Based in the Flemish region of Belgium, Da Capo manufactures totally hand-built, valve-driven guitar combination amplifiers of the highest quality.
With switchable 20watt Studio and 40watt Stage outputs, the Da Capo GT Deluxe Series 1x12 class a/b amplifier, features circuitry designed in-house by respected engineer Guy Tiels, delivering sweet, hot-valve musical cleans, with an abundance of harmonic induced sustain when pushed to its natural overdriven voice.
"The Da Capo GT Deluxe Series brings a fresh new approach to tube amp design," says Da Capo owner and founder Nicolas Acou. "There's a noticeable increase in clarity and separation within chords and lead lines, what you hear from the speaker is an open and direct, unimpaired translation of the guitar, with exceptional focus and definition.
A Fresh New Sound
Controls:
- Pré Gain
- Treble
- Mid
- Bass
- Gain
- Reverb
- Headroom
- Studio / Live switch
- W540xH430x245
- 15kg
- 20w/40w
- 240v / 110V
Ins and outs:
- High / Low input
- Power inlet
- 8ohm extension
- Effects loop
- Mic out
- 1X Ecc 83 Tung-Sol- 2x ECC83 JJ's
- 2X KT77 JJ's- Custom wired toroidal power traffo
- Van der Veen toroidal output trafo
- 12" Celestion alnico Cream speaker
- Beech cabinet
- Leather handle
Top Design
We also worked with renowned contemporary designer Joeri Claeys, whose emphasis is on form and vision, for a striking cabinet design, featuring well-balanced, fluid curves, creating a minimalist contemporary guitar combo that suits every interior.
Modern Ergonomics
No more heavy lifting with oversized and heavy amplifiers. The GT deluxe is easy to carry and will fit in any car. It is designed to make traveling and setting up a breeze.
GT Deluxe amplifier
€ 3.630,00 incl.tax
Optional Integral mic'ing system
€ 150,00 incl.tax
Extension Cabinet
€ 965,00 incl. tax
Padded cover
€ 230,00 incl. tax
Da Capo GT Deluxe Demo
Oklahoma City sludge rockers Chat Pile have had a busy few years. Their 2022 LP, God’s Country, broke them internationally, and their critically acclaimed 2024 follow-up, Cool World, solidified them as one of the most exciting heavy bands of the moment. We spoke with bassist Stin and guitarist Luther Manhole about the record for our November 2024 issue.
Now, we bring you the band’s first official Rig Rundown, filmed ahead of their show at The End in Nashville last fall. Tune in to see how Stin and Luther conjure the band’s brutal soundstorms on the road.
Brought to you by D’Addario.
Bari Blast
Manhole’s main machine is this baritone 6-string, an Ernie Ball Music Man BFR Axis Super Sport, finished in “starry night.” Luther took a tip from tourmate and Agriculture guitarist Richard Chowenhill and slapped some tape over his neck pickup near the first string to prevent it from catching on the edge of the humbucker. It’s tuned to drop A, with Ernie Ball Mammoth Slinky strings.
Quite the Quilter
Back at home, Luther and Stin lean on big vintage amps, but on the road, Luther brings out this Quilter Tone Block 202, which is plugged into an Ampeg VT-40 combo amp that’s been gutted to run just as a 4x10 cabinet. Luther digs the icier, cutting tone from the 10″ speakers.
Luther Manhole's Board
Manhole’s board is minimalist: All he needs is a TC Electronic PolyTune, a Suhr Riot for dirt, an Electro-Harmonix Memory Boy (which is set for a wobbly chorus effect), and a TC Electronic Hall of Fame for reverb—pedals he’s used for over a decade. An Acoustic PBIS08 supplies the quartet with power.
Peavey Power
Around 2007, Stin went on a hunt around Oklahoma music shops for a Peavey T-40. He finally found one—in a total “Wayne’s World moment”—that belonged to a country singer who had passed away. Since the band’s formation, this “hot and clangy” white T-40 has been Stin’s tool for crafting Chat Pile’s elephantine, bottom-heavy sound. He uses the 5-string Ernie Ball Slinky Cobalts (.060–.125), omitting the .040 string, and plucks with orange Ernie Ball Everlast .73 mm picks for strong, percussive attack.
Building Blocks
Stin’s signal runs to this Quilter Bass Block 802, which blasts through a Trace Elliot 4x10 redline cab with horns—the cab that’s been used on every Chat Pile recording to date.
Stin's Board
Stin probably thinks Manhole’s board is excessive. He packs just his Boss TU-3 and a Tronographic Rusty Box, each with their own individual power supply plugged into a power bar that’s fixed to the board.
Mike Stern has been around the block. The jazz-guitar virtuoso earned his stripes through the ’70s and ’80s in New York’s jazz scene, playing 6-string with drummer Billy Cobham before tapping in with artists like Miles Davis and Jaco Pastorius—even at a time when guitar wasn’t necessarily a cornerstone piece of a jazz outfit. In this episode of Wong Notes, Stern fills Cory Wong in on the ups and downs of 50 years spent in one of the most complex and underappreciated music genres.
Stern made the leap to New York from Boston when Davis invited him to join his band (back when jazz was the pop music of the day, notes Stern), but it was a rocky ride—Stern says he and many other musicians were “bottoming out” from addiction, until a friend went sober and convinced them to give sobriety a try. Stern talks about Miles’ hidden love for the guitar, and how he succeeded in fitting into non-guitar environments.
Wong and Stern touch on the decline of arts spaces and cultures in America (thanks, Stern says, to misallocated funding), playing gigs where the band outnumbers the audience members, the benefits of running the same rig in every room, and how to pick the right pick—for Stern, that involves a bit of wig glue. Tune in to get the details, and be sure to check out our 2018 Rig Rundown with Stern, too.
