If current trends are any indication, lower stage and studio volumes are with us to stay, and Supro, in particular, has built a lot of low-power amps to serve this segment of the market. The Amulet is the latest in a line built to satisfy small-amp appetites and deal thick, vintage-leaning tone.
The Amulet’s 15-watt, 1x10 combo configuration delivers a lot of flexibility: a simple control panel, nice tremolo and reverb sections, and a useful attenuator, which offers power scaling ranging from 15, 5, or a single watt. The output stage, meanwhile, is Class A and driven by a 6L6GC tube, rather than pairs of smaller 6V6s or EL84s, which drive the most common 15-watt tube amps. Together, these design features make Amulet an interesting and unique Princeton Reverb alternative.
Young, Free, and Single
The Amulet’s control panel will make any 1960s combo amp fan feel right at home. Volume, treble, bass, reverb, and tremolo speed and depth make up the control compliment, save for the 3-position output power switch. The Amulet is a looker, too, like just about everything we’ve seen from the revitalized Supro. Housed in a compact 17.5" x 17" x 8" poplar cabinet and weighing just 29 pounds, it’s covered in stylish black Scandia vinyl with cream piping and a cream grille cloth. A large leatherette handle makes for a super-comfy carry. The speaker is a Celestion G10 Creamback rated at 45 watts.
Given the Class A output stage, you could view the Amulet almost as a beefed-up Champ with extras. The past couple of decades have seen a variety of creative Class A offerings, like the THD UniValve, Victoria Regal (and double-single-ended Regal II), Emery Sound Microbaby, Blackheart Little Giant, the original Carr Mercury, and others. But only the Carr came with a built-in attenuator like the Amulet’s, so it’s nice and rare to see power scaling in this circuit type, at this power level, and at this price. Amulet’s true class-A output and the associated second-order harmonics add to the brew, which most will hear as lively, deep, overtone-rich, and more multi-dimensional in overdriven settings.
The whole of the Amulet’s circuit is tube-driven. There are 12AX7 preamp tubes for the preamp gain stage, reverb gain make-up, and tremolo sections, and a single 12AT7 driving the front end of the spring reverb. Inside, a rugged-looking printed circuit board is populated with quality, through-hole components and board-mounted tube sockets.
Good Luck Charm
The Supro Amulet is a pretty handy box of tricks, given the small package. At lower settings on the volume knob and ranging up to about 11 o’clock, it sounds clean, crisp, and detailed, with body and balance. And despite the modest 15 watts, it feels powerful enough that you could maintain those clean tones in a small club with a volume-conscious rhythm section. Add lush reverb and rich, warm tremolo to taste, and there are some superb atmospheric cleans to be found—offering great sonics for retro swamp-rock, surf, alt-country, and indie textures.
The Amulet offers nice shades of breakup between 1 o’clock and 3 o’clock, but roars when it’s cranked. Assuming that you’ll want to use this capability often, the 15-watt setting will likely be too loud for many home studios. But you can still hit this sweet spot at 5 watts. And apartment dwellers and bedroom jammers that need to use the 1-watt position will still find lots of nice tones. At its sweetest, though, Amulet generates chewy, thick, rowdy, vintage-flavored overdrive and loads of compression without totally sacrificing dynamics.
While the amp’s natural overdrive is expressive in the right setting, it’s awesome with overdrive pedals, too—particularly with amp volumes around 10 to 11 o’clock. One of my favorite pedal/amp recipes was a grinding, plexi-like Friedman overdrive with the Supro set to 15 watts and a clean-but-almost-dirty volume. With a Telecaster out front, the Amulet had the sting of Jimmy Page’s early Led Zeppelin solos. Class A amps are rarely blessed with much low-end thump. Faster onset of compression and sag is usually part of the brew, too. The Amulet is no different in either regard, but it has a way of reminding you how these characteristics can be real virtues and makes the Amulet an exciting amp live or in the studio.
The Verdict
The Supro Amulet is a super-likeable and super-useful amp. The retro styling is a winner. Tones range from crispy to juicy at a range of output levels thanks to the built-in attenuator. The reverb and tremolo are both very good, and it pairs beautifully with overdrive pedals. If, to your ears, that adds up to fun and musical versatility, you’d be wise to give the Amulet a listen.
Supro Amulet Demo | First Look
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.