PG's Rebecca Dirks is On Location in Nashville, TN, for the 2010 Summer NAMM Show where she visits the Laney Amps booth. In this segment, we get to check out the low-powered Cub Head. The all new CUB HEAD gives players access to British valve tone. The retro styled Cub Head features a top mounted control panel consisting of the following; Gain, Treble, Middle, Bass, Volume, Tone and Reverb. The Cub Head houses 3-ECC83s in its preamp and 2-EL84s in the power amp section. The Cub Head has two input options, one giving you 15W RMS of valve tone, the other giving you a valve sound, but cutting the output down to .75 of a watt. The rear panel of the Cub Head houses two speaker out sockets in 8 & 16 Ohm options, a footswitch socket for switching the reverb and an effects loop consisting of a Send/Line out socket and a return socket. The Cub Head can be paired with any Laney cabinet.



PG's Rebecca Dirks is On Location in Nashville, TN, for the 2010 Summer NAMM Show where she visits the Laney Amps booth. In this segment, we get to check out the low-powered Cub Head.

The all new CUB HEAD gives players access to British valve tone. The retro styled Cub Head features a top mounted control panel consisting of the following; Gain, Treble, Middle, Bass, Volume, Tone and Reverb.

The Cub Head houses 3-ECC83s in its preamp and 2-EL84s in the power amp section. The Cub Head has two input options, one giving you 15W RMS of valve tone, the other giving you a valve sound, but cutting the output down to .75 of a watt.

The rear panel of the Cub Head houses two speaker out sockets in 8 & 16 Ohm options, a footswitch socket for switching the reverb and an effects loop consisting of a Send/Line out socket and a return socket. The Cub Head can be paired with any Laney cabinet.

Plus, the Fontaines D.C. axeman explains why he’s reticent to fix the microphonic pickup in his ’66 Fender Coronado.

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The emotional wallop of the acoustic guitar sometimes flies under the radar. Even if you mostly play electric, here are some things to consider about unplugging.

I have a love-hate relationship with acoustic guitars. My infatuation with the 6-string really blasted off with the Ventures. That’s the sound I wanted, and the way to get it was powered by electricity. Before I’d even held a guitar, I knew I wanted a Mosrite, which I was sure was made of fiberglass like the surfboards the Beach Boys, Surfaris, and the Challengers rode in their off time. Bristling with space-age switchgear and chrome-plated hardware, those solidbody hotrod guitars were the fighter jets of my musical dreams. I didn’t even know what those old-timey round-hole guitars were called. As the singing cowboys Roy Rogers and Gene Autrey strummed off into the sunset, the pace of technology pushed the look and sound of the electric guitar (and bass) into the limelight and into my heart. Imagine my disappointment when I had to begin my guitar tutelage on a rented Gibson “student” acoustic. At least it sort of looked like the ones the Beatles occasionally played. Even so, I couldn’t wait to trade it in.

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Need an affordable distortion pedal? Look no further.

We live in the golden age of boutique pedals that are loaded with advanced features—many of which were nearly unthinkable a decade or so ago. But there’s something that will always be valuable about a rock-solid dirt box that won’t break your wallet. Here’s a collection of old classics and newly designed stomps that cost less than an average concert ticket.

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