The K161 Kay Thin Twin Electric Guitar was originally introduced in 1952 and was known as the "Jimmy Reed" or "Howlin' Wolf" model. The Thin Twin was the first guitar to be able to create that unique blues sound from the special interior Kay bracing which made this instrument a favorite among blues players and both emerging and famous rockers of the '50s and '60s. The name "Thin Twin" referred to the two blade pickups, providing a clean, sharp biting sustaining sound unlike any instrument made. The Thin Twin's hollow body chamber parallel bracing produces that gutsy, bluesy, raw sound, creating a natural distortion without feedback.
Specs:Colors Available: Blonde, Cherry Sunburst and Black
Body: Single cutaway, tone chambered, hollow body acoustic type, with special feedback-resistant bracing. Parabolic arched maple back, maple sides, 3-ply curly maple top
Purfling: Multi-ply checkerboard celluloid binding
Neck: Set one-piece straight-grained Canadian Maple with single-ply binding, 20 medium nickel-silver frets and 6 block pearloid inlays
Fingerboard: 26” scale rosewood fingerboard with 12” radius
Tuning Machines: Vintage style, 3 on a side
Bridge & Tailpiece: Chrome individual saddle style mounted bridge with height adjustment thumbwheels and chrome trapeze tailpiece
Electronics: 2 chrome Thin Twin single coil blade pickups, individual volume controls, 2 individual tone controls, 3-way toggle selector with baseball bat style switch cap, 4 cupcake knobs, side mounted output jack
Pickguards: Black and Cherry Sunburst have single-ply cream color with crest logo and the Blonde model has tiger stripe tortoise shell
Top Nut: 1-11/16’’ Bone
Headstock: Original gold “K” chevron displaying the 3-D raised “Kel-von-a-tor” emblem
Finish Coat: High-gloss polyester protective polymer
Case: Hardshell Vintage Reissue custom fitted case included.
Retail List Price $1075 including Case (MAP $799.00)
Truetone 1 Spot Pro XP5-PS 5-output Low-profile Isolated Guitar Pedal Power Supply
The XP5-PS is a package containing the 1 Spot Pro XP5, along with a 12Vdc 2.5A adapter, which allows you to power the XP5 without having a CS11. The adapter comes with an array of international plugs so that you can take it with your pedalboard anywhere in the world. Some musicians may even choose to get one of these, plus another XP5, to distribute their power around the pedalboard and have the dual XP5s acting as two pedal risers.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
