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U-G-L-Y You Ain’t Got No Alibi
O’Boyle says that the name Ugly “started as a joke, but now it has become fun to keep it anyway; it’s easy to remember with so many people using last names…” While the name might be a joke, the amp isn’t. Steve has a degree in electronics, and his ten years of amp work has paid off in one cool little amp. Despite its size (15-1/2” x 9-3/4” x 11”) and its low-watt rating, the Ugly 18 packs quite a punch. Don’t let the minimalist controls put you off, because there’s more than meets the eye. The Ugly 18 sports two inputs on the front, “normal” and “bright,” one Volume knob for each input jack, and a single Tone knob. Spinning the Ugly 18 around reveals both a 4- and 8-ohm output jack. It should be noted, too, that off the speaker jack there is a voltage divider, so you can capture the amp’s sound for recording or to send to a board. O’Boyle also provides a quick word of caution: “you still have to have the speaker connected with this type; it is not a preamp out, it is the whole amp... just as with an L-Pad.”
Although the Ugly 18 uses a PCB construction, Steve O’Boyle says that there is a big misconception concerning PCB-based amps: “I would say there’s a tone myth, there are pros and cons to every method of construction; if well designed with good components PCB amps can sound great. There are issues with service work, but it depends who does the work.”
Into the Fire
In order to give the Ugly 18 Head a thorough testing, I press-ganged several of my workhorse guitars into service: a Michael Dolan Esquire, a late-nineties Guild Bluesbird, and then later I called in the reserves, a MIJ Strat with Bill Lawrence pickups, a late-fifties Danelectro U1 and Gibson ES-125. Setting the Ugly 18 volume and tone both at 12 o’clock, I plugged in the Dolan Esquire and let it rip. Fans of Brit rock will completely dig the Jeff Beck-era Yardbirds or early Led Zep tones that radiated out of the Tone Tubby 1x12 deep cabinet. Chimey but punchy, ballsy yet articulate, the Ugly 18 is a great example of why low-watt EL84 based amps have developed a cult following.
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Next, I plugged the Guild Bluesbird into the slightly misleadingly named “bright” channel. Unlike the “normal” channel, the “bright” input bypasses the single tone knob. Not to say this option doesn’t have its uses, but it has a decidedly darker voicing than the “normal” channel. Perhaps the best way to describe the difference is to consider the “bright” channel a smokier, more vintage vibe—and perhaps it kicks out the jams just a bit more than the “normal” option. If you’re scratching your head at the Danelectro and ES-125 selections, I maintain that both Marshalls and Marshall-inspired amps’ clean tones have been criminally overlooked. Also, if an amp is well built, it won’t hum or buzz excessively when you play unpotted single coils through it.
While the Ugly 18 may not even be on the radar as far as jazz heads are concerned, it won’t lead you astray either. Both the Daneletro and the ES-125 displayed a remarkable amount of woody overtones and acoustic timber to their sound. Historically, I’ve had noise and feedback problems with both of these guitars, especially the ES-125; I’m happy to say that even with the volume dimed, any amp noise was kept to a minimum. O’Boyle put it best, saying, “I hate to admit the the PCB amps, if well designed, are quiet because you don’t have to run ground wires or make a grounding scheme happen; it’s baked into the bread.”
Playing my MIJ, Bill Lawrence-equipped Strat, I was struck by how the bottom remained tight and punchy, remarkable for a low watt-amp with limited EQ options. Kicking things up a notch with an Xotic AC Boost, the Strat sounded phenomenal. Because the Ugly 18 lacks a reverb unit, I doubt it’s going to be anyone’s “go to” amp for Dick Dale-inspired mayhem, or Buck Owens-like twang, but don’t rule this one out as a western swing partner. Last but not least, I just had to crank up the Ugly 18 and plug in a BC Rich Gunslinger Retro with a single Dimarzio Super Distortion. Dime the volume knob, stomp on a Boss DD-6 Digital Delay—you’re in hair metal heaven.
The Final Mojo
The Ugly 18 Head is a very cool package. Even with medium-output humbuckers, the Ugly 18 will break up at a reasonable volume level. If you want a little more crunch, the Ugly 18 responds well to OD pedals. The real surprise, however, was with both the Strat and hollowbodied single-coil guitars. I think in order to get the most out of the amp, you should consider an A/B/Y box, and loop junkies might consider an Xotic X-Blender or similar device. An external reverb or delay may also help round things out a bit, too. Some may be put off by the somewhat limited EQ options, but the Ugly 18 never sounded murky, ill-defined, shrill or unpleasant. I don’t hesitate to recommend the Ugly 18 for anyone looking for a low-watt, British-voiced amp; it should work well for recording, practice, or small club gigs.
Buy if...
You’re looking for a better-than-average, low-watt, Brit-voiced amp.
Skip if...
You absolutely, positively can’t live without reverb and an effects loop.
Rating...
List (as tested) $799 - Ugly Amps - uglyamps.com |
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.