A Nashville-based tone tweaker unleashes a burly, one-knob fuzz that emulates a dimed Fuzz Face.
With flexible voltage adjustments, precise control, customizable protection, compact design, and affordable pricing at $299, the Brownie is the ultimate solution for optimizing tone and safeguarding your gear.
AmpRx, the trusted name behind the industry-renowned BrownBox, has unveiled its newest innovation: The Brownie, a voltage-optimizing power supply for modern amps and the first of its kind.
Designed by AmpRx co-owner and CEO Cassandra Sotos (2024 NAMM Female Entrepreneur of the Year), the Brownie provides unparalleled control, flexibility, and protection specifically for modern tube amplifiers by allowing the player to both increase and decrease voltage with volt-by-volt precision.
Priced at $299, the Brownie offers an affordable and essential solution for protecting your investment in your high-quality tube amp. It allows you to optimize your tone and safeguard your gear from variations in voltage by givingthe ultimate advantage: knowing exactly what youāre feeding your amp.
Known as the secret weapon of touring professionals, AmpRx products have been spotted on stage with bands like the Red Hot Chili Peppers, Lynyrd Skynyrd, Zac Brown Band, Iron Maiden, and many more. AmpRx is now bringing its game-changing technology to an even broader audience with this compact, affordable, and versatile product. Try the Brownie for yourself and discover exactly why artists, amp designers, and technicians rely on AmpRx to provide consistent sound, performance, and extend the life of their gear.
The Brownie will be available January 20th, 2025, presented at NAMM Global Media Day and on display at Booth #5630.
WHAT MAKES THE BROWNIE SPECIAL? Building on the success of the flagship BrownBox, the Brownie offers key innovations tailored for modern amplifiers:
- Flexible Voltage Adjustments: The Brownie is the first in the AmpRx line to both decrease and increase voltage, providing optimal performance for modern tube amps (often at 117-120V).
- Precise Control: Adjust voltage in ultra-precise -1V increments when decreasing, and by +3V or +5Vwhen increasing, allowing musicians to fine-tune their tone with precision.
- Customizable Protection: The Brownie ensures safe operation, putting control directly in the player's hands, and includes two fuse options: 2A for smaller setups and 4A for larger setups, ensuring compatibility with diverse gear.
- Compact and Portable Design: Smaller and lighter than the original BrownBox, the Brownie is perfect for musicians seeking portability, durability, and streamlined functionality. It can even fit on a pedalboard or in a backpack.
- Wide Accessibility: At just $299, the Brownie offers professional-grade voltage control at a price point thatās accessible to musicians everywhere.
Email sales@brownbox.rocks to order and stop by NAMM Booth #5630 to see the Brownie in action, talk with the owners, team and artists, and see exactly why so many people insist onAmpRx products when they make music.
For more information, please visit brownbox.rocks.
The latest multi-effect from Wampler is a dreamy if sometimes difficult-to-master delay/reverb combo.
Great, instantly useable reverb and delay tones. Impressive breadth of sounds in one box. Solid construction. Good value.
Controls and operation can feel confusing.
$299
Wampler Catacombs
wamplerpedals.com
āModeling versus tubeā might be the gear world title fight of the 2020s, but āLED menu versus none on multieffectsā is a pretty riveting undercard. I have sympathies in both corners. The ocean-deep onscreen interface of theMeris Mercury X, for instance, was a bear to navigate, but it also yielded some of the most exciting and tweakable reverb Iāve ever heard. At the same time, Iāll always be partial to having every control I need at my fingertips, and every parameter a knob twirl away from just-right.In theory, the digitalWampler Catacombs fits into the second category, the one I prefer. Itās a super-loaded reverb and delay combo pedal, with seven delay algorithms and five reverb options that sound great. Though in practice, Catacombs sometimes turned out to be a bit more complicated to navigate than I expected.
Lost in the Catacombs
The Catacombs is one of those pedals that begs a dedicated read of the manual before you dive in. Wampler says that the interface enables users to ānavigate effortlesslyā without the use of onboard screens and menus. I was excited by this: Like I said, I donāt love getting lost down tiny LED display rabbit holes and would much rather have all I need at hand. The Catacombs technically satisfies that desire, but it also demonstrates tradeoffs involved with that design ethic. Iām alright with certain controls pulling double-duty, but when every single knob shares two functions, things can get hairy, and doing your preparation up front pays big dividends.
You have to press and hold the left footswitch for a second to access the alt controls (labeled in blue), including reverb selection on the main rotary knob. Though this doesnāt complicate matters too much when using a reverb or delay exclusively, it can be tricky when using a reverb and delay simultaneously. A few times, I scrambled to switch control modes to tame a super-loud runaway reverb or a self-oscillating delay, and the feeling of frantically spinning knobs with no impact because youāre not in the right control mode isnāt a good one. Additionally, you might not know where a given parameter is set because each knob is shared between the delay and reverb effect. The eight onboard preset slots take some of this guesswork away. And Catacombs would be a cinch in the studio once the control navigation becomes second-nature, but I got nervous thinking of trying to navigate any of these quirks during a set.
Entombed in Ambience
Catacombsā operational challenges donāt take too much away from the whole experience because it sounds so great. Each of the six delay programs, and each of the five reverbs, were instantly useable and familiar. Side by side with my Walrus Fathom and EarthQuaker Avalanche Run, the plate, hall, and spring reverb modes held their own, and something about the pedalās wet/dry mix made my playing feel especially alive, present, and cinematic at most settings. I was especially fond of the spring reverb with the decay maxed outāit was juicy and metallic in all the right ways.
The delay modules were just as satisfying. They include three algorithms for tape-style delays, two analog-style delays, and a single digital echo, and each mode offers a distinct texture and experience. The ability to quickly switch the effects from series to parallel offers fun and useful experimentation, letting you apply the reverb algorithm to just your dry signal, or to the repeats, too. I especially enjoyed sticking the plate reverb on my dry signal and leaving it off the delay, creating warped senses of space and continuity.
The Verdict
Though it sounds excellent, immersive, and inviting, I was flustered more than once while trying to bend Catacombs to my will. In some respects, I was reminded of a menu where youāre given three desirable options and have to pick just two. In this case, the options are affordability, sound quality, and user-friendliness. Catacombs is certainly reasonably priced and sounds excellent. But because it navigates a difficult middle path between skipping a cost-bumping digital menu and being more complex than more-straightforward, what-you-see-is-what-you-get units, you should make sure youāre comfortable with that compromise.
Celestion introduces a low-sensitivity, dual voice coil, attenuating speaker.
The Peacekeeper offers guitarists and other amplified musicians a simple and effective way to dial in the coveted "sweet spot" on their amplifiers while still performing at modest volume levels. The Peacekeeper will be on display, alongside a range of Celestionās key guitar and PA products at the companyās NAMM 2025 booth (Hall C, #6602).
The Peacekeeper is designed to work seamlessly with almost any amplifier, like a conventional guitar speaker, but itās in-built attenuating technology will significantly reduce output sensitivity. This enables musicians to drive their amplifiers harder while maintaining manageable volume levels.
Key features of the Peacekeeper include:
- Attenuation Technology: The Peacekeeperās innovative design effectively attenuates the amplifierās output, compared with conventional speakers, allowing players to achieve their desired sound at lower volumes.
- Uncompromising Tone: Attenuation is achieved āorganicallyā through the natural operation of the loudspeaker, enabling the Peacekeeper to preserve the Celestion tone that musicians love: the attenuation process adds no colouration or compromise.
- Seamless Integration: With its 12ā diameter, the Peacekeeper seamlessly integrates with any standard cabinet, offering a hassle-free solution for volume control.
- Widely Compatible: Offering 8Ī© impedance and a maximum power rating of 50W, the Peacekeeper is suitable for pairing with a wide range of amplifiers.
- Precision Built in the UK: Peacekeeper drivers are assembled at Celestionās UK-based loudspeaker research and manufacturing facility, and rigorously tested to meet exacting performance criteria.
For more information on the Peacekeeper, visit: https://celestion.com/product/peacekeeper/
Visit Celestion at The NAMM Show, January 23-25,2025 in Hall C, Booth #6602.
Across Frank Zappaās monumental body of work, he injected rock-based music with compositional techniques straight out of the modern classical handbook, as well as groundbreaking studio trickery and a teenagerās wit. To match his untamable creativity, he famously demanded an unmatched level of musical dedication from his players, and his own guitar playing balanced that discipline with off-the-rails experimentation.
Across Frank Zappaās monumental body of work, he injected rock-based music with compositional techniques straight out of the modern classical handbook, as well as groundbreaking studio trickery and a teenagerās wit. To match his untamable creativity, he famously demanded an unmatched level of musical dedication from his players, and his own guitar playing balanced that discipline with off-the-rails experimentation.
When considering Zappaās legacy as a guitarist, we canāt separate it from his work as a composer, songwriter, producer, and all-around big personality. As a listener, you can love Zappaās chamber music and simultaneously not be able to handle his lyrics; you can adore his guitar playing but prefer he keep his opinions to himself. Our list of favorite Zappa guitar-centric recordings covers a lot of musical ground but keeps it all about his playing.
Is Frank Zappa to blame for the sound of jam bands? When was Zappaās best decade? And weāre looking at the connection between Zappa and Phish (who one of us calls āZappa liteā). In a bonus segment, weāre playing āDid They Get It Right?ā and examining the Grammysā former category for Best Rock Instrumental Performance.