Your guide to the amp demos from the 2011 L.A. Amp Show

65 Amps Producer Prototype Demo
BC Audio No. 9 and No. 10 Amplifier Demos
Bill Asher Guitars Marc Ford Signature Model Demoed by Marc Ford
Cardinal Instruments Magpie, Zenith, and West
Carp Amps MoonFish 42 Demoed by Steve Trovato
Crimsontone Amplifiers Vermillion Demo
Echopark Guitars
Egnater Amplification Vengeance & Armageddon Demos
Electroplex Amplifiers Rocket 100-B Bass/Guitar Amp Demo
Evil Robot Amplifier, Kasha Reverb, Chime Chorus, Overdrive Demoed by Phil X
Fractal Audio Axe-Fx II Demoed by Dweezil Zappa
Glaswerks Amplifiers Super Overdrive II & Zangaro Demos
Goodsell Amplifiers Black Series Super 17 & Dominatrix 18 Demoed by Phil X
Immix Eleven Amplifiers HT-30 & HT-15S Demos
JB Guitars Supertone SD and Supertone XXL Demos
Kauer Guitars Daylighter Express Demo
Kozm Guitars SB-3, AW-6, MT-4, and BB-3 Demo
LSL Instruments Badbone T-Style & Red Jones Amplifiers Demos
Luxxtone Guitars El Machete, Chopper Series, Friedman Amplification Cab Demos
Margasa Amplifiers Baby Deadlock and Lady Deadlock Demos
Metropoulos Amplification Metro-Friedman Amplifier Demo
Mooresound Amplification 1013 Demo
Morgan Amps GOAT 40 Demoed by Josh Smith & AC20 Deluxe Demoed by Kirk Fletcher
Red Plate Amps Kirk Fletcher Signature Amp & Chuck D'Aloia Signature Amp Demos
Red Witch Analog Pedals Seven Sisters
Retro Channel RR1 Guitar Amplifier, The Fuzz, and Trouble Booster Demos
Sandberg Guitars California Series ST-S 6 Demo
Satellite Amplifiers Moonshine Prototype Demo and Amplifireplace
Six String Effects Sea Breeze Modulation, Cobbles Tone & Blue Stone Boosts Demos
Suhr Badger 35 & Rasmus Guitars Guthrie Govan Signature Model Demos
Surreal Amplification Atomica 100 & C.M. 100 Demos
Sweetwood Guitars Sweet T Demo
Tomaszewicz Amplifiers TZZ-17 Overdrive Demo
Tungsten Amplification Creme Brulee Demo
Voodoo Amps Texas Heat Combo Demo

A bone nut being back-filed for proper string placement and correct action height.

It doesn’t have to cost a lot to change your acoustic guitar’s tone and playability.

In my early days, all the guitars I played (which all happened to be pre-1950s) used bone nuts and saddles. I took this for granted, and so did my musician friends. With the exception of the ebony nuts on some turn-of-the-century parlors and the occasional use of ivory, the use of bone was a simple fact of our guitar playing lives, and alternative materials were simply uncommon to us.

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Johnny Winter's Burning Blues by Corey Congilio

Learn to rip like one of the all-time masters of modern electric blues.

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