
A dual-amp powerhouse with a plethora of features.
Great size-to-feature ratio. Plenty of tonal options.
Missing a spring reverb emulation. Tube emulations can be subtle.
$459
DSM & Humboldt Simplifier DLX
simplifieramp.com
Pedalboard amps seem to be all the rage lately. And I have to admit that I've become increasingly more amicable to getting big tones with less gear. The DSM & Humboldt Simplifier DLX, which delivers a lot of big tones in a single suited-for-pedalboard sized stomp, is the latest iteration of the company's "zero-watt" amp series and features plenty of bells and whistles for the stereo set.
Two Heads Are Better Than One?
At its core, the Simplifier DLX is a pair of individual analog preamps that can be combined in series or parallel, with separate EQ and gain controls. Each preamp offers a trio of amp voices (AC Brit, American, and MS Brit) along with a trio of gain modes (lead, clean, and crunch). You can even put two guitars through a single DLX if you really want to save space in the gear trailer. The effects section is arranged in stereo, with left and right controls for resonance and presence as well as digital reverb and digital emulations of mic position. In the cabinet simulation section, you can choose between combo, stack, and twin configurations in addition to selecting among different power tubes (KT88, EL34, or 6L6GC).
Fender Stratocaster plugged directly into the Simplifier DLX and recorded in stereo through a Focusrite Scarlett 2i4 interface. The panned guitars used the AC Brit and American settings while the center guitar used the MS Brit.
Input, thru, and send jacks are all stereo, and each 1ā4" jack along the side is able to handle TRS cables. With the flick of a tiny switch you can change the input mode from either a mono, 2-channel amp setup or stereo with each preamp getting a dedicated output (either via XLR or ¼"). There is also a useful stereo spread feature that shifts the phase of one channel on specific frequencies to simulate dual cab setups. DSM clearly thought through all of the many real-world applications for this device, and the flexibility it offers to navigate any performance or routing situation is commendable.
Doin' the Brit Switch
Considering the different amp, cab, gain, and tube modes that are available, I wouldn't fault DSM if they made each preamp identical. However, DSM added phase-splitter saturation to give channel A the feel of a cranked amp. Channel B is mellower with a smoother top end.
I tested the Simplifier DLX with a Stratocaster, Telecaster, and a humbucker-loaded Ibanez. In clean settings, the American amp emulation was greatāespecially with the built-in digital reverb, which can be used in room, plate, or a very long "ether" style. But with the included footswitch I was able to switch between the clean, 'verby Fender-esque setting on one channel and a plexi-style setting on the other. And I could use those two voices for an entire rehearsal without anything else. Naturally, the stereo effects loop makes using your own effects easy.
There are many additional sounds to explore. The crunch mode with the AC Brit amp emulation became a quick favorite. It was very responsive to my picking dynamics, though higher gain settings made the top-end a little less bloomy. Meanwhile, by utilizing the right and left mix controls for the reverb, I dialed in a plate setting on the left and a dry setting on the right channel to cop vintage EVH-style sounds. These tones are just a small sample of what the Simplifier can do.
The Verdict
The Simplifier DLX is a rock-solid piece of gear and packed with features. While complex looking on the surface, the control layout is logical and flows well. And DSM & Humboldt designers certainly maximized the available space here. I doubt they could have squeezed in another switch, I/O, or toggle. For players who lust after set-and-forget setups, the Simplifier could easily find a home on (or next to) your board. The reverb is beautiful, clean tones are punchy and warm, and there's enough gain for nearly any gig this side of nü-metal. At $459, it's not exactly priced for an impulse buy, but the portability and power make it well worth a look.
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PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
āThe SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ā50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,ā said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594ā scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout ā two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the āhollowā sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
His credits include Miles Davisā Jack Johnson and Herbie Mannānext to whom he performed in Questloveās 2021 documentary, Summer of Soulāand his tunes have been covered by Santana and the Messthetics. But itās as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrockās music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why heās one of the ātop guys of all time.ā
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard FilterāTron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary āsidewindā approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain ā all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and theyāre available directly and exclusively through BelltoneĀ® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes ā all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether youāre chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.