
A Vox in a box that thrills.
Vibrant, thrilling AC30 tones that effectively hybridize any good tube amp. Smart, easy interface.
No footswitch for vibrato.
$399
If you asked the average player to sum up a vintage Vox amplifier in a word, I’m guessing they’d say “chimey.” I never really understood the chimey thing. I mean, yeah, there’s chime in the complex tone composite that makes an AC30 an AC30. But for me, Vox amps of the 1960s, above all, sound exciting, thrilling, and potent. Chimey? That’s for dinner bells.
I know that Universal Audio did a good job of capturing the spirit of an AC30 in the UAFX Ruby ’63 amp emulation, because excitement is the first thing I felt. The Ruby ’63 is lively, explosive, reactive, clear, and, yeah, even pretty chimey. And I was very impressed at how it imparted those qualities to decidedly non-Vox-y black-panel Fender amps, and vintage Fender cabinet emulations in UA’s OX Amp emulator. You know how a lot of pedals claiming to be an amp-in-a-box tend to be vaguely similar in terms of EQ and gain structure, but miss the details? The Ruby ’63 is not that. It’s an exhaustively executed emulation that takes you several miles further down the road to true amp-ness. And it sounds and feels awfully close to the real thing.
Mod Cuts
Universal Audio spends a lot of time studying interfaces of every kind—from those on ancient guitar amplifiers and outboard studio gear to the digital interfaces that make up their tracking and emulation software. The experience shows in the Ruby ’63. What stands out on the Ruby’s interface is economy. This pedal covers a lot of possibilities while barely deviating from the AC30’s control template. Of the six knobs on the Ruby ’63, four are the equivalent of controls on an AC30. Another two, the vibrato speed and depth, are available as secondary functions. UA adds a few goodies to enhance Ruby’s vocabulary. The brilliant control is paired with a Echoplex EP-3 preamp emulation. The normal channel setting is mated to a Rangemaster emulation, and the vibrato channel is mated to a clean boost. All of these boosters can be enabled or removed entirely via the boost knob. But I dare any reader to refrain from adding a touch of each respective boost when in the respective channel. They are, for the most part, the source of electric, ecstatic stuff.
The Ruby’s ability to process pedal tones in an amp-like way is one of its most impressive features.
One tone enhancement feature that isn’t an option on the average AC30 is the 3-way speaker toggle, which offers the option of moving between virtual Celestion silver, blue, and green speaker models—or no speaker coloration at all. The choices coax a lot of extra range out of the amp models, including some really beautiful high-mid activation from the silver mode.
Preset options aren’t abundant on the Ruby. You can only store one. But in my estimation, that’s plenty. I had much more fun using the single preset as a hot, boosted version of my base tone, and then blasting the pedal with a period-authentic fuzz, which, by the way, the Ruby reads and reacts to just like your amp would. The Ruby’s ability to process pedal tones in an amp-like way is one of its most impressive features.
Another impressive facet of the Ruby’s makeup is its modest but smart and effective connectivity options. Mono and stereo outs can be routed to amps, interfaces, or PA. You can bypass a real amp’s preamp in amplifiers that have an effects loop. Or you can also use a 4-cable method for switching between the Ruby with your real amp’s preamp section bypassed and your amp and preamp with Ruby bypassed.
Chelsea Boots Kickin’ With Brit Brawn
One of the beautiful things about the Ruby is how completely it can recolor your amp. Generally speaking, you need a pretty clean amp to achieve the most accurate picture of the Ruby emulation. But even if you want to kick the volume on your amp up into light gain zones, Ruby’s many EQ-shaping tools make the pedal adaptable and capable of retaining its Vox-iness. And even with a black-panel Fender cranked to the point of discernible distortion and compression, the Ruby’s boost, treble, and speaker options can all be used to summon characteristic AC30 sounds to the mix. You can also add focus with the room control by bringing the amp tone right up in your face or adding space, ambience, and a little extra bass ballast from the soft room reflections.
The Verdict
Most efforts to transform an amp by putting a model of another amp in front prove futile. The Ruby ’63 didn’t magically transform my black-panel Fenders to AC30s. But they did make my amps into amazing hybrids that were bristling with unmistakable and thrilling AC30 attributes. I don’t have any newer amps with effects loops, but I’d love to hear how the Ruby ’63 works without a preamp section in the way. At 400 bucks, the Ruby ’63 is expensive, but it seemed transformative enough to feel like another amp entirely. If Ruby can work the same magic for your amp, that 400 bucks could well be a bargain.
Universal Audio Ruby '63 Top Boost Amplifier Pedal
Inspired by the legendary 2 x 12-inch combo amplifier that powered the British invasion, Universal Audio’s Ruby ’63 Top Boost amp pedal is loaded with jangle and bite! This pedal is an end-to-end emulation of one of the most iconic British amps of the ‘60s, sporting Brilliant, Normal, and Vibrato channels that deliver everything from chimey cleans to all-out crunch. Guitarists at Sweetwater are amazed at how closely the Ruby ’63 recreates the sound of a tube amp recorded in a live room, and this life-like quality comes courtesy of UA’s incredible mic, cab, and Dynamic Room Modeling technology. What's more, each pedal in the UAFX series allows you to bypass your amplifier's preamp when the pedal is engaged via the special "4-cable" mode, supercharging your amp with two additional channels.
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).