A most-coveted Sovtek-era Muff-style circuit lives again in a sliky-smooth and brutally bossy homage.
Positively creamy and growling harmonic distortion. Beautifully built. Looks so freaking cool.
Pretty expensive for a Muff.
$225
Once dismissed as might-as-well-be-paperweights in the Big Muff ranks, Sovtek-era Muffs have, over the last decade, become legends in their own right. The reverence is well deserved. Neo-psychedelic and stoner-rock dealers savor a Russian Muff 's ability to unite silky smooth harmonic content and super-rude crunch, while lead players savor the cello-like, singing musicality and sustain.
Those qualities apply to just about every Russian Big Muff in some measure. But to most fans of the breed, the Civil Warā named for it's blue-and-silver color scheme and 19th century fontstyle graphicsāis the king of them all. That reputation benefited, no doubt, by association with David Gilmour and it's quite likely that its status as one of the coolest-looking stompboxes ever helped seal the deal. Wren and Cuff, who are passionate and scientific about all things Big Muff, definitely grasp the visual and sonic essence of the Civil War. And their own take, the Box of War, is about as cool looking and sweet sounding a Civil War clone as you'll find.
Dressed to Kill
It's an unsung aspect of stompbox craftāespecially in these space-conscious, cram-your-pedalboard-to-overflowing timesābut there is an artistry and aesthetic to stompbox design that's helped make a lot of the classics doubly so. The Electro-Harmonix and Sovtek Big Muffsāin just about every iterationāare heavy on visual appeal. And though Wren and Cuff didn't replicate the humongous dimensions of the original Civil War with the Box of War, they co-opted some essential design cues and lent some inspired touches of their own. The two-piece metal enclosure evokes the original with its painted shell. But it cleverly borrows the wedge shape of the original Univox Super-Fuzz and shrinks the footprint into a much more compact design that looks boss among a sea of brick-like effects. The graphics pay very respectful homage to the Civil Warāborrowing the split, two-tone, Old West-style font and little details like the "made in the UNITED STATES" on the lower-right corner, which is arranged precisely like the "made in RUSSIA" on the original. Crack open the Box of War's shell and the attention to fit, finish, and detail is plain to see. It's not precious handiwork either. The Box of War looks clean and built to last.
Rude, Bossy, and Butter Smooth
If our test Box of War is any indication, Wren and Cuff won't have to deal with irate, circuit nerds complaining that the sounds don't match the stitches. The Box of War is just about one of the creamiest-sounding Russian Muffsāclone or otherwiseāthat you can plug into. It captures the basic tone signature of the Civil Warāthick, wooly, and fat in the low end, but with a pronounced cat-growl in the midrange that makes it sound quite smooth, even at aggressive levels of distortion. Where the Box of War differs from a lot of clonesāand keep in mind that classic, clone, vintage, and modern Muffs can all varyāis its exceptionally even and silky distortion voice. Barre chords that tend to sound so much like mush and mud at heavy levels of distortion retain remarkable levels of detail when filtered through the Box of War. If you like your power pop particularly powerful, the Box of War is up for the task, and it can handle the harmonic nuances of a McCartney chord melody while roaring like an AC Cobraā Beatles?... meet Black Sabbath.
In lead situations, the Box of War exhibits all the classic Civil War virtues that leave everyone from Gilmour obsessives to Kyuss freaks salivatingāa round, vocal, and just-husky-enough cross between viola, cello, and baritone sax characteristics that are cutting to soaring with single-coils, and downright beastly and bubbling over with sustain when you pair the pedal with humbuckers.
As agreeable as the Box of War is in general, it dovetails especially well with bright amplifiers. AC30s and blackface and silverface Fenders will love the Box of War's ability to tame high-end spikes at high volume without sacrificing its purring midrange, while it's copious, low end can make medium-power Voxes and Fenders sound twice their size.
Like any Russian-style Muff, there is a risk of trading girth and growl for presence in a mix. While that applies to some extent with the Box of War, it's never too squishy. And even a notoriously compression-prone 5Y3 tweed Deluxe clone fed through a closed-back 2x12 took on a beautiful pick responsiveness and rough-but-refined character.
The Verdict
From design to sound sculpting, a lot of love went into the Box of War. Its combination of vintage flair and smart, compact packaging is one of the nicer bits of stompbox craft we've seen in a whileāthough at 225 bucks, you'll pay a bit for the privilege.
If you need eyeball-slicing fuzz that can banshee wail over a bass-heavy power trio, you might find the Box of War a bit too civilized. But if you're a fan of the original Civil War's smooth and bassy tones, you'll love the refinement of those sounds in the Box of War. An even if the battle over which Muff reigns supreme never ends, this is a pedal that can stand tall on its own merits and hang tough with the best specimens of a fuzz icon.
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
6V6 and EL84 power sections deliver a one-two punch in a super-versatile, top-quality, low-wattage combo.
Extremely dynamic. Sounds fantastic in both EL84 and 6V6 settings. Excellent build quality.
Heavy for a 9-to-15-watt combo. Expensive.
3,549
Divided by 13 CCC 9/15
The announcement in January 2024 that Two-Rock had acquired Divided by 13 Amplifiers (D13) was big news in the amp world. It was also good news for anyone whoād enjoyed rocking D13ās original, hand-made creations and hoped to see the brand live on. From the start of D13ās operations in the early ā90s, founder and main-man Fred Taccone did things a little differently. He eschewed existing designs, made his amps simple and tone-centric, and kept the company itself simple and small. And if that approach didnāt necessarily make him rich, it did earn him a stellar reputation for top-flight tube amps and boatloads of star endorsements.
D13ās history is not unlike Two-Rockās. But the two companies are known for very different sounding amplifiers and very different designs. As it happens, the contrast makes the current Two-Rock companyāitself purchased by long-time team members Eli Lester and Mac Skinner in 2016āa complementary new home for D13. The revived CCC 9/15 model, tested here, is from the smaller end of the reanimated range. Although, as weāll discover, thereās little thatās truly āsmallā about any amp wearing the D13 badgeāat least sound-wise.
Double Duty
Based on Tacconeās acclaimed dual-output-stage design, the CCC 9/15 delivers around 9 watts from a pair of 6V6GT tubes in class A mode, or 15 watts from a pair of EL84s in class AB1 mode (both configurations are cathode-biased). Itās all housed in a stylishly appointed cabinet covered in two-tone burgundy and ivoryātogether in perfect harmonyāwith the traditional D13 āwidowās peakā on a top-front panel framing an illuminated āĆ·13ā logo plate. Measuring 22" x 211/4" x 10.5" and weighing 48 pounds, itās chunky for a 1x12 combo of relatively diminutive wattage. But as Taccone would say, āThereās no big tone from small cabs,ā and the bigging-up continues right through the rest of the design.
With a preamp stage thatās kin to the D13 CJ11, the front end of the CCC 9/15 is a little like a modified tweed Fender design. Driven by two 12AX7 twin triodes, itās not a mile from the hallowed 5E3 Fender Deluxe, but with an EQ stage expanded to independent bass and treble knobs. Apart from those, there are volume and master volume controls with a push-pull gain/mid boost function on the former. In addition to the power and standby switches, thereās a third toggle to select between EL84 and 6V6 output, with high and low inputs at the other end of the panel. Along with two fuse sockets and an IEC power-cord receptacle, the panel on the underside of the chassis is home to four speaker-output jacksāone each for 4 ohms and 16 ohms and two for 8 ohmsāplus a switch for the internal fan, acknowledging that all those output tubes can get a little toasty after a while.
āSet to 6V6 mode, the CCC 9/15 exudes ā50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips.ā
The combo cabinet is ruggedly built from Baltic birch ply and houses a Celestion G12H Creamback speaker. Construction inside is just as top notch, employing high-quality components hand-soldered into position and custom-made transformers designed to alternately handle the needs of two different sets of output tubes. In a conversation I had with Taccone several years ago discussing the original design, he noted that by supplying both sets of tubes with identical B+ levels of around 300 volts DC (courtesy of a 5AR4/GZ34 tube rectifier), the EL84s ran right in their wheelhouseāproducing around 15 watts, and probably more, in cathode-biased class AB1. The 6V6s operate less efficiently, however, and can be biased hot to true class A levels, yielding just 9 to 11 watts.
Transatlantic Tone Service
Tested with a Gibson ES-355 and a Fender Telecaster, the CCC 9/15 delivers many surprises in spite of its simple controls and is toothsome and dynamic throughout its range. Between the four knobs, push-pull boost function, and 6V6/EL84 switch, the CCC 9/15 range of clean-to-grind settings is impressive regardless of volume, short of truly bedroom levels, perhaps. It also has impressive headroom and a big, robust voice for a combo that maxes out at 15 watts. Leaving the boost switch off affords the most undistorted range from the amp in either output-tube mode, though the front end will still start to push things into sweet edge-of-breakup with the volume up around 1 or 2 oāclock. Pull up that knob and kick in the boost, though, and things get thick and gutsy pretty quick.
While the power disparity between the 6V6 and EL84 settings is noticeable in the ampās perceived output, which enhances its usefulness in different performance settings, you can also think of the function as an āera and originsā switch. Set to 6V6 mode, the CCC 9/15 exudes ā50s-era tweed warmth and richness, with juicy compression that feels delightful under the fingertips. The EL84 setting, on the other hand, ushers in ā60s-influenced voices with familiar British chime, sparkle, and a little more punch and cutting power, too.
The Verdict
If the CCC 9/15 were split into different 6V6 and EL84 amps, Iād hate to have to choose between them. Both of the ampās tube modes offer expressive dynamics and tasty tones that make it adaptable to all kinds of venues and recording situations. From the pure, multi-dimensional tone to the surprisingly versatile and simple control set to the top-flight build quality, the CCC 9/15 is a pro-grade combo that touch-conscious players will love. Itās heavy for an amp in its power range, and certainly expensive, but the sounds and craft involved will make the cost worth it for a lot of players interested in consolidating amp collections.
The luthierās stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metalāit is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While itās comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its componentsāan uneasy alliance of materials and craftsmanship. When it works, itās glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why youāll occasionally catch one tapping on a rough blank, head cocked like a bird listening. Theyāre not crazy. Theyāre hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitarās voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate whatās already there, and thereās little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but hereās the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesnāt mention. Donāt even get me started about the unrepeatability of āhand-scatter winding,ā unless youāre a compulsive gambler.
āOne piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.ā
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone controlās usefulness. Itās subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 āvintage-specā caps, just to see if they can āfeelā the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but theyāre quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
Itās All Connected
Then thereās the neck jointāthe place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitarās overall design. There are so many choices, and just as many opportunities to miss the mark. Itās like driving without a map unless youāve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitarās greatness doesnāt come from its spec sheet. Itās not about the wood species or the coil-wire gauge. Itās about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But thatās the mystery of it. You canāt build magic from a parts list. You canāt buy mojo by the pound. A guitar is more than the sum of its partsāitās a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock āclassicā tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100ās overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier āmid gainā tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
āSeven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,ā said Mark Tremonti.
āToday, Iām beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Canāt wait for you all to plug in and experience it!ā
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classicās lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the originalās bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
āThe Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,ā said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.