Inspired by vintage American studio bass amps, the Brandywine packs enough punch to get you tone-drunk.
Like audiophiles who bemoan declining sound quality in our digital world, bassists often look back to the titans whose tones still inspire us. It’s hard to top John Entwistle’s hallowed Hiwatt howl or Jaco Pastorius’ delay-drenched Acoustic 360 punch. And for some tone-chasing bassists, the gold standard of tone is the glorious grit of James Jamerson’s Motown sound.
Much has changed in bass amplification since Jamerson’s day. We’ve embraced new technology that allows high power and low weight to coexist. But for every company offering 1,000-watt class-D heads and featherweight cabs, there’s another that draws inspiration from the amps of yesteryear. Meanwhile, Florida’s ValveTrain strikes delicate balance between vintage and modern technology. Their 50-watt, tube-powered Brandywine amp and sealed 1x15 Revolution cab bring this vintage format into the 21st century.
ValveTrain Brandywine
Pros:
A powerful studio tone tool. Much EQ and overdrive potential.
Cons:
At just 50 watts, the Brandywine starts baring its teeth at moderate volume.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$1,149
ValveTrain Revolution Bass 1x15 Cabinet
Pros:
A primo Brandywine partner. Tones ranging from warm and fuzzy to cranky and cantankerous.
Cons:
You say you want a Revolution? Well, this one doesn’t come cheap.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$949
ValveTrain
valvetrainamps.com
Taste Test
The Brandywine and Revolution sport two-tone tolex and chevron-shaped grilles (with cloth rigid enough for worry-free transport). All knobs, switches, jacks, and hardware are expertly installed, and the Brandywine’s marbled, port-colored faceplate lends extra class to an already tasty-looking number. Meanwhile, the Revolution Bass 1x15 is a sturdy little box with metal-reinforced corners and tolex tough enough to take a tap or two when loading in and out.
Around back are a 3-way impedance switch (2/4/8 ohms), two 1/4" speaker jacks, and additional 1/4" outputs for tuner, preamp, and direct signal (with level knob). Under the hood are a pair of 12AX7 preamp tubes, two 6L6GC power tubes, and a solid-state rectifier.
Like many classic ’60s amps, the Brandywine utilizes a Baxandall tone stack plus additional ultra-high and ultra-low switches. Borrowing from Sundown Amplification’s Dennis Kager—a mentor to some of the ValveTrain crew—the amp also includes a “governor” control. Output volume decreases as you advance the control, allowing the player to drive the preamp stage hard while maintaining volume control. (More on this in a bit.) An off/standby/on switch and adjustable input pad round out the front-panel controls.
Potent Portable
The rig’s form factor has got it going on. The Brandywine isn’t packed with the kind of glass you’d find in a monster tube amp, and the Revolution 1x15 is light enough to grab with one hand. While the 45-pound cabinet is relatively large compared to some comparable 1x15s, the extra space and bottom port give the speaker ample room to breathe.
Some speaker sticklers thumb their nose at neodymium in favor of heftier ceramic drivers, citing neo’s bashful booty and obnoxious midrange. But I found the Revolution 115’s neo Eminence Basslite C2515 perfectly capable of assuming whatever character I dialed in. Until I can hire hands to schlep my stuff, I have no problem riding the neodymium bandwagon all the way to Feathertown. (The cabinet is also available with a ceramic-driver option.) My only gripe is the Revolution’s hefty $949 price.
Catching a Buzz
The Brandywine is billed as a studio amp, but I found it added much character to a mid-volume jam session. It starts grunting and growling once the volume reaches 10 o’clock, though, so if you seek crystal-clear tone at high volume, move along. But if you like a bit of hair to your sound, the Brandywine has plenty to offer.
The Brandywine’s three EQ bands offer ample boost and cut at familiar frequencies, and the SVT-style ultra-high and ultra-low switches offer additional options. For my taste, the Brandywine is at its best with the midrange rolled off, the treble flat, and the bass bumped a bit. Like a well-appointed spice rack, the Brandywine’s EQ array offers flavors for every palate, but the meat of the matter lies in the volume and governor controls.
With the governor rolled off and volume approaching noon, the Bradywine begins to moan. Inching up the governor lets you hit the preamp harder while maintaining control of your overall volume. Taken to extremes, the Brandywine is capable of balls-out screaming overdrive, even at bedroom levels. Can you get decent bass distortion with a pedal or plug-in? Sure. But neither option is as fun as making the Brandywine howl.
But as fun as such punishment is, there are just as many smiles to be had in settling into a reasonable volume and getting lost in the deep EQ controls. Each control can do heavy lifting, but the midrange control is especially mighty, ranging from scooped and muted to honkier than a juiced-up goose.
To be sure, the Brandywine is at its best when you don’t need it to move a ton of air. But if the quality of said air is paramount, the Brandywine excels.
The Verdict
With its vintage vibe and powerful controls, the Brandywine and accompanying Revolution merit a spot in any tone connoisseur’s arsenal. This amp/cab combo may not be the best choice for a player seeking a single rig to cover all bass needs, but its strong character and sheer fun factor make it a prime contender for a well-appointed studio.
Watch the Review Demo:
The luthier’s stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metal—it is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While it’s comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its components—an uneasy alliance of materials and craftsmanship. When it works, it’s glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why you’ll occasionally catch one tapping on a rough blank, head cocked like a bird listening. They’re not crazy. They’re hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitar’s voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate what’s already there, and there’s little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but here’s the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesn’t mention. Don’t even get me started about the unrepeatability of “hand-scatter winding,” unless you’re a compulsive gambler.
“One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.”
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone control’s usefulness. It’s subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 “vintage-spec” caps, just to see if they can “feel” the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but they’re quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
It’s All Connected
Then there’s the neck joint—the place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitar’s overall design. There are so many choices, and just as many opportunities to miss the mark. It’s like driving without a map unless you’ve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitar’s greatness doesn’t come from its spec sheet. It’s not about the wood species or the coil-wire gauge. It’s about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But that’s the mystery of it. You can’t build magic from a parts list. You can’t buy mojo by the pound. A guitar is more than the sum of its parts—it’s a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Jackson's new Pro Series Signature Misha Mansoor Juggernaut guitars, including the HT6 and ET6 models, are designed for classic and progressive metal players. Featuring premium construction, innovative pickups, and advanced bridge options, these guitars deliver the modern sound and performance needed to ignite your tone. Visit jacksonguitars.com for more information.
Jackson is once again partnering with Misha Mansoor to release three new signature guitars, The Pro Series Signature Misha Mansoor Juggernaut HT6 in Red Crystaland Blue Sparkle and The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 in Riviera Blue. Developed in close partnership with Misha, these Juggernaut metal guitars are built to withstand the demands of Misha’s steadfast and fleet-fingered technique. Perfect for both classic and progressive metal players, these guitars deliver the modern sound that every shredder needs to ignite their tone.
“This refresh came about because every few years we want to see what we can do…these guitars travel around the world and they need to be road ready,” said Misha Mansoor on his new signature guitars.“It’s a no-nonsense guitar that looks good, sounds good, and plays good.”
Djent forefather, Misha Mansoor, has gained widespread acclaim as the mastermind behind the axe-centric progressive metal band Periphery. Based in Washington D.C., Periphery is renowned for pushing the limits of progressive metal, using detuned, extended-range instruments to craft a sound that is both technically complex and unapologetically heavy. Misha Mansoor, guitarist and producer, co-founded the band in 2005. With the same precision and innovation that defines Misha's playing, the Juggernautsignature gives players the power to transform their sound.
The premium Juggernaut models feature a 25.5” scale length, poplar body, and bolt-on caramelized maple neck with graphite reinforcement, wrap-around heel, and oiled back finish for greater playing comfort. With a 20” flat radius ebony fingerboard that features rolled edges, fans can enjoy blazing fast leads. These models feature 24 jumbo stainless steel frets and offset dot inlays. Lastly, the Luminlay side-dots will guide the guitarist's path even on the darkest of stages, while the heel-mount truss rod adjustment wheel allows for convenient neck relief tweaks.
Misha worked closely, as he did with past models, to develop the exceptional uncovered direct-mount Jackson MM1 pickups. Unwilling to sacrifice tone, these pickups can be shaped with a five-way blade switch, single volume control, and a single tone control with push/pull feature that allows for players to engage or disengage tone options. Designed for articulate heavy picking, the humbuckers deliver a well-balanced sonic range with rich dynamics, intentionally left uncovered to enhance brightness and clarity.
The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 comes equipped with an EverTune F6Model bridge, engineered to maintain perfect tuning and intonation across the entire neck, even with low tunings. Its counterpart, the Pro Series Signature Misha Mansoor Juggernaut HT6, features a string-through-body hardtail bridge that delivers enhanced sustain, rock-solid tuning stability, and simplified string changes. Both bridges are built to withstand intense playing conditions, providing the unwavering stability essential for Misha's signature heavy metal style.
“We’re beyond thrilled to be partnering with Misha Mansoor on his latest signature guitar collection. His innovation and vision perfectly align with our passion for pushing the boundaries of tone and design, ”said Jon Romanowski, VP of Product of Jackson Guitars. “This collaboration reinforces Jackson’scommitment of providing for players who demand nothing but the best.”
For more information, please visit jacksonguitars.com.
Introducing The Pro Plus Series Misha Mansoor 6-String Juggernauts | Jackson Guitars - YouTube
This is perhaps the most rare Iwase guitar: one volume, one tone, and a quality adjustable bridge, plus a raised pickguard and some beautiful shading on the burst.
A 6-string found in the workshop of the late luthier Yukichi Iwase may be the only one of these small, nearly full-scale guitars. Our columnist tells the story.
I’ve been thinking a lot about snowflakes lately. We are getting some snowy weather up my way, but there’s a few other items rattling around in my mind. Like, I just got a car for my daughter (thanks to those who bought guitars from me recently), and it’s so freakin’ cool. I bought her a Mini Cooper, and this thing is so rad! I was doing research on these models, and each one is sorta different as far as colors, racing stripes, wheels, etc. Her friends say she has a “main character” car, but you’ll probably have to ask a teenager whatthat means.
And then my mind wandered to my college days, when I was an English major. I got to read and write every day, and I thought I was getting good at it until a professor raked me over the proverbial coals for using the word “unique” incorrectly when describing a local band’s sound. He really tore me up, because if I describe something as unique, it should be like none other—like a snowflake.
So, what about guitars? Is a custom-shop model unique if it has the same pickups and same scale as many others? Even if the body is shaped differently? Seriously, that professor would hand you your butt because, in his mind, you didn’t just choose words unless you understood their real meaning. Consider the super-rare Teisco T-60 … the model that Glen Campbell loved and played for much of his early career. I know of only four in existence. There are some Japanese collectors who own hundreds of guitars but don’t have a T-60. Does that make the T-60 unique, or simply rare? I mean, they were all hand-made and featured that original hole-in-the-body “monkey grip” … but unique? Talk amongst yourselves for a hot minute.
“In my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately.”
I recently wrote about the passing of the great Japanese luthier Yukichi Iwase, whose small company (basically just him) produced some of the finest guitars and amps and carried the “Voice” label. A friend in Japan, along with his daughters, were in the process of clearing out his old workshop, and I’ve been trying to acquire everything from it that I can. I used to collect just Teisco stuff, and then I had a passion for the old Intermark/Pleasant guitars. Then I wanted to get all the old Yamaha stuff I could find. But now, in my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately. He was a peach, and, yes, he was unique. Aside from being one of the earliest employees of Tesico, he was a brilliant fellow who could make just about anything from scratch, including guitars and amps. Left in his workshop were a few unfinished T-60s, some pedal steels, some amps, a really cool bass, an unfinished double-neck guitar, and a tiny guitar that is also truly worthy of the term “unique.”
“I know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds,” our columnist says.
The latter is a small powerhouse of a guitar. It has one of his amazing pickups that looks like a big block engine stuffed into an AMC Gremlin. He somehow squeezed out a 23" scale, but the rest of the guitar is like a child’s 6-string or a travel guitar. I believe he only made one of these. The body design has an ocean-wave type of flow, and the guitar is very balanced and not hard on the eyes, even with the exaggerated features. One volume, one tone, and a quality adjustable bridge plus a raised pickguard—the only time I’ve seen this design on his guitars. His finish work was really nice, too, and he was able to get some beautiful shading on the burst. The headstock has a figured overlay and the neck profile is so sweet—curved perfectly with some fine wood.
To me, it seems to have been built around 1966, based on the tuners he used. I don’t have the heart yet to plug this into an amp, but I know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds. So, what do you think? Rare? Truly unique?
“The Archon Classic is not a reissue of the original Archon, but a newly voiced circuit with the lead channel excelling in ’70s and ’80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types and a juiced up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design." - Doug Sewell, PRS Amp Designer