Check out our special coverage of Amps to go along with the August 2016 issue of PG.
Two-Rock Amplification
Cardiff
A 15-watt EL84 amp with minimal compression and a fuller/fatter midrange and stout low end, Cardiff reflects the perfect marriage of British heritage and Two-Rock performance. Cardiff lets you dial in your own tone via a single input jack, bass, treble and volume control, a Contour Control, and a passive effects loop. Cardiff is available as a head with a matching 1 x 12 cabinet loaded with a Two-Rock 12-65B Speaker or 1x12 Combo.
Street Price: $1595 Head, $595 1x12 Cabinet
Connect with Two-Rock on Facebook
Click here for Video Clips
Tone King Amplifiers
Royalist 45 MK II Combo
The Royalist MKII captures the essence of early British tones ranging from JTM45 to Plexi/Super Lead. It features a single channel preamp, an all-tube signal path with three 12AX7A preamp tubes, and two EL34 output tubes. Its series-wired effects loop is tube buffered for superb transparency. A built-in Ironman-II power attenuator uses a reactive load circuit and sophisticated compensation circuitry to deliver the genuine tone and feel of a "raging stack", even at bedroom volume.
Street Price: $2,995
Connect with Tone King on Facebook
Click here for Video Clips
Fishman
Loudbox Acoustic Instrument Amplifiers
The industryās best-selling acoustic instrument amplifiers, Fishmanās Loudbox series offers the power and features that musicians demand. Each model provides ultra-clean acoustic power, two channels featuring Fishmanās legendary preamp and tone control designs, digital reverb, feedback-fighting Phase control, Ā¼ā and XLR inputs, and balanced XLR D.I. outputs. Loudbox acoustic instrument amplifiers deliver the tonal quality that has made the Fishman name the standard for great acoustic sound.
Starting at: $329.95
Connect with Fishman on Facebook
Henriksen Amplifiers
The Bud
If you play, you need a Bud.
The Bud is the without question the smallest, TRULY GIGABLE guitar amplifier on the market with unmatched tone quality! At 9x9x9 inches, 17 pounds and 120 watts of analog power, you won't believe the volume and tone coming from either your electric or acoustic guitar, or any stringed instrument with a pickup for that matter, and with a feature set that allows you the versatility to cover almost any kind of gig, this is a MUST HAVE piece of gear for the working musician.
Starting at: $1,099
Connect with Henriksen Amps on Facebook
Click here to Play Videos
Click here to Hear Sound Clips
Fryette Amplification
ValvulatorĀ® GP/DI
Introducing The Fryette ValvulatorĀ® GP/DI, Desktop Recording Amplifier. This is is an ALL-TUBE low-power guitar amplifier, pre-amplifier, direct box, and all-around low-volume-playing solution. The GP/DI is specifically designed to work in situations where you can't or donāt need to play loud, such as late-night playing and recording, headphone practicing, and recording straight into the board live. It is the first all-tube guitar amplifier designed to do that without any additional equipment and a minimum of trouble.
ā¢ One Watt all-tube Amplifier with integrated reactive load.
ā¢ Extremely broad tonal range, from clean to high gain.
ā¢ Analog Speaker Sim "Cab + Mic" section for direct recording.
ā¢ Built-in tube Direct Injection output, usable separately as a Tube Direct box , or together with the amplifier.Ā
ā¢ Balanced XLR outputs for amp out or tube buffered D.I.
ā¢ Fully functional self-contained "Re-Amping" solution.
ā¢ Can drive a 1-12ā cabinet
ā¢ Made in the USA
Starting at: $799
Connect with Fryette on Facebook
Click here to Play Videos
Click here to buy it
Fryette Amplification
Pittbull UltraLead Head
The Fryette PittbullĀ® Ultra-Lead is a powerful, versatile channel switching amplifier suited for players of any style. Uncompromising personality makes it the choice of world-class players from all genres of music. The Ultra-Lead's KT88 power section provides stunning clarity and definition whether playing ultra-clean or maximum gain.
The FatBottom 212 low-profile cabinets feature Fane F70G speakers and mono/stereo input capability. Front mounted speakers produce a tight, focused low end and extended projection.
Starting at:
$3,799 (Ultra-Lead head);
$999 (FatBottom 212 F70G)
Connect with Fryette on Facebook
Click here to Play Videos
Click here to buy it
Fryette Amplification
Power StationĀ®
The Fryette Power StationĀ® PS-2 is a reactive load coupled to a dual 6L6 vacuum tube power amplifier that allows you to attenuate a high powered guitar amp, or boost a low powered guitar amp.
ā¢ Perfectly preserves the tone of the attenuated amplifier.
ā¢ Maintains dynamic feel at any volume.
ā¢ Provides an effects loop.
ā¢ New Input Level sensitivity switch, rear panel Low Pass Filter Bypass switch, and Balanced XLR Line Output.
Street Price: $699
Connect with Fryette on Facebook
Click here to Play Videos
Click here to buy it
Fane USA
Ascension F70
"FANEāS NEW ASCENSION RANGE OF 12" speakers was developed with input from Southern California amp designer Steven Fryette, and aims to capture the punchy, bold, yet harmonically complex and responsive performance that people love in the classic late-ā60s and early-ā70s speakers from this under-appreciated British maker. The Fane sound became legendary due to their use in certain Hiwatt guitar cabinets of the era, and Faneās new models provide added versatility for the contemporary player." (Guitar Player, March 2016)
The Fane Ascension F70 offers a stunningly detailed top-end, rich mid-range and warm low-end with an intricate three-dimensional vintage crunch. The beauty of the F70 is that you need not even change your amplifier's setting to appreciate its ability to articulate delicate passages or manage pummeling abuse with ease. Whether your application is a head and cab or an open back combo, the F70 adds a welcome new dimension to existing rigs.
Street Price: $199
Click here to Play Videos
Click here to buy it
Radial Engineering ltd.
Radial JDX Direct-Driveā¢
Emulates the sound of a guitar amplifier while doubling as a direct box. Unlike a typical DI that merely transfers the sound from guitar/pedals to the PA, the Direct-Drive simulates the tone and feel of an amp, producing much more realistic sound. With the Direct-Drive on your pedalboard, you can do a gig without an amp! A passive thru-put feeds a stage amp (if you want one) and a dedicated tuner output is buffered to eliminate pickup loading and tuner noise. Guitar signal goes through a series of carefully sculpted filters to create Radialās signature 'Shure-SM57ā¢-on-a-Marshallā¢- 4x12-cabinet' tone. 'Vintage Marshallā¢' and 'early Fender Twinā¢' alternate voicings can be further tailored with the 'presence' switch for extra sparkle. Output via Ā¼ā guitar-level and balanced XLR to feed the PA. A 180Ā° polarity reverse phase-aligns monitors/PA sound with stage amp and a 'Lift' switch eliminates hum and buzz caused by ground loops.
Street Price: $899.99
Click here to connect with Radial Engineering on Facebook
Click here to Play Videos
Tube Amp Doctor
TAD STR-SERIES Premium Quality Tubes
Tube Amp Doctor's STR-TUBES are inspired by the most wanted NOS tubes of the golden age of tube manufacturing. They are produced to our exclusive designs and strict specifications.Ā
A unique sequence of tests, our burn-in process and our sophisticated and genuine bias-matching, carried out by our highly experienced staff, make TAD's STR-TUBES the finest and best selected premium quality tubes currently in the market. Here are only some of the benefits - everything for the one and only goal ā the ultimate tone:Ā
ā¢ Better overall responseĀ
ā¢ Increased, dynamic headroomĀ
ā¢ Superior tone and performanceĀ
ā¢ Maximum reliability, consistency and sturdinessĀ
ā¢ Designed and tested in Germany
ā¢ All tubes tested individually
ā¢ Power Tubes are matched by Ia (PC) and Gm (TC) with lowest tolerances
Street Price: varies
Click here to connect with Tube Amp Doctor on Facebook
Click here for the FREE catalog
Click here to buy now
Tube Amp Doctor
TAD CAPACITORS
Handmade TAD MUSTARD CAPS produced with the authentic film-to-foil alu/PE design, exclusively for TAD!
TAD Audio Caps feature the authentic flat-foil design and will refine tone with excellent overtones and rich details.
TAD Gold Caps are available in radial and axial shape - high temperature resistant, vintage correct sizes and specifications.
TAD Vintage Oil Caps complete our premium line of foil capacitors, vintage correct specs and values, for a smooth, natural and harmonically delightful tone.
Street Price: varies
Click here to connect with Tube Amp Doctor on Facebook
Click here for the FREE catalog
Click here to buy now
Tube Amp Doctor
TAD Reverb Cans
Our high-quality, classic TAD REVERB CANS bring back the stunning reverb sound of the 60s. The ideal drop-in replacement and upgrade for vintage and modern amps!
Street Price: varies
Click here to connect with Tube Amp Doctor on Facebook
Click here for the FREE catalog
Click here to buy now
ProCo Sound
Evolution Silent Instrument Cable 20ft
We could say that evolution cables are the best sounding cables on the market....except they don't sound at all. An unnoticeable, uninhibited link in an audio chain so often bound by the constraints of inadequate cables. A Sonically Superior design combined with the truly evolutionary Softtouch jacket, Evolution will change how you feel about cables and revolutionize the way you connect to YOUR world.
Pro Co EVOLUTION Instrument Cable Features:
100% oxygen-free wire for long life and great sound
Noiseless dual-shielded design rejects outside noise
Neutrik black and gold connectors for a solid, clean connection
Silent Switch eliminates amp pops when removing cable
Supple soft touch jacket
Street Price: $73.99
Click here to connect with ProCo Sound on Facebook
Bergantino Audio Systems
Bergantino B|Amp
The B|Amp is an incredibly flexible, easy to use, state-of-the-art Bass Amplifier, delivering maximum performance in a compact package. The B|Amp takes a new approach by including the speaker cabinetās response as part of the signal path. No other bass amplifier on the market has the ability to manage speakers and overall system performance like the B|AMP. This is accomplished through our Proprietary Profile EQ system. The B|Amp is a game changer in Bass Amplification!
Street Price: $1,399 ProNet
Click here to connect with Bergantino Audio on Facebook
Click here for Video
Click here for Audio
Swart Amplifier Co.
MOD84
The MOD84, Swartās first EL-84 offering, is 15w of 100% hand-wired, turret board construction, USA made with 3-way interactive EQ, top controls, tube reverb, tremolo, and rectification. It has some of the most soulful cleans with the ability to intertwine some fur and angst with push/attack. It's got that Swart harmonic richness while still being open and transparent, featuring excellent touch sensitivity. This is really a do it all amp that can cross musical genres.
Street Price: $1,750 w/Celestion Creamback
Click here to connect with Swart Amps on Facebook
Click here for Video
GURUS Amps
5015 Head
5015 is our Single Channel + iChannelā¢ 50W head in a lunchbox size. Thanks to its easy 3 controls you can sculpt your tone to reach best performances in every situations, from your home to a big stage. You can obtain a totally clean sound with lot of headroom to use as a platform for your pedals rig, and/or choose to get it to compression of both stages, preamp or power section using its separate controls volume and master to obtain stunning vintage or modern tone.
With the SexyToneā¢, you can manage the EQ curve of your amp simply with a single knob which works on 3filters simultaneously, moving the entire tone-stack curve for best result and as a fine tuning of your final tone, matching the right cab etc..
It is equipped by a tube buffered Serial loop and has 3 out on 4,8 and 16Ohms.
Street Price: $900
Click here to connect with Gurus Amps on Facebook
Click here for Video
Roland
Blues Cube Hot
GIG-READY BLUES CUBE āTUBE LOGICā TONE IN A PORTABLE COMBO AMP
ā¢ Performance-ready 30-watt compact combo guitar amplifier with authentic tube tone and touch response
ā¢ Rolandās comprehensive Tube Logic design delivers the interactive tonal behaviors of famous fine-tuned vintage tube amps, including preamp and output tube saturation characteristics, power supply compression, and much more
ā¢ Master volume, three-band EQ, and onboard reverb, plus footswitchable Boost for natural crunch and Tone for bright presence
ā¢ Four-way Power Control (0.5 W, 5 W, 15 W, Max) allows for cranked-up tones at any volume
ā¢ Classic open-back design with custom 12-inch speaker and poplar cabinet for enhanced presence on stage
ā¢ Stylish, modern look with a vintage vibe
ā¢ Efficient, lightweight design provides easy portability without sacrificing tone quality
ā¢ USB output for high-quality direct recording to a computer
ā¢ Available in two color variations: Vintage Blond and Black
Street Price: $499
Click here to connect with Roland on Facebook
Click here for Video
Friedman Amplification
Runt-50 Combo
ā¢ 50-Watt all tube amplifier / Two channels
ā¢ 2 x EL-34 power tubes / 4 x 12AX7 preamp tubes
ā¢ Clean channel with Volume, Bass, Treble and ? Bright switch
ā¢ Lead channel with Volume, Gain, three-band EQ ? and a boost switch.
ā¢ XLR Cab Simulated output with Ground Lift, Axis ? and Level switches.
ā¢ Ultra transparent series FX loop
ā¢ 4, 8 and 16 ohm impedance selector
ā¢ Single button footswitch
Street Price: $1,999.99
Click here to connect with Friedman on Facebook
Morgan Amplification
MVP23 combo
ā¢ Power: Ā¼ - 23w variable (tube)
ā¢ Hand-wired in the USA
ā¢ 2x EL-84 power tubes
ā¢ 2x 12AX7 preamp tubes
ā¢ Celestion G12H75 Creamback
ā¢ Power Level control
ā¢ Gain
ā¢ Volume
ā¢ Treble
ā¢ Mid
ā¢ Bass
ā¢ 2x8 ohm 1x16 ohm outputs
ā¢ Limited lifetime warranty
Street Price: $1,749.00
Click here to connect with Morgan Amps on Facebook
Celestion
Neo Creamback
The Neo Creamback delivers all the magical tone youād expect from a traditional Creamback. The difference is the neodymium magnet, which makes this speaker around half the weight of a traditional guitar speaker. You still get the low end punch, warm midrange and sweet highs the Creamback is famous for: push it hard and enjoy the ārace-car growlā. But pick up a cab loaded with Neo Creambacks and see what makes this speaker truly different.
Street Price: $169
Click here to connect with Celestion on Facebook
Click here for Video
MESA/BoogieĀ®
JP-2Cā¢
Inspired by their long-standing relationship with John Petrucci, MESA/BoogieĀ® is proud to introduce the JP-2Cā¢. The model is MESAās first unlimited-build signature amplifier and joins the MARK Series as a next generation re-issue of the legendary MARK IIC+ā¢. With modernized features, benefitting from over three decades of R&D, the JP-2C delivers three channels, two assignable EQs, 60/100 watts, MIDI, Cabcloneā¢ DI and the legendary IIC+ tone that so many recording artists and MESA enthusiasts covet.
Street Price: $2,499
Click here to connect with MESA/Boogie on Facebook
Click here for Video
Revv Amplification Inc
Generator 120
The Generator 120 watt amplifier, is a 4 channel variable gain, all tube amplifier designed to be everything the touring musician, or the weekend warrior, will need in an amplifier. From beautiful warm sparkling cleans, vintage style crunch, to deep metal rhythm or searing leads, this amplifier does it all and more.
Street Price: $2,499
Click here to connect with Revv Amps on Facebook
Click here for Video
Click here to buy it
Park Amplifiers
Park Little Rock 18
The Park Little Rock 18 a finely tuned classic rock amp. It features the same preamp as higher powered Park amps plus switchable cascaded channels for higher gain and a power amp capable of using a number of power tubes (6V6, 6L6, EL34 for 14 to 24 watts). The amp produces beautiful clean tones plus overdriven blues and classic rock tones all at playing levels that are suitable for the bedroom, studio or small club.
Street Price: $2,499
Click here to connect with Park Amps on Facebook
TELEFUNKEN Elektroakustik
Black Diamond Series Vaccuum Tubes
TELEFUNKEN vacuum tubes have been the benchmark of excellence in all audio applications for many decades. This rich history continues with the introduction of new production tubes from TELEFUNKEN Elektroakustik.
Each tube is meticulously measured for all critical parameters of performance including transconductance, gain, noise, and microphonics. In addition to the rigorous testing procedure, all new TELEFUNKEN tubes are cryogenically treated to ensure durability, and subjected to an extended burn-in period to ensure superior stability.
Street Price: varies
Click here to connect with Telefunken on Facebook
Click here to buy it now
Goodsell Amplifiers
Mark IV Series Custom Amplifiers
Goodsell's Custom Mark IV Series amps feature a cathode-follower 3-way tone stack, offering more control over Goodell's sumptuous tube-driven sonics. Available with reverb and award-winning bias-vary tremolo. Configurations include 1x12 combo shown here; 2x10, 2x12 and 1x15 combos; and head-only versions built to order. Call Richard Goodsell today to discuss your next custom build.
Street Price: $1,499
Click here to connect with Goodsell Amplifiers on Facebook
Click here to buy it now
Dusky Electronics
DāO Amplifier
The Dusky Electronics DāO Amplifier is an all new, original design, vacuum tube musical instrument amplifier. The DāO combines a classic, short signal path architecture with modern refinements for low noise and high reliability, to produce an amplifier that feels like an extension of yourselfāan exquisite tool for seamlessly conveying your artistic intent. This is no clone. The DāO delivers enormous clean sounds or wicked breakup with a musical feel you must try for yourself.
Street Price: $1,500
Click here to connect with Dusky Electronics on Facebook
Click here for Audio Clips
Click here for Video Clips
Click here to buy it now
3 Monkeys Amps
Nashville Howler
Designed in conjunction with Grammy Award winning songwriter, musician, and producer Gordon Kennedy, The Nashville Howler has plenty of clean headroom and a Marshallesque tone stack making it the ideal bedroom and small venue amp.Ā
Described by Gordon as a "Tweed Deluxe with a British accent!"
Controls are VOLUME, TREBLE, MIDDLE, BASS, and PRESENCE. Two cathode biased 6V6 power tubes and three 12AX7 preamp tubes combine for about 15 watts of power.
Street Price: $1,849
Click here to connect with 3 Monkeys Amps on Facebook
Click here for Audio Clips
Click here for Video Clips
Click here to buy it now
Price unveiled her new band and her new signature model at a recent performance at the Gibson Garage in Nashville.
The 6-string was inspired by the J-45 she bought at Nashvilleās Carter Vintage Guitars after she was signed to Third Man Records, where she made her 2016 ice-breaker album, Midwest Farmerās Daughter. But her affection for Gibson acoustics predates that, going back to when she found a 1956 LG-3 in her grandmotherās home. The guitar had been abandoned there by her songwriter great uncle, Bobby Fischer.
āI played it for years before I found my J-45,ā Price recounts. āAt Carter Vintage, I tried a lot of guitars, but when I picked up that J-45, I loved that it was a smaller guitar but really cut through, and I was just really drawn to the sound of it. And so I went home with that guitar and Iāve been playing it ever since.ā
āHaving a signature model was something I had dreamed about.ā
Of course, Price was also aware of the modelās history, but her demands for a guitar were rooted in the presentāthe requirements of the studio and road. The 1965 J-45 she acquired at Carter Vintage, which is also a cherry āburst, was especially appealing ācompared to a Martin D-21 or some of the other things that I was picking up. I have pretty small hands, and it just was so playable all up the neck. It was something that I could easily play barre chords on. I could immediately get everything that I needed out of it.ā
If youāve seen Price on TV, including stops at Saturday Night Live, The Late Show With Stephen Colbert, and Jimmy Kimmel Live!, youāve seen her ā65. And youāve also seen, over the years, that part of the soundholeās top has been scraped away by her aggressive strumming. Itās experienced worse wear from an airline, though. After one unfortunate flight, Price found her guitar practically in splinters inside a badly crushed case. āIt was like somebody would have had to drive over this case with a truck,ā she relates. Luckily, Dave Johnson from Nashvilleās Scale Model Guitars was able to put Humpty Dumpty back together again.
After that, an alternative guitar for the road seemed like a requirement. āHaving a signature model was something I had dreamed about,ā Price says. Friends in her songwriting circle, including Lukas Nelson and Nathaniel Rateliff, already had them. Four years ago, a tweet asking which women they thought should have signature models appeared, and one of her fans wrote āMargo Price.ā Smartly, Price tagged Gibson and retweeted. Codey Allen in Gibson entertainment relations spotted the tweet and agreed.
The double pickguard was chosen for Priceās J-45 because of its symmetry, as a nod to the Hummingbird, and due to her heavy strumming hand.
Photo courtesy of Gibson
āThe neck is not quite as small as my J-45, but it is just a bit smaller than many J-45s fives, and very playable no matter what size hands you have.ā
āAnd so we began our journey of building this guitar,ā Price says. āI debated whether it should be the LG-3, which I still have hanging on my wall, or the J-45. I went to Montana and visited their [acoustic] factory and sat down with Robi Johns [director of sales and marketing at Gibson acoustic], and we ultimately decided that the J-45 was my guitar. Then we started talking about the specs. We did pull from the LG-3 in that the body of this signature guitar is a bit smaller. It still has a really loud, clear sound that rings through. The neck is not quite as small as my 1965 J-45, but it is just a bit smaller than many J-45s, and very playable no matter what size hands that you have.ā
The pickup that Price selected is a L.R. Baggs VTC Element with a preamp, and she took a prototype of the guitar on the road opening for the Tedeschi Trucks Band. āI am used to playing with a really loud band, with drums and sometimes a couple electric guitars, and I wanted to make sure that this guitar just cut through,ā she says. āIt was really important to me that it be loud, and it cut beautifully. Itās got a mahogany body and scalloped bracing, which makes it very sturdy. This guitar is a workhorse, just like me.ā
The Margo Price J-45ās most arresting characteristic, in addition to its warm sunburst finish, is its double-sided pickguard with an etching of a quartet of red-tailed hawks in flight. Itās practical for her strumming style, but itās also got a deeper significance.
āWe talked about all sorts of things that we could put on the pickguard, and Iāve always been a big fan of the Hummingbird, so what we did is a bit of a nod to that,ā Price continues. āIāve always been drawn to red-tailed hawks. They are supposed to be divine messengers, and they have such strength. They symbolize vision and protection. I would always count them along the highway as Iād be driving home to see my family in Illinois.ā
Birds of a feather: āIāve always been drawn to red-tailed hawks,ā says Price. āThey are supposed to be divine messengers, and they have such strength. They symbolize vision and protection.ā
Photo courtesy of Gibson
With its comfortable neck, slightly thinner body, and serious projection, Price notes, āI wanted my guitar to be something that young girls can pick up and feel comfortable in their hands and inspire songs, but I didnāt want it to be so small that it felt like a toy, and that it didnāt have the volume. This guitar has all of those things.ā To get her heavy sound, Price uses DāAddario Phosphor Bronze (.012ā.053) strings.
Price says she and her signature J-45, which is street priced at $3,999, have been in the studio a lot lately, āand I have a whole bunch of things Iām excited about.ā In mid March, she debuted her new bandāwhich includes Logan Ledger and Sean Thompson on guitars, bassist Alec Newman, Libby Weitnauer on fiddle, and Chris Gelb on drumsāin a coming out party for the Margo Price Signature Gibson J-45 at the Gibson Garage in Nashville. āIāve been with my previous band, the Price Tags, for more than 10 years, and itās definitely emotional when a band reaches the end of its life cycle,ā she says. āBut itās also really exciting, because now, having a fiddle in the band and incredible harmony singers ā¦ itās a completely different vibe. Iāve got a whole bunch of festivals coming up this year. Weāre playing Jazz Fest in New Orleans, and Iām so excited for everyone to hear this new iteration of what weāre doing.ā
With its heritage cherry sunburst finish and other appointments, the Margo Price Signature Gibson J-45 balances classic and modern guitar design.
Photo courtesy of Gibson
ZOPA, from left: drummer Olmo Tighe, guitarist and singer Michael Imperioli, and bassist Elijah Amitin. On the table sits a guitar built by NYC-based luthier Cindy Hulej.
Without citing Vonnegut, actor and musician Michael Imperioli, whose A-list filmography includes early career parts in Goodfellas and Trees Lounge through his recent role as Dominic Di Grasso on season two of The White Lotus, has felt these forces at work throughout his life. Whether itās foresight, intuition, or even magic, Imperioli jokes that some friends have accused him of being a witch. Whether or not thatās the case is probably a matter of perspective.
Take, for example, Imperioliās relationship with John Ventimiglia. In 1986, the two aspiring actors, whoād already known each other for years, were roommates when Ventimiglia, also a musician playing in bands around the New York and New Jersey underground rock scenes at the time, showed the then-20-year-old Imperioli his first chords on a guitar. He quickly took to the instrument, forming his first band almost immediately. At the end of the next decade, the two were cast to play life-changing roles on The SopranosāImperioli as Tony Soprano-protĆ©gĆ© Christopher Moltisanti and Ventimiglia as the capoās lifelong pal, chef Artie Buccoāforever intertwining their artistic paths on one of the most important television shows of all time.
SoundStream
Coincidence has tied Imperioli to his guitars as well. After falling in love with his 1966 Fender Jaguar, which he had Rick Kelly of Carmine Street Guitars modify with humbuckers, he decided to track down a second. When that guitar landed on Kellyās bench and the luthier popped the neck off, they learned just how much the two Jaguars had in common. āThose two guitars were made in the same factory on the same day in September of 1966. This is the year I was born,ā Imperioli points out, incredulously. āAnd theyāre maybe 30 serial numbers apart.ā
So it goes that āvery strange connectionsā pulled Imperioli into orbit with drummer Olmo Tighe and bassist Elijah Amitin in the mid 2000s and led them to form their now-long-standing trio, ZOPA. Imperioli and Tighe had first met while working on the 1994 film Postcards from America, when Olmo was only eight years old. They didnāt reconnect until years later, when Imperioli ran into Olmoās older brother, Michael, at a party. In this chance meeting, Imperioli learned Olmo was drumming, and āfor some bizarre reasonāand I still donāt know whyāI thought he and I should play music together,ā he recalls.
āI had the idea of forming a trio, and it was really inspired by Galaxie 500 and what they did with a trio and the way it was three distinctive musicians coming from three different point of views making this one thing happen together.ā
The two eventually connected against the odds, Imperioli going to great lengths to find the drummer, and they set up a time to rehearse. On bass, Olmo suggested Amitin, who, they learned, had his own family connections to Imperioli through his old management and familyāreal small world kind of stuff. By the time the three ended up in the same room, they already felt like they belonged together, and ZOPA was born.
Michael Imperioli's Gear
On stage, ZOPA manifest the trio energy of their influences, from Lou Reed to Dinosaur Jr. to Galaxie 500.
Guitars
- Two 1966 Fender Jaguars
Amps
- Fender Twin Reverb
- Fender Princeton Reverb
Effects
- Death By Audio Fuzz War
- Dunlop Cry Baby
- EHX Small Clone
- EHX Big Muff
- MXR Distortion +
- MXR Duke of Tone
- MXR Phase 100
- MXR Carbon Copy
- Neunaber Immerse Reverberator
- Walrus Audio Phoenix power supply
Strings and Picks
- DāAddario XL or Ernie Ball .010s
- Custom ZOPA Dunlop Tortex .88 mm
As much as this is a fun story, to Imperioli, itās much more. The relationship, and their coming together seemingly at random to discover connections between them, resonates. And it makes ZOPA an extra tightly knit unit. (The band became even tighter when Tighe married Imperioliās cousin and the two became family.) āI think it comes from good intentions and getting a good perception of somebody and wanting to further that connection,ā he says.
At a recent show at Philadelphia rock club Kung Fu Necktie, there was a different kind of energy buzzing throughout ZOPAās tightly packed audience. It was a frenetic, excited, and celebratory scene, with fans at times reaching for strums on Imperioliās Jaguar as the band kicked out a set of mostly new songs from their newest, Diamond Vehicle, which was yet to be released at the time, as well as a song or two from their debut, La Dolce Vita.āThat love of music was definitely infused into The Sopranos.ā
ZOPA is a formidable unit; theyāre a trio, with all the special rock ānā roll spirit that implies. Tighe appears on stage as bashful at first, but he emerges as a basher in the style of Dinosaur Jr. drummer Murph (though Imperioli suggests John Bonham is probably his more dominant reference point). At stage left, Amitin bops around confidently, donning a rock stance, bare chest popping through a one-third-unbuttoned shirt, easily dominating his Peavey 4-string. Imperioliās presence lands somewhere between the two. Heās casual and engaging, comfortable taking the limelight during brief, melodic Big Muff-driven solo spots, but otherwise delivering a low-key stagecraft that evokes that of his biggest influences, which range from Lou Reed and the Velvet Underground to Dinosaur Jr. to dream-pop pioneers Galaxie 500.
Those influences play out across Diamond Vehicle. Produced by John Agnello, whose extensive credits include Dinosaur Jr., Kurt Vile, Lee Ranaldo, and Son Volt, the album evokes intimate rock clubs, where live music is mutually transformed by audience and artist. A few days after that show in Philly, we caught up with Imperioli to talk about his life in music.There was a lot of energy at your show the other night. Is that the ZOPA vibe or was that a Philly thing?
Imperioli: I have to say the Philadelphia audiences are consistently fantastic. I think itās kind of a combination, but Philly has a certain spirit. I think just the spirit of the city, especially that neighborhood [Fishtown], where weāve played a few times. They love music and they want to have a good time and they let you know it when theyāre having fun. It makes it really exciting as a performer, without a doubt.
The audience included all ages of people but skewed young. Has that always been the case?
Imperioli: We started performing in 2006. In those first seven years, our audiences were more our own age group for the most part. We stopped playing together around 2013 for about seven years because I was living on the West Coast. During the pandemic, we released an album [La Dolce Vita]. I was on Instagram and often would post things about music, not just our music, but my musical tastes. When we started playing together again in 2021, we noticed that the audience had gotten a lot younger than when we started the band.
I think itās a combination of being able to reach younger people through social media, and through some of the other projects Iāve been involved in, and The Sopranos finding a younger audience, and TheĀ White Lotus, which kind of hit a younger audience.You started playing when you were 20 years old. How soon after learning your first chords did you start performing?
Imperioli: I immediately started playing with one guy who was in my acting class who had been a musician first, and then two other musicians. We started a band that was really kind of a no-wave band based on the Mudd Club scene of the early ā80s, and it was just instrumental. There was no singer, and there was guitar, bass, and drums. I had the only guitar I could afford at the time, which was a nylon-string acoustic guitar. It was the cheapest thing in the store. I tried to mic it and it didnāt really sound good. Then, I bought a little pickup and glued it, and then I was able to plug into the amplifier and try to make sounds. And thatās how I started playing.
The bandās second record, Diamond Vehicle, was recorded with producer John Agnello, known for his work with artists such as Dinosaur Jr. and Kurt Vile.
What was that band called?
Imperioli: Black Angus. I didnāt really know anything. Then, I bought my first electric guitar, maybe a year or two after. That was a Telecaster, which I bought at Matt Umanov Guitars, which used to be on Bleecker Street in Greenwich Village. It was a little easier to play no-wave music with an electric guitar.
We only recorded demos, didnāt record in a studio at all. We did play one gig. It was an Earth Day benefit at a place called McGovernās, which was a dive bar that had live music in SoHo on Spring Street.
Who influenced your no-wave guitar playing?
Imperioli: One of my favorite guitarists is Pat Place from the Bush Tetras. We did a benefit with them a couple of years ago, which was kind of a thrill to be on the bill with them. Pat Placeās approach to the guitar always really cut through for me. I think sheās somebody who really found her own style and really mastered that and just adds such a unique dynamic to the music.
āGoing back to when I was 20, I was playing in bands and doing little plays and writing and producing plays and directing playsā¦. Thatās always been my life.ā
Speaking of that scene, Iāve seen you post on Instagram about Robert Quine.
Imperioli: Robert Quine, I think, was a genius. From Richard Hellās Band, the Voidoids, and his work with Lou Reed. He was a distinctive, expressive guitar player with a unique voice that always stood out in his work. As a young person, he recorded the Velvet Underground at Maxās Kansas City, then eventually wound up playing with Lou.
I think Lou Reed is a very underrated guitar player. Of course, as a rhythm guitar player, itās known, but his leads were very interesting, especially when he was improvising. He really was able to express a certain point of view from inside those songs. And when Quine decided to play with Lou, one of the stipulations he made was that he wanted Lou to play leads as well.
After Black Angus, you were in the band Wild Carnation.
Imperioli: Yeah, it was a couple of years later, before they were named Wild Carnation.
I was singing, I wasnāt playing guitar. That was kind of a brief thing for me. I had to leave the country for some project, and they really were ready to record. So, it wound up not being a good time for that.
Then, I met Olmo and Elijah in 2006, and I had been working on guitar stuff then. Shortly after we started playing, I started taking some lessons with Richard Lloyd from Television, who basically taught me how to practice, and that made a big difference. I mean, I was practicing before, but I just learned different ways to approach it from him. It was a really big, big step for me.
I only had a few lessons with him, but they really made a big impact over the course of a few months. Heās a very demanding and exacting teacher.
Michael Imperioli with his humbucker-loaded 1966 Fender Jaguar.
So, ZOPA was your first band that was based more around your songwriting.
Imperioli: I brought some songs that I had had kicking around for a while, and we created some songsāthe process is pretty collaborative. Some songs come from a drumbeat, some songs come from a bass line, some come from ideas that Elijah or Olmo have lyrically. Some come from me, even if itās something that I bring in like a chord progression and some lyrics. It really doesnāt become a ZOPA song until itās worked out by all of us.
I had the idea of forming a trio, and it was really inspired by Galaxie 500 and what they did with a trio and the way it was three distinctive musicians coming from three different point of views making this one thing happen together. Itās never just a singer-songwriter with a rhythm section. Thatās kind of always been the approach.
Dinosaur Jr. is an example that is similar, which is a big influence on me, and I think on ZOPA as well.
I can hear the Dinosaur influence in the band. Has J been a longtime favorite of yours?
Imperioli: For a long time. Jās a virtuoso as far as rock guitar goes, heās really quite incredible.
My abilities are so far less than his, but sonically how he uses the guitar, and how he approaches a lead, the way he expresses himself, especially his lead playing, I think is spectacular and sometimes really breathtaking and moving.
I think my favorite guitar solo in all of rock might be the song āPick Me Up,ā from the Beyond album. Three minutes into the song, he starts this three-and-a-half-minute guitar solo. I think itās just genius and perfection, and heās definitely a compass point of guitar playing for me.
āIām someone who likes to be engaged in things that are creative and exciting to me and find a way to keep doing that.ā
When did you start writing songs?
Imperioli: Pretty much right when I started playing guitar. Thereās one song that was on our first album that I think was the first song I ever wrote, called āRoll It Off Your Skin.ā The last verse was written when I was living at the Chelsea Hotel in ā95, and then we started playing it together 10 years after that.
The Death by Audio Fuzz War informed the direction of the story in āLove and Other Forms of Violenceā from Diamond Vehicle. Can you tell me how that song was written and the role that pedal played?
Imperioli: Sometimes, weāll write songs and theyāll come out of jams in practice sessions for ZOPA. Thatās all electric obviously. But if Iām writing at home, Iāll either use an acoustic guitar or an electric guitar that my son made that has a Strat body. Iāll just play that and record on my phone. So, that song just started off with a very simple two-chord thing for the verses.
I started practicing that alone in the studio with the Jaguar, and I had just gotten the Fuzz War from Oliver Ackerman who makes themāheās a friend and a musician I really admire. His band is a Place to Bury Strangers. Itās a great band. I was going to use that in place of the Big Muff and just see what would happen.
I was using the Fuzz War for the rhythm part of these verses, and there was something in the way it fed back in a very weird way. There was this little high frequency that just surprised me. And it happened every time, no matter what amp I would use or what the settings were. But there was something about that, doing the verses cleaner and then doing them with the Fuzz War, and I was like, āOh, this is what this song is about, light and darkness.ā And it just gave me a direction for the chorus.
Our February issue had Stevie Van Zandt on the cover, so talking to you, Iām now thinking about the heavy musical vibe going on in Sopranoscasting.
Imperioli: That really comes from David Chase, who in high school was a drummer. He loved music, especially the British bands from the ā60s, like the Stones and the Kinksālike, David was at Altamont to see the Stones. That love of music was definitely infused intoThe Sopranos. I mean, David at some point thought Steven Van Zandt could be Tony Soprano. He was watching the Rock & Roll Hall of Fame inductions, and Steven Van Zandt inducted the Rascals. And David loved his speech so much and thought it was so charismatic that he had him audition for Tony Soprano. Stevie was one of the three finalists for Tony Soprano.
At Philly rock club Kung Fu Necktie this winter, ZOPA delivered a fiery performance that ignited the packed audience with a setlist of mostly new material from Diamond Vehicle.
Photo by Nick Millevoi
Iām curious about the intersection between your acting career and your music, and finding time and how you navigate that.
Imperioli: Itās an extension of what I always did. Going back to when I was 20, I was playing in bands and writing and producing plays and directing plays. My wife and I opened this off-Broadway theater in 2003, and I was producing and directing and acting there. So thatās always been my life: writing, directing, acting, producing, film, theater, television, fiction, podcasts, Sopranos podcastā¦.
If itās something youāre passionate about, you just budget your time to include the important things. Thatās all. Thereās no formula to it. Itās just that Iām someone who likes to be engaged in things that are creative and exciting to me and find a way to keep doing that.
Is music any more important in your life now than it was before? Have you intentionally foregrounded that?
Imperioli: I think weāve just gotten more confident. Recording is a big part of that, especially recording the new record. The first album was stuff we had written over the course of six years, and the new album was stuff that was in the last year or two for the most part.
We tend to do best when we play in local places that have a local music scene. Something like Kung Fu Necktie, the band that opened for us, Andorra, is a local Philly band. And in New York weāve been playing a lot at Babyās All Right and Mercury Lounge, places where people go to see bands, both local bands and bands that are touring. So, a lot of musicians come to the gig. I love playing clubs that are part of a local music scene.
Sometimes when weāre on the road, if we played a theater that has a very wide variety of touring bands, we donāt do as well. And itās not as fun as playing at a club thatās part of a local indie music scene.
It connects more, I think.
Imperioli: Exactly. Meeting other bands, playing with other bands that are from similar scenes, itās been really, really satisfying being part of that.YouTube It
ZOPA perform their two-song Lou Reed medley at Manhattanās Mercury Lounge, with Imperioliās phaser set to max swirling, psychedelic effect.
VOX Amplification Tone Sculptor
The VOX Tone Sculptor graphic EQ delivers tube-driven tone shaping that adds warm distortion as you raise the level, infusing your sound with rich tube harmonics and natural compression.
$219 street
voxamps.com
SoloDallas SVDS Boost
This pedal recreates the legendary 1975 signal boost from the Schaffer-Vega Diversity System, which provided up to 30 dB of boost, shaping the tones of Angus Young, David Gilmour, and others. Unlike typical clean boosts, it enhances vintage coloration and harmonics. Built with high-quality components, itās designed for both studio and stage reliability.
$129 street
solodallas.com
Seymour Duncan Pickup Booster Mini
The Pickup Booster Mini delivers the perfect boost and features a resonance switch for multiple tonal characteristics without taking up space on your board.
$99 street
seymourduncan.com
J. Rockett Audio Designs Archer Clean
The Archer Clean is a recreation of the clean boost found in a Klon Centaur. Go from beautiful cleans to slamming the front end of your amp instantly!
$229 street
rockettpedals.com
VOX Amplification Power Burst
The VOX Power Burst offers the rich tone of a genuine tube boost, designed to enhance your tone with natural compression and tube saturation.
$199 street
voxamps.com
Rock Nā Roll Relics Stinger Boost
Not your typical boost. This single-transistor midrange booster lets you switch between a punchy silicon transistor and a warm, vintage NOS Germanium transistor. Whether placed before or after other drives, it delivers the signature midrange growl that defines classic rock ānā roll. Each pedal is aged to perfection.
$279 street
rocknrollrelics.net
MXR Micro Amp
The MXR Micro Amp slams your amp to the brinkāup to +26dBāwhile adding just a touch of honey to your tone with the twist of a single knob.
$99 street
jimdunlop.com
