Bucket-brigade analog chorus with an individual voice and stereo functionality opens doors to classic and irreverent modulation worlds.
Unique voice that straddles classic and weird modulation worlds. Effective stereo capabilities. Toppy voice will stick out more effectively in many mixes.
Lives on the pricier side of the analog chorus affordability line.
$249
Supro Chorus
suprousa.com
There are distinct tendencies in Supro's design philosophy. Certainly, they are a style-conscious bunch. Everything in the Supro line looks ace. But you also get the feeling that Supro stuff is designed and built by players—particularly those on the performing and recording side of the equation. And whether a Supro product is absurdly simple, like their 1-knob '64 Super amp, or more option-rich like the Supro Chorus reviewed here, they're equally terrific at facilitating a direct path to a great sound and adventurous routes to unexpected ones.
The analog bucket brigade-driven Supro Chorus adroitly walks the border between those two places. Inspired in no small measure by the rack-mounted Roland Dimension D stereo chorus, it brims over with high-fidelity, vintage-y modulation tones. But the dual-chorus circuit and stereo options enable weirder variations on those core sounds too, making the Supro a potent ally in the studio.
Wide Horizons, Deep Seas
A casual perusal of the Chorus' manual and marketing materials makes it clear that Supro are keen for folks to experience this pedal in stereo. They're right to encourage this pursuit. The Chorus sounds mind-bendingly submarine in stereo, and it's a kick to lay flat on your back, stick your head between two little tube combos, close your eyes, strum a few chords, and go swimming. But folks that don't have multiple amps or DAWs with emulations that enable stereo effects shouldn't feel left out. The Chorus has many mesmerizing tones to explore in mono.
The speed knob has great range. At its slowest settings with moderate depth levels, it has a sweet slow rotary flavor. At the fastest and deepest settings, it takes on the personality of a chatty, twitchy 'droid. Thankfully (in some cases, surprisingly) this sound is a perfect foundation for psychedelic lead lines and slashing Paul Weller and Who '66 chords. But roll back the depth on the Chorus, and the tone on your guitar, and the fast-yapping robot takes on the air of a basement jazzer kickin' it against a Leslie. Just a few very simple and fast adjustments enable travel between those ranges. And exploring the regions between is intuitive and painless. The depth knob isn't the deepest of all time, but it does make room for the extra intensity you can add via the delay knob, which shifts resonant peaks and adds swirling depth.
While guitar tone attenuation won't replace the low-mid content that's less prominent in the Supro's basic voice, the time knob can give the illusion of thicker low-mid by adding extra-chewy tape-like elasticity to the output.
Blue Bravado
The base tonality of the Supro is slightly toppy for an analog chorus. In isolation, it can sound a little bold and bright—especially if you compare it to an older, darker bucket-brigade chorus. In a mix with other musical elements, however, the Chorus sounds extra lively. What's more, there's wiggle room for accommodating the darker tones of PAF-stye pickups, hollowbodies, or other effects. There are more syrupy analog choruses out there—in the sense that they sound a little thicker in the bass frequencies. And the Supro's tone profile may be too toppy for some players that primarily use Fender-style single-coils—especially Strats. But I loved the strong, at times almost immodest, '80s tonalities that single-coils and the Supro Chorus impart to simple or complex signal chains. And while guitar tone attenuation won't replace the low-mid content that's less prominent in the Supro's basic voice, the time knob can give the illusion of thicker low-mid by adding extra-chewy tape-like elasticity to the output.
All of these qualities are an extra treat in stereo. The sense of extra space—or disorientation, depending on the setting—is perceptible. And it's easy to be tantalized about the possibilities of using a two-amp set up in the studio (or live, if you have a very cooperative sound engineer). The two critical controls in stereo applications are the time and dimension knobs. The former increases the delay time between modulations in one channel while reducing it on the other. The latter intertwines the Supro's twin chrouses in mono or stereo operation, and the confluence of oddly wobbling waveforms creates textures from classy and luxurious to odd. I have no doubt some players will drive engineers crazy capturing and applying the wobbling sounds the Supro makes in stereo. I also have little doubt some engineer will turn the results to gold. There are a lot of sound sculpture possibilities here.
Another upside to the Supro Chorus is that the vibrato does not feel like an afterthought. At moderately high speed and depth settings it does a more than respectable approximation of Lonnie Mack's woozy Magnatone wiggle and leaves plenty of room for rhythmic articulation amid the thick modulation pulses.
The Verdict
While strictly mono users might find the Chorus' $249 price tag steep, the Supro has a unique, present voice that alone could justify the cost for chorus users that dread being lost in a mix. And though there's a decent bit of competition in the analog chorus domain in this price range, the Supro distinguishes itself with its immersive stereo effects and a lively voice that leaves room for other effects. As a very conditional and particular chorus fan, I recommend trying the Supro Chorus to see how its distinct voice and extra functionality fit into your musical world and your classic-versus-irreverent chorus orientation in particular. For a wide variety of users, though, Supro's recipe will be a sizzler.
Supro Chorus Demo - First Look
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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.
“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.
An easy guide to re-anchoring a loose tuning machine, restoring a “lost” input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
This late-’90s Masterbilt was made to mimic the feeling and look of vintage luxury.
This collaborative effort between Japanese and American guitar builders aimed for old-school quality without breaking the bank.
I recently called a rideshare to pick me up from the airport and was surprised when the driver pulled up in a Jaguar. I’d never been in one and was stunned at how quiet it was, and how the backseat was as comfortable as a living room couch, but retained a refined look. This 1998 Masterbilt prototype reminds me of that airport ride.
Some guitars just feel expensive. Not in an “I shouldn't be touching this, lest I scratch it” way so much as simply exuding luxury. Maybe it’s the flawless ebony fretboard, making gliding up and down the neck feel like ice skating. Or perhaps it’s the slim, ’60s-style neck shape which felt instantly comfortable in my small hands. It may have something to do with the sumptuously low 2/32" action at the 12th fret, requiring hardly any effort to play.
Makes sense, considering this guitar’s origin story. Mac Yasuda was born in Nishinomiya, Japan. At 15, he discovered the music of Hank Snow and fell in love with country music and the guitar itself. He stole a classical guitar from his cousin (“He never played it,” said Yasuda) and started a band with his friends. Yasuda traveled to the States in the ’70s and after picking up his first vintage guitar from a pawn shop, he was hooked. He began scoping out gear for his friends, which eventually grew into a shop called Mac’s Guitar Gallery in Kobe, Japan. By the ’90s, he estimated he had owned between 4,000 and 5,000 instruments, and his collection was valued at $3 million. He has authored several books about vintage guitars and is widely considered one of the world's preeminent authorities on the subject.
Yasuda is also an accomplished musician. While in Nashville in the ’80s—perhaps for one of the half-dozen times he’s performed on theGrand Ole Opry—he met Greg Rich, an instrument designer who was then head of Gibson’s banjo division. Yasuda enlisted Greg Rich and another guitar maker named Mark Taylor to produce a line of high-quality, vintage-style instruments under the name Masterbilt. “Vintage guitars are fine, but they're limited,” said Yasuda at the time. His Masterbilt guitars would give us mere mortals the chance to get a taste of the luxurious feel of a fine vintage instrument. Masterbilt debuted at NAMM in 1997, and it’s still unknown how many guitars were actually produced. The trademark of the Masterbilt name was cancelled in 2005 and has since been used by other brands, like Epiphone.
“Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in.”
Fanny's House of Music believes this guitar to be an early prototype, one of six ever made. Three were sunburst and three were natural. Playing it feels like playing any fine vintage 335; funny when you consider that at 27 years old, some would consider this Masterbilt vintage itself. The notion of what is considered truly “vintage” is hotly debated on Reddit every few months. Some folks think anything from the ’80s or before is vintage, but perhaps the fact that time has continued to march on should be factored in. Some guitars from the ’80s are now 45 years old! We consider guitars from the ’90s to be vintage at this point, so this 1998 Masterbilt prototype fits right in.
This Masterbilt is now 27 years old. In your books, does that make it a “vintage” guitar?
Photo by Madison Thorn
It’s a good example of how history and passion can intersect to create something special. This guitar tells a story of dedication to quality and an appreciation for the feel of a well-made instrument. Whether or not a 27-year-old guitar qualifies as “vintage” may be up for debate, but the magic in this guitar definitely isn’t. If you’re ever in Nashville, stop by Fanny’s and take it for a spin. You might find yourself feeling a bit like I felt after my unexpected ride in a Jaguar: getting a glimpse into the world of understated elegance, where refinement isn't about flash but about experiencing something crafted to near perfection.
SOURCES: namm.com, Los Angeles Times, Blue Book of Guitar Values, Vintage Guitar, Guitar-List.
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.