presentation at the Royal College of Music in London. It’s in conjunction with a unique guitar they have on display: Kurt Cobain’s 1959 Martin D-18E, the one he played on MTV Unplugged. To honor the occasion, we’ve built a modern reproduction of that particular guitar for my friend Craig Thatcher to play at the event—because I don’t think they’ll let him play the original. (Yes, that one … the guitar that sold for $6 million at auction in 2020.)
MTV Unplugged: What a good idea that was! And talk about good timing. The 1980s were not a good time to be in the acoustic guitar business. My dad joined the family business in 1955, the year I was born. The mid-’50s were the era of the folk revival. Acoustic music was taking hold in coffeehouses and on college campuses. Thanks to bands like the Kingston Trio, folk music was becoming pop music.
By the early ’60s, demand for Martin guitars outstripped the capacity of our old factory on 10 West North Street in Nazareth, Pennsylvania. My dad convinced my grandfather that we needed a new factory to keep up with the boom. So in 1964 we opened the new plant at 510 Sycamore Street. What else happened in 1964? The British Invasion.
Yes, Bob Dylan went electric, but the acoustic guitar remained a mainstay on many folk-rock songs. Crosby, Stills, Nash & Young and others drove demand skyward. We couldn’t keep up. These were good times. Politics, the Vietnam War, and the fight for civil rights … it all gave the younger generation reasons to speak out and speak up, and the acoustic guitar became an integral part of that messaging.
By the late 1970s, music was changing. Disco was taking over. The Eagles were the last significant folk-rock supergroup. By the 1980s, it was tough going for acoustic guitars. Several of our smaller competitors closed their shops. Pointy electric guitars were flying off the shelves, thanks to hair metal. The Yamaha DX7 and other digital keyboards were everywhere.
“By the end of the 1990s, our production had increased fivefold compared to the start of the decade.”
Our business struggled. My dad retired and moved to Florida. I had just graduated from college and joined the family business full-time, at a difficult moment. My grandfather passed away in 1986, and at 31, I became CEO. I was scared. My dad had encumbered the company with a crushing level of debt. We were on the verge of bankruptcy. I wasn’t sure exactly what to do, but I was determined to not allow my multi-generational family business to disappear. We cut back expenses and focused on what we did best: flat-top acoustic guitars. One of my dad’s better decisions was to acquire a string company. String sales helped us survive those lean years.
One day, my friend and colleague Dick Boak walked into my office. “I got a call from MTV,” he said. “MTV? The rock video station?” I inquired. “Yes,” he replied. “Why did they call us?” I asked. “They have this idea,” Dick said. “They want to get rockers into the studio and have them play their famous songs on acoustic guitars.” Hmmm. Not a bad idea.
“Why did they call us?” “They weren’t sure if the rockers they were going to ask even had acoustic guitars,” he said. “And they’re going to film some shows in New York. Could they borrow some guitars from us if needed?” I looked at Dick and smiled. He took that as a “yes.”
MTV Unplugged launched in 1989. It started slowly. Initially, few people noticed. But it built momentum. In 1992, Eric Clapton recorded his Unplugged segment at Bray Studios in London, playing his 000-42 Martin. The subsequent album became a phenomenon, garnering multiple Grammys, selling millions of copies, and becoming the best-selling live album of all time.
In 1993, Nirvana performed one of Kurt Cobain’s last televised sets. After his death, MTV Unplugged in New York was released. It sold over 5 million copies and won a Grammy for Best Alternative Music Performance. As the momentum grew, our phones started to ring. And ring. Players were rediscovering how cool it is to hold a wooden box against their body and feel it vibrate as they played their favorite songs. The acoustic guitar was back. Thank you, MTV Unplugged. (Fun fact: Many of the guitars played on MTV Unplugged were actually plugged in!)
What started as a simple TV concept helped usher in a full-fledged acoustic revival. For Martin, it arrived just when we needed it most. By the end of the 1990s, our production had increased fivefold compared to the start of the decade. Sometimes, all it takes is a well-timed idea and a few beautifully-built guitars.
Get ready to dive into the gear-head dream: we teamed up with our friends at eastside music supply and pedal-wizard Blair White to build a pedalboard inspired by Queens of the Stone Age. From fuzz to filter sweeps, octaves to tape echo, we traced the band’s signature sound and then assembled a stacked board you could win. Whether you’re chasing heavy riffs or sculpting atmosphere, this one’s for pedal lovers and riff monsters alike.
The groundbreaking DC7 has a one-inch (25,4mm) profile and weighs 1.1 pound (500 grams) thanks to the pure 2-stage switch-mode technology inside. The profile may be low but the power ratings are certainly not – the DC7 puts out a maximum of 48W and allows the user to connect multiple high-current effects such as devices from Effectrode, Line 6 and Eventide without noise of any kind.
The Whammy Ricochet lets you bounce your playing up or down in pitch in controlled or crazy shifts. A momentary switch and customizable independent rise and fall time ballistics, allow you to get the Whammy action you know and love without the use of a treadle. Just hold your foot on the footswitch and let the Ricochet do the rest. Seven pitch selections – 2nd, 4th, 5th, 7th, Octave, Double Octave, and Octave+Dry, as well as a toggle to select up or down for the selected pitch.
The Whammy Ricochet also has latching footswitch mode so you can rise or fall to pitch and stay there, and an LED ladder that shows your shift trajectory at all times.
All these controls combine to create classic Whammy pitch-shifting as well as new sounds never heard before.
We've brought back the most sought after Parametric EQ pedal with groundbreaking updates. We kept everything people loved about the original ParaEq and added more fidelity and control.
In late 2023, we had a cool idea for a compact pedal, based on a recording technique pioneered in the 1950's… This radical, yet deceptively simple technique elevated great recordings to downright incredible, enhancing the depth, character and tonality through a process called Double Tracking. This simple, yet elusive concept was initially executed by recording a track twice and overlaying the two [nearly] identical takes on top of each other.
Fast forward 70-some years and we can now create "double-tracked" sounds in real-time, delivering the full, rich and complex intensity that was once only possible by employing slick studio tricks during a session!
The 2023 compact DoubleTracker was an instant hit, and we received a ton of feedback and praise regarding the pedal, but there was a reoccurring theme within…
Make it STEREO!!
Well, it wasn’t easy, but we are VERY proud to say: we did it! And it sounds marvelous. (Literally marvelous, as in something one will marvel at/about.)
XPND is the pedalboard that adapts to you. With its patented telescoping technology, XPND lets you instantly change the size of your board and number of pedals – forever expanding your sonic potential. XPND also features a unique cable management system and comes fitted with loop Velcro, keeping everything neat, while making swapping pedals super easy. XPND 1 is built to accommodate one row of pedals and is expandable from 14" to 24" and XPND 2 is built to accommodate two rows of pedals and is expandable from 17"to 31".
D’Addario’s Custom Series Flat Patch Cables optimize pedalboard space by allowing you to place pedals closer together while accurately transferring all the subtle details of your playing. Utilizing the latest in high-quality instrument cable manufacturing technology, these cables feature an oxygen-free coaxial copper conductor with two layers of noise-rejecting shielding, formulated for extremely low capacitance and handling noise. The lower cable capacitance allows your instrument’s brilliance, presence and character to be transmitted with the utmost transparency. The Flat Patch Cable plugs feature the patented Geo-Tip™, ensuring a secure connection in any instrument, pedal, or amplifier. Additionally, encapsulated soldering points and molded strain relief combine to deliver the ultimate long lasting, high-performance patch cable.
A warm grittiness to the warble, a rippling, wooshing, bubbling irregularity to the modulation and a dynamic response to your picking are all hallmarks of the true vibe experience.
Thicker and chewier than any chorus, earthier than any phaser and uniquely magical in front of a driven amp, the perfect vibe pedal moves you to dig in and play without inhibition.
This feeling has been difficult to find outside of large and expensive fully-analog boutique units, but the search for that elusive experience is now over.
Delivering vintage vibe tone that’s second to none with simple and powerful controls for instantly obtaining a rich variety of captivating sounds, UltraViolet is the vibe pedal you’ve been looking for.
The StroboStomp Mini™ delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks.
Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.
Backed by intensive R&D and our latest innovations, the RE-202 faithfully delivers the authentic sound and behavior of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201’s magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colorful preamp circuit. And to take things even further, we’ve expanded the vintage Space Echo experience with lots of new features tuned for today’s music.
The Dispatch Master is a hi-fi digital Delay & Reverb Device that combines independent delay and reverb effects into one space-saving enclosure, so you can keep deep ambient echoes (or just a quick slapback) on speed-dial.
The best-selling EarthQuaker Devices pedal just got bester [sic] with new Flexi-Switch® Technology! Want to dip into ambient delay and reverb sounds for just one note? Press and hold the footswitch for as long as you use the effect, release it when you’re finished, and resume your regularly scheduled dry sound. To use the Dispatch Master as a normal effects pedal, press the switch once to activate and again to bypass.
Yesterday Effects Private Military Auditor - Eastside Exclusive
The Private Military Auditor is a collaboration between Yesterday Effects and us, your favorite real life music store in the whole world, eastside music supply.
What we got here is a highly tuned, 2-in-1 fuzzstortion + filter. One knob a piece, with the optional expression port out to sweep the frequency of the filter if you should choose to do so!
Left side of the pedal is the fuzz, the knob controls the volume. That's all you need because this baby is DIALED. Harmonically rich, with great note definition and insane sustain. The volume cleanup is killer and reminiscent of how fuzz faces feel. Plays well with every pickup combo we've thrown at it. And gives a surprisingly large amount of tonal variation depending on your pickup/volume/tone situation. Just a really great fuzz/distortion on it's own.
Right side of the pedal is the filter, the knob controls the sweep of the frequency. Kick this baby on when you're ready for your leads to stand out, or just to give yourself that gnarly parked wah tone.
this is an analog preamp inspired by the Decade practice amp, which was the secret to the bassist of Stone Temple Pilot‘s tone. Get that on your board and secure the crunch for whatever you run through it! Works with 9v or 18v (for a more amp-like response).
Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz. Includes an on/off LED and center-negative DC power jack.
The Argonaut is a no frills pedal offers a clean-ish octave up sound. Using it alone offers you a gnarly, ring mod-esque sound that is pretty funky. The fun begins when you combine it with your favorite overdrive or fuzz pedals. Once combined all the iconic octave tones we know and love begin to jump out of your signal. It’s very touch responsive, weird, and fun all rolled into a small little package. The Argonaut uses a pair of Hand matched NOS Germanium Diodes, this gives the most prevalent octave up effect that is present all over your guitar neck. Unlike traditional octave pedals the octave effect can be heard up and down the guitar neck, so get ready to get weird once you add this bad boy to your setup.
We like the Argonaut after a fuzz pedal but before an overdrive. Like all things though, your mileage may vary and there is no right answer with guitar tones. Experiment and you’ll find what works best with your setup and hands.
he Echodriver Limited-Edition Reissue has been the core distortion sound of Troy Van Leeuwen (Queens of the Stone Age), delivering a harmonically rich, mid-scooped voice with the clarity and power to cut through any mix over his last few years of touring.
The tone stack uses a notch-style filter, similar to classic fuzz circuits, offering a broad sweep of EQ flexibility. The Tone control scoops mids at center, rolls off low end when turned down, and rounds off highs when pushed up—letting you shape the pedal’s response to your guitar and amp with surgical precision.
Clipping is handled by a dynamic combination of MOSFET and NOS Germanium diodes, producing warm, touch-sensitive gain. A right-side toggle engages Silicon clipping for a more aggressive, compressed response. The left toggle bypasses the tone stack completely, delivering a full-range, unfiltered drive straight to your amp.
Thanks to some key years working at a celebrated music store, this band of brothers has the goods.
The Band Royale, the Chicago-based brotherly “yacht metal” outfit, know a thing or two about gear—guitarists Joel and Zach Bauman, plus bassist Marc Najjar, all worked at Chicago Music Exchange, one of the premier music shops in North America. PG’s Chris Kies traveled deep into the band’s bunker in Chicago for this Rig Rundown with Najjar and the Bauman brothers.
This 1972 GibsonLes Paul Custom was Joel’s first “real” guitar, which he bought from CME. It’s all original except for the tailpiece, and weighs in at a whopping 11 pounds. Joel keeps it in open D6 tuning.
Mock Mockingbird
Someone brought this fake Mockingbird into CME one day, and Joel decided he had to have it. It boasts neckthrough construction with maple and mahogany, a Bill Lawrence dual blade pickup, brass nut, and heftier .012-gauge strings. The original builder must’ve liked the sticker he added to the body; it’s underneath the lacquer.
Warming Up
While Brian Carsten was still an amp tech at CME, Joel bought this Carstens Amplification Warm Machine off of him—the first he ever made. It’s designed around a master-volume, 50-watt Marshall head circuit, with a bit more warmth. Joel has had this one for over two decades now, and runs it through a Fender Bassman 2x12 cab with Celestion Creamback speakers.
He’s also been experimenting with a Quilter Overdrive 200 for a lighter solution, which he runs through a Bergantino 2x12 cabinet—Joel calls the cab and Quilter combo a “game-changer.”
Joel Bauman’s Pedalboard
The jewel of Joel’s board is a 1981 Ibanez Tube Screamer, gifted to him by Josh Klinghoffer. There’s also a Durham Electronics Sex Drive, EHX Micro POG, Xotic EP Booster, Friedman BE-OD, Boss CE-2W, Strymon El Capistan, and Strymon Flint, plus a Korg Pitchblack Advance tuner.
Holesome
Zach Bauman isn’t bothered by the gaping hole in his 1990 Gibson SG; it gives the guitar a whole lot of character. This guitar has a Gibson T-Top Burstbucker in the bridge, and has been modded to have just two pots for master tone and volume. Zach strings it with .011–.052s.
Painted Paul
Zach snagged this 1979 Les Paul while working at CME, and scraped off a nasty previous paintjob with a card before getting to work making it his own. A friend painted the headstock, and another made him this custom pickguard. It’s also got T-Tops in the neck and bridge.
Mig Buff
Zach loves his Sovtek Mig 60 head, which he plays through a cab he built himself at a pipe-organ shop in Denver. Every glue joint is lined with thin leather for maximum air tightness, and it’s stocked with Celestion G12M Greenback speakers.
Zach Bauman’s Pedalboard
On Zach’s board, we find a Klon clone, Ibanez Tube Screamer, Boss VB-2W, Ibanez Mini Chorus, Strymon Flint, and Strymon El Capistan, along with a Dunlop Volume (X) pedal and a TC Electronic PolyTune.
Bergantino’s Best
Najjar has deep love for Holly and Jim Bergantino and their Bergantino Audio Systems products. He plays with both a Forte and Forte HP Ultra—a 2000-watt prototype—through a Bergantino HDN112 cab and special 3x10 cab.
Bass for Babies
Najjar’s Sandberg Forty Eight finished in shoreline gold, nicknamed the “golden baby,” was the first of its kind.
Going to California
This Sandberg California TT4 has ’70s-style J-bass pickups and a 34” scale. Najjar gets a “Geddy Lee-style” vibe from it.
Marc Najjar’s Pedalboard
Najjar’s tone temple is topped off with a Bergantino Super Pre brass preamp into his Neural Quad Cortex.
Since it was first introduced in 1958, Vox has released myriad iterations of the AC15 combo—built variously in England and Asia, and offered in both hand-wired and PCB formats. The new AC15 Hand-Wired suggests a strictly old-school ethos, but several of its features—most notably a move from EF86 to 12AX7 preamp tubes—are deviations from vintage form. That does result in a different feel in some situations; at times it sounds and feels more like a half-power, 1x12 AC30 than a vintage AC15. But this iteration is arguably more flexible than its predecessor, too.
Channel Crossing
Given the microphonic tendencies of EF86 tubes, the switch to 12AX7s is an intriguing and practical move. Elsewhere among the tube complement, there’s a 12AT7 for the preamp and phase-inverter, two EL84s in the output stage for 15 watts RMS, and a GZ34 tube rectifier. It’s all housed in a classic Vox combo cab measuring 22 1/4"x23 1/4"x1 1/2".
The AC15 Hand-Wired’s normal channel has just a single knob for volume. But its voicing can be tweaked via a bright switch and the tone cut knob in the master section, and there’s also a boost switch to increase gain. The top boost channel features volume and dedicated treble and bass controls, but no boost or bright switch. Both channels have high and low inputs, and the latter can be handy for taming hot humbucker-equipped guitars.
The fine-tuning capabilities of the amp extend to the footswitchable, tube-driven, spring reverb circuit, which has a tone control in addition to its level, enabling you to fine-tune the frequency emphasis of the reverb itself. Send and return jacks for the effects loop—along with a bypass switch and a –10/+4 dB level switch for compatibility with both rack and pedal effects—are smartly positioned along the lower edge of the upper-back panel, rather than on the underside of the chassis. Dual speaker-outs have an impedance switch for 8- and 16-ohm operation. (The combo’s Vox-labeled Celestion Alnico Blue requires the latter.)
Vox was careful to reproduce the windings of a vintage AC15 output transformer circa 1963, which results in a heftier chunk of metal than you might expect in an amp this size. Vox makes up some of that weight by using slightly thinner plywood for the cabinet walls, which are just less than 1/2" in thickness—matching vintage specifications and, in Vox’s estimation, enhancing resonance and dimensionality. As with many AC15s past, the transformer and alnico speaker help push this new edition to 50 lbs, making for a surprisingly heavy combo of this size and output power. It might have been nice for Vox to slim things down. On the other hand, the amp might lose what turns out to be a strong, audible vintage spirit without those heavier design elements.
Chiming In
Paired with a Gibson ES-335 and a FenderTelecaster, the AC15 Hand-Wired plated up many impressive slices of vintage Vox tone, with plenty more versatility on top. With all knobs at noon and the boost and bright switches on the normal channel engaged, the two channels sound remarkably similar. There might be just a touch more grind and sparkle on the top boost side, but it’s close! At these levels, both channels still summon plenty of break up with a Telecaster. Switching to the ES-335’s humbuckers predictably kicks the overdrive up a notch at the same settings.
The boost switch on the normal channel isn’t always a breeze to manage. It delivers a pretty big jump in gain and, with it, a slightly ragged edge at some settings. With both boost and bright switches down, though, the normal channel is rich, warm, and muscular, and makes an excellent, adaptable platform for gain pedals (in my case an Analogman Prince of Tone and a Wampler Tumnus Deluxe). Knock this normal channel volume up to around 2 o’clock and it segues into toothsome sounds that dip into clipping under heavier pick attack.
Arguably the most delectable tones are found in the top boost channel with all three knobs set to around 11 o’clock. Here, the AC15 Hand-Wired achieves its closest approximation of vintage Vox tone: chewy midrange, lots of chime and sparkle in the highs, and a dynamic edge-of-breakup touch sensitivity that you can control and vary via pick attack. Cranked up, the top boost channel roars with a throaty, shimmery vintage lead tone, although at the expense of the delectable dimension and clarity achieved at lower volumes.
The amp’s master volume, by the way, is very effective at tailoring the AC15 Hand-Wired for a range of room requirements, and is essential for smaller venues. This amp is loud when maxed—probably a lot louder than you’d expect from a 15-watt 1x12" combo—which is another classic characteristic of the AC15. It’s worth noting that things can get a little ratty with the master below 10 o’clock and either channel volume up high, but that’s par for the course with such circuits.
The Verdict
Vox’s new AC15 Hand-Wired combo does a good job of capturing much of the vintage-voiced spirit of the classic while offering many features that are must-haves for modern guitarists less burdened by complete vintage correctness. And if it’s not a point-perfect reproduction, it honors the sound and spirit of the original—and looks the part onstage, too.
Zach loves his Sovtek Mig 60 head, which he plays through a cab he built himself at a pipe-organ shop in Denver. Every glue joint is lined with thin leather for maximum air tightness, and it’s stocked with Celestion G12M Greenback speakers.
