Power and personality in a 50-watt combo optimized for pedals.
A well-thought-out bundle of features in a compact, powerful combo for the pedal-friendly age. Lots of personality.
Tube changes require removing the entire chassis.
$1,499
Supro 1932R Royale
suprousa.com
While some tube-amp makers buck the proliferation of pedal-dominated rigs, others thrive by taking an “if you can’t beat ’em, join ’em” approach to the pedal platform concept. Supro’s new Model 1932R Royale isn’t the first Supro designed with pedal-centric players in mind. But the high-headroom 50-watt 1x12 combo is a natural for the role. Given this predisposition, the Royale is promoted as Supro’s “first loud, clean amp.” And if your expectations of Supro are still informed by the grungy, midrange-saturated Supros of the 1960s—and the reissues inspired by them—the Royale may surprise.
On the Panel
The Royale’s relatively compact 19"x 20"x 9.5" poplar-ply cabinet is very reminiscent of a vintage Supro Thunderbolt, with a recessed panel for the controls and an upper-rear-mounted chassis. The early ’60s-era textured black-and-white-flecked vinyl, white piping, and contrasting off-white hemp grille cloth dress the amp up with vintage authenticity. A pair of 5881 output tubes (sibling to the 6L6) with three 12AX7s, one 12AT7, and one 12DW7 in the preamp and reverb stages drive a single 75-watt, Eminence-built ceramic BD12 speaker. The amp weighs 49 pounds, which is not bad given the power and features.
Class A mode still works great with drive pedals, but is appealing all by itself.
The Royale’s control complement includes volume, master volume, boost, treble, mid, bass, and level and dwell for the reverb. There are also switches to activate the boost, effects loop, and reverb. The standby switch is a 3-way toggle that enables either the full-power 50-watt mode in class AB (fixed/grid biased) or 35 watts in class A (cathode biased).
The Royale is well-designed and robustly built, though there are some quirks. The tube sockets are located on the front of the chassis closest to the grill, so tube changes will be tricky without removing the entire chassis—unless you have very narrow double-jointed wrists and X-ray vision. Then again, you’ll likely want to pull the chassis to re-bias the class A/B mode after any output-tube changes.
Max Headroom
The Royale is certainly the versatile, pedal-friendly gigging combo that Supro intends it to be. But it also has a lot more personality than those qualifications might imply. The 50-watt class A/B mode, it must be said, is overtly Fender-like. And, with a bold output stage fed by a clear and slightly scooped front end, it feels a lot like half a Twin Reverb. Overall, the voice is bold and punchy. And you shouldn’t have much trouble going up against a drummer un-miked. Pedals, needless to say, are easy to match to the amp in this mode. An Ibanez TS9, Wampler Tumnus+, and JHS Angry Charlie all sounded great, and it’s hard not be enticed by how different gain flavors come through loud and distinctly.
Switching to the 35-watt class A mode doesn’t dramatically drop the Royale’s volume, but it does make the voice and character more Supro-like—with softer attack, thicker mids, and a little more sizzle. Class A mode still works great with drive pedals but is very appealing all by itself. I enjoyed it at the edge of breakup, particularly when using a Les Paul and heavy picking attack, which generates a cool, toothsome crunch. Maxing the volume at low master volume levels is fun for gnarly lead freakouts.
The onboard boost works great in both modes. Though I’d argue it’s a little more delectable and juicier in class A. The adjustable boost gain is a huge plus here, making it highly flexible where some pre-set boosts are a waste of space. The reverb may not be quite Twin Reverb-lush, but it adds depth and atmosphere, and the dwell control extends its range from subtle to splashy, spacey and psychedelic. The buffered effects loop, meanwhile, routed my signal through three outboard delay and modulation pedals without any tone loss. But it also sweetens the amp’s overall sound when there’s nothing in the loop. So, while the ability to switch it on and off is handy, I’d just as likely leave it on.
The Verdict
The Supro 1932R Royale is compact, portable, bold, powerful, and perfect for pedals. It’s not strictly a clean machine, though. And it has loads of personality independent of pedals thanks to its class A mode, an effective master volume, and great-sounding boost. Add a fine spring reverb and effects loop, and the Royale sums up to a lot of amp for the money—especially considering how comfortably it will nestle in your passenger seat.
Supro Royale Demo | First Look
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Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
Recorded live at the Sydney Opera House, the Australian guitarist’s new album reminds listeners that his fingerpicking is in a stratum all its own. His approach to arranging only amplifies that distinction—and his devotion to Chet Atkins.
Australian fingerpicking virtuoso Tommy Emmanuel is turning 70 this year. He’s been performing since he was 6, and for every solo show he’s played, he’s never used a setlist.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino Forté HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantino’s signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware that’s optimally tuned for the HP Ultra’s power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If you’ve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and more—all in a 6.9 lb., 2ru (8” depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forte’ HP2X’s leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultra’s power focus is not about playing louder...it’s about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz – user selectable● Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS – Universal power supply 115VAC – 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25”W x 8.375”D x 3.75”H
- Street Price: $1895.00
For more information, please visit bergantino.com
The NEW Bergantino Forté HP ULTRA!!! - YouTube
A touch-sensitive, all-tube combo amp perfect for clean & edge of breakup tones. Featuring a custom aesthetic, new voicing, & Celestion Creamback 75 speaker.
Debuted in Spring 2023, the Revv D25 is a clean/crunch combo amplifier perfect for pedals that released to widespread critical claim for its combination of touch-sensitive all-tube tone & modern features that make gigging & recording a breeze. 'D' stands for Dynamis, a series of classic-voiced amplifiers dating back to the early days of Revv Amplification, when A-list artists like Joey Landreth helped give feedback on voicings & designs. Joey is a longtime Revv user & personal friend of the company, & the D25 immediately became a favorite of his upon release.
While the D25 already had features Joey was looking for, we wanted to collaborate to celebrate our long relationship & give players a unique option. We’re proud to announce the D25 - Joey Landreth Edition. Featuring custom aesthetic, new voicing & a Celestion Creamback 75 speaker. The D25 is designed to solve problems & remove the barrier between you & your music - but more importantly, it just plain sounds great. It features a simple single-channel layout perfect for clean & edge of breakup tones. With organic tone you can take anywhere, the D25 - Joey Landreth Edition empowers you to focus on your music on stage, in the studio, & at home.
The D25 - Joey Landreth Edition 1x12 Combo Amplifier features:
- All-tube design with two 12AX7, two 6V6, & selectable 25w or 5w operation.
- Level, treble, middle, bass, & volume controls with switchable gain boost voice.
- Perfect for clean & edge of breakup tones
- Organic, touch-sensitive feel, perfect for pedals.
- Pristine digital reverb & transparent buffered effects loop.
- Two-notes Torpedo-embedded mono direct XLR out reactive load & impulse. responses for zero-compromise direct performance & recording.
- Celestion 75W Creamback Driver
- 32 lbs. Lightweight open-back construction
- Manufactured in Canada.
- 2 year limited warranty
Revv’s D25 Joey Landreth Edition has a street price of $1899 & can be ordered immediately through many fine dealers worldwide or directly at revvamplification.com.
For more information, please visit revvamplification.com.
Featuring a 25.5" scale length, mahogany body, gold hardware, and 490R/498T pickups. Stand out with the unique design and comfortable playing experience of the Gibson RD Custom.
Initially released in 1977, the Gibson RD model has been a cult classic for years. It is famous for its unique appearance, which takes inspiration from both the Gibson Explorer and Firebird designs, as well as its functionality and use by several popular guitarists across multiple genres.
Now, the iconic RD Custom joins the Gibson Custom core lineup for the first time. Not only is this the first Custom Shop-built RD model, but it is also the first 25.5” scale length solidbody core model offered by Gibson Custom. Complete with the classic and comfortable RD body shape, including a rear tummy cut for extra comfort, this model also features a mahogany body with multi-ply top binding, Gibson Custom aesthetics, including gold hardware and mother-of-pearl block inlays on the neck, and a mother-of-pearl Custom split diamond headstock inlay. The RD Custom also has a 25.5” scale mahogany neck with a Medium C profile and long neck tenon, a bound ebony fretboard with 22 medium jumbo frets, and a bound headstock with Grover Rotomatic tuners. The updated electronics include 490R and 498T pickups, CTS potentiometers, and a hand-wired harness.
The Gibson RD Custom is designed to help players stand out from the crowd with its longer scale length, curvaceously elegant body, and classic design. Now is your opportunity to experience the unique and comfortable playing experience of the cult-favorite Gibson RD Custom for yourself. A Custom Shop hardshell case is also included.
For more information, please visit gibson.com.