Keller, TX (Jan 18, 2012) – Jackson Ampworks announces the release of the Atlantic 4.0. The Atlantic 4.0, like the rest of the amps listed, is an all tube hand wired guitar amplifier that offers an incredible level of power and flexibility in a package that is just 14” wide.
Designed as a tribute to Ken Fischer from Trainwreck Circuits, The Atlantic 4.0 is a high gain, non-master volume amplifier that allows the player to take the sound from pristine clean to over-the-top overdrive with a twist of the guitar’s volume knob.
To make the Atlantic 4.0 even more versatile, it offers switch-able 15W Class A, 30W Class A, 25W Class A and 50W Class A/B operation which allows the guitarist to adjust the power and feel of the amplifier to suit any musical setting.
Features:
• 12AX7 Preamp with Independent Volume, Edge, Treble, Middle, Bass, and
Presence controls
• Independent Normal/Bright, Single Coil/Humbucker, Thin/Thick, Low Gain/High
Gain, Presence On/Off switches
• Switchable 15W Class A and 30W Class A operation using EL84 Output Tubes,
and 25W Class A and 50W Class A/B operation using EL34 Output Tubes
• Series FX loop
• Handwired Turret Board Construction
• Footswitchable Boost Feature for added gain
The Atlantic 4.0 is available for $2,750.00
Jackson Ampworks is also announcing the release of their first bass amp, The Behemoth.
With its two channels, the Behemoth delivers all of the classic B-15N and SVT amplifier tones in a small, powerful and portable package. It is the only bass amp anywhere that offers switchable power output of either 30W Class A/B, 60W Class A/B or 120W Class A/B using 6L6 output tubes. This adjustable power feature allows the player to tailor the amps response to any given musical setting.
Channel 1 of the Behemoth is the Vintage Channel and is based on the 8-pin 6SL7 preamp tube. This preamp tube, known for it’s warmth and wide frequency response is where Channel 1 gets its Vintage 1960’s Motown and West Coast tones.
Channel 2 of the Behemoth is the more Modern Channel and is based on the 9-pin 12AX7 preamp tube. This channel, which is modeled after a simplified version of the SVT, is higher gain and punchier than Channel 1, and is better suited for Rock tones and musical styles that demand crisp tight bass tones. In addition to this, Channels 1 and 2 can be blended together to create a combination of new tones.
Features:
• 30/60/120W Power Modes • Gain, Volume, Treble and
Bass Controls (Each
Channel)
• Ultra-Hi, Mid-Boost and
Ultra-Lo Switches (Each
channel)
• 2 Blendable Channels • Impedance Selector 4/8ohm • FX Loop
• Line Out with Line Out Level • Master Volume • Switchable 120V and 240V
Operation
The Behemoth Bass Amp is available for $2,850.00.
Jackson Ampworks is announcing the release of the Britain 4.0.
The Britain 4.0 expands on the Britain 3.0 amplifier by adding a fourth power mode that features (4) EL84’s running in Class A to produce 30W.
Designed to capture many of the classic British guitar tones over the past 50 years, the Britain 4.0 is the first amp of it’s kind to offer switch-able 15W Class A, 30W Class A, 25W Class A and 50W Class A/B operation which allows the guitarist to adjust the power and feel of the amplifier to suit any musical setting.
Features:
• Channel 1: EF86 Preamp with Footswitch-able Boost Mode and Independent
Volume Treble and Bass Controls
• Channel 2: 12AX7 Preamp with Independent Volume Treble and Bass Controls
• Switchable 15W Class A and 30W Class A operation using EL84 Output Tubes,
and 25W Class A and 50W Class A/B operation using EL34 Output Tubes
• Series FX loop for each channel
• Handwired Turret Board Construction
The Britain 4.0 is available for $2,650.00
The NewCastle amplifier is the latest guitar amp announced by Jackson Ampworks.
With its simple and streamlined design, the NewCastle is a grab-and-go tone machine. It features hand-wired construction along with an 18 Watt, EL84 based power section that is incredibly powerful, tonally complex and features a surprising amount of clean headroom.
The NewCastle is a simple tone machine that will cover everything from pristine British clean to Rock and everywhere in between. The clean tones are rich and full of authority with sparkling highs that never become brittle or piercing. The low end was specifically designed to remain tight and punchy even when cranked so you’ll never lose definition when playing at loud volumes.
Features:
• 12AX7 Preamp with Independent Volume and Tone controls
• 18W Class A/B operation using EL84 output tubes
• Handwired Turret Board Construction
The NewCastle Amp is available for $1,495.00.
For more information:
www.jacksonampworks.com
Guitarists are used to coveting cranky, old gear, but if you’re not a rack user, the H3000 might not be for you! If you ever see one of these in a studio, be sure to take some time to check it out, and maybe give the plugin a try.When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
