Henriksen Amps Unveils the Bud

A compact, but powerful, amp aimed at jazzers.

Arvada, CO (April 29, 2015) -- Tackling the age old problem of using a single piece of equipment to amplify electric guitars, quality acoustic instruments and microphones without sacrificing sound quality, Henriksen has come up with an uncompromising solution in a stunningly portable package, redefining the term “grab-n-go” for gigging guitarists.

The Bud is 17 lbs, 9”x9”x9”, and boasts an astonishing 120 analog watts and a feature set designed to cover the basic needs for almost any gig with a single trip from the car, bus, subway or even walking a dozen city blocks.


  • 2 Channel preamp design
  • 5 band EQ – dial in each channel completely independently
  • Dual XLR/1/4” inputs with true 48 volt phantom power for microphones
  • Reverb –independent on each channel for different instrument settings
  • 1/8” Aux input – break music, playing with backing tracks, lesson tracks, etc…
  • Studio quality line out – post EQ and post reverb, the board is getting what you hear!
  • Headphone out
  • Parallel speaker out – if you need more sound, The Bud’s 120 watts is more than enough to power almost any extension speaker you want to plug in.

The Bud prototype stopped traffic at the winter NAMM show in 2015, simultaneously garnering praise and disbelief for its sound quality and diminutive appearance. From electric jazz guitarists like Bobby Broom to acoustic fingerstyle masters like Sean McGowan, The Bud has been stunning musicians who play through it around the world. The Bud is $999 and production models are now shipping through Henriksen’s global dealer network.

For more information:

Multiple modulation modes and malleable voices cement a venerable pedal’s classic status.

Huge range of mellow to immersive modulation sounds. Easy to use. Stereo output. Useful input gain control.

Can sound thin compared to many analog chorus and flange classics.


TC Electronic SCF Gold


When you consider stompboxes that have achieved ubiquity and longevity, images of Tube Screamers, Big Muffs, or Boss’ DD series delays probably flash before your eyes. It’s less likely that TC Electronic’s Stereo Chorus Flanger comes to mind. But when you consider that its fundamental architecture has remained essentially unchanged since 1976 and that it has consistently satisfied persnickety tone hounds like Eric Johnson, it’s hard to not be dazzled by its staying power—or wonder what makes it such an indispensable staple for so many players.

Read More Show less

While Monolord has no shortage of the dark and heavy, guitarist and vocalist Thomas V Jäger comes at it from a perspective more common to pop songsmiths.

Photo by Chad Kelco

Melodies, hooks, clean tones, and no guitar solos. Are we sure this Elliott Smith fan fronts a doom-metal band? (We’re sure!)

Legend has it the name Monolord refers to a friend of the band with the same moniker who lost hearing in his left ear, and later said it didn’t matter if the band recorded anything in stereo, because he could not hear it anyway. It’s a funny, though slightly tragic, bit of backstory, but that handle is befitting in yet another, perhaps even more profound, way. Doom and stoner metal are arguably the torch-bearing subgenres for hard rock guitar players, and if any band seems to hold the keys to the castle at this moment, it’s Monolord.

Read More Show less