 | Download Example 1 Les Paul dirty rock rhythm tone |
| Download Example 2 Clean Blackface Strat tone |
| Download Example 3 P-90 thick solo tone |
| Clips recorded with an SM57 off-axis through a Chandler LTD-1 mic preamp into Pro Tools using an Apogee Symphony I/O interface. Clip 1 is a 2003 Les Paul R8, Clip 2 is a 2008 Fender American Standard Strat, Clip 3 is a Hamer Korina Special with Lollar P-90s | |
Nolatone Ampworks—and the work of Paul Sanders—are already standouts in this fast-growing amp category. Handbuilt by Paul in Raleigh, North Carolina, using only the highest quality parts, Nolatone models like the June Bug and Chimey Limey have already made a mark for their interpretations of Fender Tweed and Vox tones. They might also be some of the sharpest looking amplifiers available today. And on both the sound and visual front, Nolatone’s 15-watt Rotten Johnny is every bit as spectacular a performer as its cousins in the Nolatone line.
The Dirt
Weighing in at a very reasonable 28 pounds with dimensions similar to a Fender Blues Junior (18" x 16" x 10.5"), the Rotten Johnny is an open-back 1x12 combo constructed of solid dovetail-jointed pine. Our review Rotten Johnny came in covered in two-tone brown and crème vinyl with basketweave grille cloth, and sported the signature Nolatone “V” panel TV front design. The 12" speaker is a 25-watt Warehouse Green Beret, which is designed to sound like a broken-in Celestion greenback. The circuit is built around two JJ 6V6 power tubes (you can also request EL84s) and two 12AX7s. Everything under the hood is top-notch, including custom Mercury Magnetics iron, 1-watt carbon film resistors, F&T filter caps, Switchcraft jacks, and Carling switches laid out on a hand-wired turret board.
Unlike many lower-wattage amps, the Rotten Johnny offers far more control options than a single volume and tone control. The top panel consists of a unique 3-band EQ (Bottom, Mid, Top), as well as Pre- and Post-Gain controls and a Master volume. A Mid Lift switch (which can also be activated by a footswitch) effectively works as a boost for solos. Power and standby switches reside next to a red jewel power indicator.
The EQ section is a little more flexible than what you’ll find on a production-line low-watt amp. The Bottom control is a 6-way switch that progressively rolls off bass. The independent Mid control is not part of a typical tone stack configuration— dialing it down extends the highs and lows to create a very Fender-like mid-scooped tone. The High control, meanwhile, is a Vox-style top-boost reverse-wired to enable players to move from chiming to much darker tones by backing off the control. Borrowing a move from Nolatone’s June Bug design, the Pre- and Post-Gain controls work in tandem to control the amount of gain to the second stage and phase inverter respectively.
Rockin’ the Filament
With a Godin Icon Type 2 with Duncan P-Rails in hand, I got right down to the business of exploring the wide-open voice of the Rotten Johnny. With the Godin set to the humbucker position, I cranked the Master to full, set the Post Gain to around noon and brought up the Pre Gain until I got a rich, full distortion. The sound was raw and thick, but I wanted a little more clarity, so I dialed back the Bottom knob by a few clicks, scaling down the thickness a touch, but opening up the sound considerably. The combination was reminiscent of Frampton’s Rockin’ the Fillmore-era Humble Pie tone—a pretty huge sound for a 15-watt 1x12 combo. And if I closed my eyes, I’d swear I was listening to a full stack in miniature. For years, I’ve tried to harness 100- and 50-watt amps with attenuators and master volumes and never been totally successful. Needless to say, I was stunned when two 6V6s pushing a single 12" gave me what I’ve been looking for—and then some.
Wielding my ’74 Les Paul Custom and with the Mid control set to the non-lift position, I was able to dial in AC/DC rhythm tones with just the right amount of kerrang and chime to create the illusion of a blaring baby JTM45. And setting the Pre Gain to noon and ramping up the Post Gain added gobs of thick, juicy crunch with just enough bark to cut through a mix. This is where the Top control really shines—pulling the Top back just a touch takes some of the edge off without muddying the tone. It’s voiced for just the right amount of sheen and clarity without ever being brittle or icepicky. The top-cut configuration also makes the effectiveness of the Mid control’s sweep range very apparent—enabling boosts in presence that aren’t too brittle.
The Mid control is almost like another gain knob, delivering more distortion and dimension the more you crank it. And with the Mid Lift engaged Rotten Johnny turns into a roaring fire-breather with more gain than most of us would ever need. I’ve rarely heard a 6V6 amp sound this way—often assuming some of the tonal qualities of EL34s and EL84s. Though it only takes cutting the Mid and backing off the Pre Gain to get back to more blackface-like territory that was a perfect match for my Strat.
For a 15-watt amp, the Rotten Johnny doesn’t lack headroom. Because there is so much control via Pre and Post gain over how hard you hit the tubes, I found myself digging deep into the wealth of Stratfriendly clean sounds you can get with less aggressive use of those controls. It was easy to conjure thick and chewy cleans with just a hint of grind by pushing the Post Gain and leaving the Master wide open. Even with the Mid Lift engaged I could still hit the guitar hard without harsh sounding breakup. And I was always able to shape the thickness with the Bottom switch, which I used extensively to match individual guitars to the amp.
The Verdict
It’s been a long time since I’ve been so excited about a new amp. The Rotten Johnny has a huge range of brilliant tones in a compact design that, at $1399, doesn’t break the bank. For bedroom or studio musicians, it’s a dream because you can coax out cranked stack sounds without knocking down walls and get the most beautiful cleans with the twist of a few knobs. The construction is top notch and the styling is classy and cool. For an amp that’s roughly the same size as a 1x12 cab and weighs less than 30 pounds, it has the sonic personality of something much larger. I only wish this little guy was around when I first started playing guitar. Thankfully, I’ll have the chance to make up for lost time—my own Rotten Johnny is on the way and I can’t wait to cut loose.
Buy if...
you want everything from Brit aggressiveness to blackface tones in a compact package at a fair price.
Skip if...
you actually need the power to blow down barns.
Rating...
Street $1399 - Nolatone Ampworks - nolatone.com |
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.
Fender Player II Stratocaster HSS Electric Guitar - Coral Red
Fender Player II Jaguar Electric Guitar - Aquatone Blue
The 2018 CCL Deco Custom, in all its Pelham blue glory.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.