Check out our special coverage of Amps to go along with the August 2016 issue of PG.
Hughes & Kettner
TubeMeister Deluxe 20
Small enough to comfortably carry on a plane as hand luggage, TubeMeister Deluxe 20 takes you from pure, pristine clean tones to an authentic brown sound and devastatingly powerful modern-day high gain at the tap of a footswitch. Other groundbreaking made-in-Germany Hughes & Kettner features – like a power soak for enjoying amazing tube sounds at any volume, and the FRFR-ready Red Box AE DI that lets you connect your guitar direct to your recording setup or the PA – make the Deluxe 20 your ideal amp partner whether you Rock on Stage, Play at Home or Record at Night!
CHANNELS Two: Clean and Lead (+ Boost)
POWER 20 Watts
POWER SOAK 5, 1, 0 Watts
TUBES 2 x EL84 (power amp), 2 x 12AX7(preamp)
EFFECTS LOOP Serial
DI OUTPUT Red Box AE
SPEAKER OUTPUTS 1 x 8-16 Ω
DIMENSIONS 14.02 x 6.14 x 5.91”
WEIGHT 11lbs
PROTECTIVE COVER Included
Street Price: $699
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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
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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
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Fishman
Loudbox Acoustic Instrument Amplifiers
The industry’s best-selling acoustic instrument amplifiers, Fishman’s Loudbox series offers the power and features that musicians demand. Each model provides ultra-clean acoustic power, two channels featuring Fishman’s legendary preamp and tone control designs, digital reverb, feedback-fighting Phase control, ¼” 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
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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
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Fryette Amplification
Valvulator® GP/DI
Introducing The Fryette Valvulator® 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 don’t 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.
• One Watt all-tube Amplifier with integrated reactive load.
• Extremely broad tonal range, from clean to high gain.
• Analog Speaker Sim "Cab + Mic" section for direct recording.
• Built-in tube Direct Injection output, usable separately as a Tube Direct box , or together with the amplifier.
• Balanced XLR outputs for amp out or tube buffered D.I.
• Fully functional self-contained "Re-Amping" solution.
• Can drive a 1-12” cabinet
• Made in the USA
Starting at: $799
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Fryette Amplification
Pittbull UltraLead Head
The Fryette Pittbull® 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)
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Fryette Amplification
Power Station®
The Fryette Power Station® 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.
• Perfectly preserves the tone of the attenuated amplifier.
• Maintains dynamic feel at any volume.
• Provides an effects loop.
• New Input Level sensitivity switch, rear panel Low Pass Filter Bypass switch, and Balanced XLR Line Output.
Street Price: $699
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Fane USA
Ascension F70
"FANE’S 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-’60s and early-’70s 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 Fane’s 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
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Radial Engineering ltd.
Radial JDX Direct-Drive™
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 Radial’s signature 'Shure-SM57™-on-a-Marshall™- 4x12-cabinet' tone. 'Vintage Marshall™' and 'early Fender Twin™' alternate voicings can be further tailored with the 'presence' switch for extra sparkle. Output via ¼” guitar-level and balanced XLR to feed the PA. A 180° 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
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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.
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 – the ultimate tone:
• Better overall response
• Increased, dynamic headroom
• Superior tone and performance
• Maximum reliability, consistency and sturdiness
• Designed and tested in Germany
• All tubes tested individually
• Power Tubes are matched by Ia (PC) and Gm (TC) with lowest tolerances
Street Price: varies
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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
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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
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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
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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 cabinet’s 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
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Swart Amplifier Co.
MOD84
The MOD84, Swart’s 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
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GURUS Amps
5015 Head
5015 is our Single Channel + iChannel™ 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 SexyTone™, 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
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Roland
Blues Cube Hot
GIG-READY BLUES CUBE “TUBE LOGIC” TONE IN A PORTABLE COMBO AMP
• Performance-ready 30-watt compact combo guitar amplifier with authentic tube tone and touch response
• Roland’s 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
• Master volume, three-band EQ, and onboard reverb, plus footswitchable Boost for natural crunch and Tone for bright presence
• Four-way Power Control (0.5 W, 5 W, 15 W, Max) allows for cranked-up tones at any volume
• Classic open-back design with custom 12-inch speaker and poplar cabinet for enhanced presence on stage
• Stylish, modern look with a vintage vibe
• Efficient, lightweight design provides easy portability without sacrificing tone quality
• USB output for high-quality direct recording to a computer
• Available in two color variations: Vintage Blond and Black
Street Price: $499
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Friedman Amplification
Runt-50 Combo
• 50-Watt all tube amplifier / Two channels
• 2 x EL-34 power tubes / 4 x 12AX7 preamp tubes
• Clean channel with Volume, Bass, Treble and ? Bright switch
• Lead channel with Volume, Gain, three-band EQ ? and a boost switch.
• XLR Cab Simulated output with Ground Lift, Axis ? and Level switches.
• Ultra transparent series FX loop
• 4, 8 and 16 ohm impedance selector
• Single button footswitch
Street Price: $1,999.99
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Morgan Amplification
MVP23 combo
• Power: ¼ - 23w variable (tube)
• Hand-wired in the USA
• 2x EL-84 power tubes
• 2x 12AX7 preamp tubes
• Celestion G12H75 Creamback
• Power Level control
• Gain
• Volume
• Treble
• Mid
• Bass
• 2x8 ohm 1x16 ohm outputs
• Limited lifetime warranty
Street Price: $1,749.00
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Celestion
Neo Creamback
The Neo Creamback delivers all the magical tone you’d 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 ‘race-car growl’. But pick up a cab loaded with Neo Creambacks and see what makes this speaker truly different.
Street Price: $169
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MESA/Boogie®
JP-2C™
Inspired by their long-standing relationship with John Petrucci, MESA/Boogie® is proud to introduce the JP-2C™. The model is MESA’s first unlimited-build signature amplifier and joins the MARK Series as a next generation re-issue of the legendary MARK IIC+™. With modernized features, benefitting from over three decades of R&D, the JP-2C delivers three channels, two assignable EQs, 60/100 watts, MIDI, Cabclone™ DI and the legendary IIC+ tone that so many recording artists and MESA enthusiasts covet.
Street Price: $2,499
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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
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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
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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
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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
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Dusky Electronics
D₂O Amplifier
The Dusky Electronics D₂O Amplifier is an all new, original design, vacuum tube musical instrument amplifier. The D₂O 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 yourself—an exquisite tool for seamlessly conveying your artistic intent. This is no clone. The D₂O delivers enormous clean sounds or wicked breakup with a musical feel you must try for yourself.
Street Price: $1,500
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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.
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
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Matteo Mancuso's first headline national tour of North America includes stops in major cities such as Boston, Brooklyn, Chicago, and Denver, showcasing his unique talent and original sound. Don't miss the opportunity to witness this rising guitar virtuoso live in concert.
Matteo Mancuso has announced his first headline national tour of North America. The itinerary brings Mancuso coast to coast in the US, and into Canada for several annual marquee events. The tour begins on May 20 at Boston’s City Winery and wraps on June 30 at Le Festival International de Jazz de Montreal. With the on-sale being staggered, please check local box offices for on-sale details market to market.
Mancuso hails from Sicily, nestled in the Mediterranean Sea to the South of Italy. The island has always had a rich cultural heritage, from poets, writers, philosophers, and architects to painters and musicians. Born in 1996 and raised just outside the capital Palermo, the pedigree runs deep in the veins of those from the region. Had his family relocated to the US, he might be the best-kept secret in the lineage of great Italian-American players like Zappa, Vai, Satriani, Di Meola, Petrucci, and Gambale.
During the 1970s, his father, Vincenzo Mancuso, made a name for himself as a gifted session player on the domestic scene, and the young Matteo looked up to him as a primary source of inspiration. While still in high school (music), he picked up classical guitar and transverse flute. It didn't take long for everyone to understand that a child prodigy was blooming.
At the age of 12, Matteo took his first steps onto the stage at a local jazz festival. Since then, his acquaintance with live performances has seen him blossom and develop through various line-ups and collaborations with the finest local musicians, including a duo with his father, where they explore the complexities of Django Reinhart's repertoire and contemporary jazz classics.
As a multi-faceted player, either classical or electric, what is astounding is his one-of-a-kind technique and use of his fingers instead of regular picking. With an impressive tone, original sound, and humble demeanor, you have the guitarist no one has ever seen and whose talent puts him in a different league. Many of the world's most iconic, ground-breaking, and legendary players are declaring Matteo as a force to be reckoned with, from Joe Bonamassa and Steve Vaito Al Di Meola.
In 2019, Yamaha Guitars became the official endorser of his appearance at the NAMM show in Los Angeles. He was invited as a judge on the panel for the "Young Guitar Festival" in Bangkok and a masterclass tour in Russia – calling through Moscow, St. Petersburg, and Perm. In 2020, Matteo put together a new trio and began developing his solo work, pushing his compositional boundaries and original material. When the pandemic brought the world to a standstill like many, Matteo experienced difficulties as it took a significant toll on the music industry, like many others. In 2021, as soon as live gigs became possible, he hit the road as part of the new trio, culminating in two exhilarating sold-out nights at the Blue Note in Milano. The name Matteo Mancuso was beginning to reach the ears of the most prominent people in the industry and those in the know. Offers came up from the north to the deep south.
In 2022 he played at the Bremen International Festival at the Auditorium Parco Della Musica in Rome. After a short break in June last year to graduate in jazz guitar from the PalermoConservatory of Music with honors and honorable mention, he resumed touring. He shared the stage with Al Di Meola on classical guitar on the closing night of the Eddie Lang Jazz Festival and played at the Lugano Jazz Festival in Switzerland, as a guest with prog-rockers PFM and an incredible performance at the New Ross Guitar Festival in Ireland. He appeared in a major prime-time slot on Italy's national Rai TV, at the Uppsala Jazz Festival in Sweden. Finally, he rounded off the year at the Spoleto Jazz Festival back in Italy.
His debut titled The Journey features nine original songs which were recorded at Fico d'IndiaStudios Casteldaccia, Sicily, by his father, Vincenzo Mancuso – a gifted player who also played on the record and co-wrote two songs, "Polifemo" and "Blues For John." The album also features Stefano India (Bass) and Guiseppe Bruno (Drums), with additional musicians Riccardo Oliva(Bass), Gianluca Pellerito (drums,) and Guiseppe Vasapolli (Piano/Organ).
Mancuso began writing songs for the album around 2020. "I didn't really have a specific concept behind the album, but I wanted to do something that wasn't associated with only one genre, so there are some rock-oriented songs like Drop D and some modern Jazz tunes like Polifemo," he says."Drop D" was one of the first songs written for the album, which pays tribute to his teens' hard rock and prog influences such as Led Zeppelin, Deep Purple, Yes, Emerson, Lake and Palmer, and Dream Theater. "It is a mix of typical rock and prog elements and one of the most fun songs to play live," he says.
In front of the album’s release, he shared, "I just want people to hear it," he enthuses. "Music has always been my favorite form of communication, and the thing I love about instrumental music is that there isn't a language barrier. I'm sure that people who don't usually listen to instrumental music can find something interesting from this album."
Mancuso has become one of the hottest guitarists on the planet following the release of his debut album in 2023, The Journey, which featured the singles "Samba Party," which channels the excitement and jubilation of Rio de Janeiro during carnival – but the song itself is anything but samba. Also, "Silk Road, which was dedicated to his hometown Palermo and his Arab-Norman roots and was the follow-up to the album's lead single "Drop D,"
The YouTube sensation has already adorned the front cover of magazines such as GuitarTechniques, which called him "The Hottest Guitarist on the Planet ", and Total Guitar, which hailed him as the "World's Hottest Virtuoso." He has picked up plaudits from some of the world's most iconic, ground-breaking players who are declaring Matteo as a force to be reckoned with, from Joe Bonamassa and Steve Vai to Al Di Meola. They share:
"The evolution of guitar is firmly secure in the hands of these kind of players... it's just a new level, the tone, the touch, the notes!" - Steve Vai
"An absolute talent; his improvisational ability is light years ahead. It would take two or three lifetimes. It was like when Jacko (Pastorius) came on the scene...how did he get so good and so fast?" - Al Di Meola
"All the kids are talking about it, and I blanked when answering who my new favorite guitarist is... here he is, Matteo Mancuso. I have not seen anyone reinvent like this since Stanley Jordan" - Joe Bonamassa
For more information, please visit matteomancuso.net.
Confirmed Appearances Include:
- 5/20 Boston, MA City Winery Boston
- 5/21 Brooklyn, NY Brooklyn Bowl
- 5/22 Ardmore, PA The Ardmore Music Hall
- 5/23 Red Bank, NJ The Vogel
- 5/24 Washington, DC The Hamilton Live
- 5/25 Cumberland, MD Allegany County Fairgrounds
- 5/27 Pittsburgh, PA City Winery Pittsburgh
- 5/28 Lansing, MI Grewal Hall at 224
- 5/29 Ferndale, MI The Magic Bag
- 5/31 Cincinnati, OH The Ludlow Garage
- 6/01 Kent, OH The Kent Stage
- 6/02 Indianapolis, IN The Vogue
- 6/04 Minneapolis, MN The Dakota
- 6/05 Milwaukee, WI Vivarium
- 6/06 Chicago, IL Garcia’s
- 6/07 Chicago, IL Garcia’s
- 6/10 Denver, CO Cervantes’ Other Side
- 6/13 Sante Fe, NM The Bridge at Sante Fe Brewing
- 6/14 Phoenix, AZ MIM
- 6/15 Tucson, AZ The Rialto Theatre
- 6/16 Solana Beach, CA Belly Up Tavern
- 6/17 Highland Park, CA Lodge Room
- 6/18 San Juan Capistrano, CA The Coach House
- 6/20 Berkeley, CA The UC Theatre
- 6/22 Portland, OR Aladdin Theater
- 6/23 Seattle, WA Neptune Theatre
- 6/24 Vancouver, BC Rickshaw
- 6/25 Victoria, BC Wicket Hall
- 6/28 Syracuse, NY Syracuse Jazz Fest
- 6/29 Buffalo, NY Electric City
- 6/30 Montreal, QC Le Festival International de Jazz de Montreal
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misirlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
“All the kids in all L.A. / Come to hear Dick Dale play,” or so goes the title track from Dick Dale’s Wrecking Crew-heavy 1963 album, King of the Surf Guitar. Immodest though it might seem to proclaim such a status, he was indeed at the top of the heap.
For many, Dale’s legend precedes him. His sound, first heard in a So Cal beach ballroom, created the surf guitar vocabulary and transformed the guitar universe, starting with the 1962 release of his take on the traditional song “Misrlou.” Ever the showman, he worked closely with Leo Fender developing the right gear for the gig as he played his ripping instrumentals to larger and larger audiences. He also inspired a Hendrix lyric and had a late-career renaissance thanks to Quentin Tarantino.
In this episode of 100 Guitarists, we’re talking all things surf rock, from reverb to tremolo picking and much more. And while “Misrlou” is undisputedly his most influential work, maybe Dale’s best records didn’t come until a few decades later.
This episode is sponsored byTraveler Guitar.
Analog modulation guided by a digital brain willing to get weird.
Fun, fluid operation. Capable of vintage-thick textures at heavier gain settings. High headroom for accommodating other effects.
MIDI required to access more than one preset—which you’ll probably long for, given the breadth of voices.
$369
Kernom Elipse
If you love modulation—and lots of it—you can eat up a lot of pedalboard space fast. Modulation effects can be super-idiosyncratic and specialized, which leads to keeping many around, particularly if you favor the analog domain. TheKernom Elipse multi-modulator is pretty big and, at a glance, might not seem the best solution for real estate scarcity. Yet the Elipse is only about 1 1/4" wider than two standard-sized Boss pedals side by side. And by combining an analog signal path with digital control, it makes impressive, efficient use of its size—stuffing fine-sounding harmonic tremolo, phaser, rotary-style, chorus, vibrato, flanger, and Uni-Vibe-style effects into a single hefty enclosure. Many of the effects can also be blended and morphed into one another using a rotary control aptly called “mood.” The Elipse, most certainly, has many of those.
Modulator With Many Masks
Anywhere pedal hounds meet and chat you’ll encounter spirited talk about the way pedals sound relative to a certain gold standard. It makes sense. Benchmarks are useful for understanding anything. But one of the things I like best about the Kernom Elipse is how it eludes easy comparison to such standards, and how the fluidity of its controls make it sound unique. As with any review, I compared the Elipse to as many pedals as I have that are relevant. Here, that included an Ibanez analog chorus, Phase 90 and Small Stone phasers, an optical Uni-Vibe-style pedal, a Boss BF-2,Mu-Tron Phasor II clone, and more. But what made the Elipse stand out in this company was function as much as sound. Operating the Elipse with an open mind, rather than a quest to replicate another pedal’s sound, leads to intriguing, unique, and unusual tones more specialized modulators don’t always offer.
“The Elipse is pretty ambitious for an analog modulator, but doesn’t spread itself too thin.”
Three of the Elipse’s controls—speed, mix, and depth—function predictably. The latter two controls, however, change function depending on the pedal’s mood (or mode). In tremolo mode, setting the mix at noon generates complex, warbly, and elastic harmonic tremolo-like textures. At maximum, it shifts to a more binary, on/off sound akin to optical or bias tremolo. In chorus/vibrato mode, the noon position marks a 50/50 wet/dry mix of pitch shift and dry signal—the ingredients for any chorus. At maximum, the signal is 100 percent wet, yielding pure pitch-shift vibrato. The shape control, meanwhile, adjusts the LFO waveform. In tremolo mode that means moving between triangle- and sine-wave pulses. The swirl control is the wild card of the bunch. It adds big-time dimension to the Elipse in all modes. Through most of its range, it slathers slow phase on whatever modulation is already bubbling and burbling. In the latter third of its range, though, it also adds gain, and by the time you reach maximum, the output is discernibly thickened in the low-midrange zone. The gain and low-mid bump helps compensate for the perceived volume loss intrinsic to modulation. But they also excite different segments of the harmonic spectrum as you manipulate other modulation-shaping parameters—adding expansiveness as well as the thickness you might miss from vintage modulators.
Enunciation Modulation
Compared to many of the modulation pedals I used for contrast, the Elipse has a high-mid-forward voice. This frequency bias has advantages. It lends most of the Elipse’s modulation textures a clear, airy essence that keeps their character present when adding fuzz or big delay and reverb effects. It makes some modulations less chewy, but it’s also easy to imagine such textures slotting easily into a mix where some thicker analog modulators would gobble up harmonic space.
The basic EQ profile also makes it easier to probe the nuances in the “in-between” voices, living in the liminal spaces between pedal moods. When you start to play with these blended textures and various blends of drive, shape, mix, and depth, you encounter many sounds that veer from vintage templates in cool ways. Lathering on gain from the swirl control and lazy depth rates made the hybrid chorus/flange intense, dreamy, and enveloping. Similar blends of slow, heavy harmonic tremolo and rotary speaker sounded massive too.
The Verdict
The Elipse is pretty ambitious for an analog modulator, but doesn’t spread itself too thin. Players looking for one or two very specific modulation sounds might find the interrelationships between the Elipse’s controls too complex. The inability to save more than a single onboard preset without a MIDI switcher might frustrate guitarists used to all-digital pedals’ preset capabilities. Players that already have MIDI switchers in their rigs, however, could fall hard for the ability to switch between Elipse’s myriad, complex, analog-colored textures. With or without MIDI, it is an excellent analog modulator that offers colors galore.
Fabulous neck with just-right fatness. Distinctive tone profile. Smooth, stable vibrato. Ice blue metallic and aluminum look delish together.
Higher output pickups could turn off Fender-geared traditionalists.
$939
Eastman FullerTone DC’62
An affordable version of Eastman’s U.S.-made solidbody rolls with unique, well-executed features—at a price and quality level that rivals very tough competition.
Eastman’s instruments regularly impress in terms ofquality and performance. A few left my PG colleagues downright smitten. But if Eastman isn’t a household name among guitarists, it might be a case of consumer psychology: Relative to most instruments built in China, Eastmans are expensive. So, if you spend your life longing for a Gibson 335 and a comparable (if superficially fancier) Eastman costs just 20 percent less than the least expensive version of the real deal, why not save up for a bit longer and get the guitar of your dreams?
For some players, though, such brand-devotional hang ups are obstacles to getting the best instrument for the best price. Some just like having an alternative to legacy brands and models that live as dreams in a zillion other heads. As Eastman evolved as a company, they’ve paid close attention to both of those market segments—creating refined original designs like the El Rey and Romeo while keeping quality, execution, and playability at an exceptional standard. With the introduction of the FullerTone instruments, a series of Beijing-built guitars modeled after Eastman’s California-built, Otto D’Ambrosio-designed solidbodies, Eastman’s price/performance goals reach a kind of apex. Because the FullerTone guitars aren’t archtops or thinlines and use bolt-on necks, they range from just $799 (for the simpler SC’52) to $899 (for the more full-featured DC’62 reviewed here). That’s a competitive market bracket, to say the least, but Fullertone delivers the goods in ways that count to players.
Somewhere in an Alternate O.C….
You don’t need to be a certified Mensa member to suss the FullerTone’s design benchmarks. The name’s likeness to that of an Orange County locale where historically important electric guitar design took place is a less-than-covert tip of the hat. More tangible evidence of the DC’62’s Stratocaster inspirations exist in the shape of a bolt-on, 25.5"-scale neck, six-on-a-side headstock, a curvaceous double-cut body, and vibrato. (The more Telecaster-like DC’52 uses a T-style bridge and comes sans vibrato).
Many of these design nods, however, are distinguished by Eastman’s refinements. The patented neck joint, for instance, mimics that of the upmarket, U.S.-built Eastman D’Ambrosio. It employs just two screws, bolted into steel anchors in the neck itself. It’s a robust, clever design. The joint, which works in part like a long tenon, provides extra neck-to-body contact, making the effortless access to all 24 medium-jumbo frets all the more remarkable. (The fretwork, by the way, is impeccable).
“The neck’s profile will pique the interest of anyone bored with the sameness of generic, modern C-profiles.”
The neck itself—roasted maple, satin-finished, and capped with a 12"-radius Indian rosewood fretboard—uses an angled headstock design that differs from Fender convention, but the break angle is much shallower than a Gibson, which aids tuning stability. The neck’s profile, though, will pique the interest of anyone bored with the sameness of generic, modern C-profiles. Eastman calls it a medium-round profile, but that doesn’t do justice to its substance, which calls to mind Fender’s chunkier 1960s necks. It’s not a shape for everyone, and shredders and players with really petite hands might be less enthused, but it’s exceptionally comfortable, fills the palm naturally, and, at least for me, induces less fatigue than slimmer necks.
The Strat-style vibrato is a smart, functional evolution of a classic form. The arm sits securely in a rubber sleeve that keeps it precisely where you want, and the bridge itself is fixed to a substantial brass block and features individually intonatable saddles. The vibrato is so smooth and tuning stable that you will want to use it often. Really aggressive, twitchy vibrato technique can produce knocking against the body as you pitch up—at least as it’s set up at the factory. Otherwise, it’s fun and forgiving to use.
I would be remiss, by the way, if I didn’t mention how good the black limba body looks in satin ice blue metallic with a brushed aluminum pickguard. Though the DC’62 is available in black and desert sand (the latter with gold anodized pickguard), this particular combination is beautiful, elegant, and tasteful in a way that accentuates D’Ambrosio’s timeless lines.
Substantially Yours
The DC’62’s pickups are produced by Tonerider, and they include two stacked noiseless alnico 5 single-coils in the center and neck positions (measuring 7.9 ohms) as well as an alnico 2 unit, also measuring 7.9 ohms, that Eastman calls a “soapbar humbucker with gold-foil cover.” That’s a curious mash up of nomenclature. Traditionally, “soapbar” pickups are P-90s, which are single-coils, and though the gold-foil-style cover looks cool, it doesn’t lend any gold-foil-ness in terms of construction. Tone-wise it inhabits a unique place. Some aspects of its response evoke a Stratocaster bridge pickup rendered large. There are also hints of a Telecaster bridge unit’s meatiness. But of all the pickups I compared it to (at one point there was an SG, Telecaster, Wide Range-equipped Telecaster Deluxe, Stratocaster, and J Mascis Jazzmaster strewn about the room), it sounds most like a Rickenbacker Hi-Gain in an ’80s 330. That’s cool. I think Hi-Gains are underrated and sound fabulous. But the Tonerider unit is definitely not an S-type pickup in any traditional sense. The stacked single-coils, too, deviate significantly from the Stratocaster’s sonic mold. They are noiseless, as advertised, but have heat and push that make a vintage S-style pickup sound glassy and comparatively thin.
The Verdict
With a fantastic neck, smooth playability, and tuning stability that keep you glued to the instrument, the top-quality DC’62 is flat-out fun to play, which is good, given that at $899 it’s in a price class with Fender’s excellent Mexico-made Player II guitars and PRS’s superlative SE series, to name a few. But the DC’62 offers a unique palette of tones that don’t fit neatly into any box, and with a shape that breaks from tradition, it’s a competitively priced way to take sonic and stylistic paths much less trodden