The ASTRO-20 is a 3-channel, 4-Galaxy, Built-In-USA amplifier that combines authentic all-tube tone with features ideal for today’s modern guitarist.
Mike Soldano designed this sonic powerhouse to be a fully featured versatile 20w guitar amplifier. The ASTRO-20 can also be used as a stand-alone cab-less amplifier ideal for live sound, rehearsal and studio recording sessions, thanks to the DSP powered IR cabinet simulation.
The simple front panel design of the ASTRO-20 lets you save any combination of the channels, Galaxies, and IRs and quickly recall them with the included 4-button MIDI footswitch. The free downloadable Soldano Editor Software makes organizing presets and integrating your own IRs fast and easy.
3-Channels of All-Tube Tone
Despite its incredible onboard control, the ASTRO-20 is a straightforward, all-tube amplifier that is powered by two 6V6 power tubes and four 12AX7 pre-amp tubes.
There are three channels to select: Clean, Overdrive 1 or Overdrive 2.
The Clean/Green Galaxy is a high-headroom circuit reminiscent of classic American combo amps. It ranges from crystal clean to slightly pushed crunchy tones dialed in with a single Tone knob and a 3-way Bright switch.
Overdrive 1 and Overdrive 2 include independent Volume and Gain with a shared 3-band EQ. The Blue, Purple, and Red Galaxies can be assigned independently to each of the Overdrive channels via the Galaxy select switch.
ASTRO-20 1x12 Combo loaded with Celestion Greenback
The Galaxies
The Blue Galaxy ranges from bluesy cleans to fat and sparkly hard rock tones. The Purple Galaxy takes over where Blue leaves off, delivering higher gain and a tighter response. The Red Galaxy takes you on a journey starting from Soldano’s iconic lead tones to a new phenomenal high-gain universe. The Blue, Purple and Red Galaxies can be assigned to Overdrive 1 or Overdrive 2 independently and saved for instant recall.
The ASTRO-20 lets you customize the overdrive channels to YOUR needs. For example, you can select the Red Galaxy for both OD 1 and OD 2 (and set the Volume and Gain differently on each channel), or OD1 as Blue and OD2 as Red, or OD1 as Purple and OD2 as Red – the combinations are endless
ASTRO-20 Head and 1x12 Cabinet
The STAR Display
All features of the ASTRO-20 are controlled right from the front panel, making it convenient and versatile. The innovative STAR display indicates which Galaxy is being played (Green, Blue, Purple or Red), while the 6 “planets” around the star indicate the current IR preset. The planet indicator will turn OFF in CAB BYPASS mode.
Soldano Editor Software
The Soldano Editor Software features an intuitive user interface, allowing you to easily assign Galaxies to the Overdrive channels, select different IRs for all three channels, load and organize your IR library, and save up to 128 MIDI presets.
Cabless Operation
The ASTRO-20 allows you safely go to the front of house, a recording device, or use your headphones without connecting to a speaker cabinet.
If you want authentic Soldano tube tone with the modern flexibility of digital control, the Soldano Astro-20 is the amp for you.
4-Button Midi Footswitch - Expanded MIDI Control
An included 4-button MIDI footswitch lets you save and access any combination of channels, Galaxies, and onboard IRs. The amp also accepts external MIDI switchers and controllers, giving you up to 128 user-created presets. You can assign and organize your presets with the included Soldano Editor Software.
Master Controls
The wide range master Presence control takes you from a tight and mid-focused response to an open, three-dimensional feel. The 3-positon Depth switch fine-tunes the power amp’s bass response. You can boost or cut the bass using this switch. Depth cut is ideal for extended-range, low-tuned guitars, allowing you to cut through the mix. Depth boost beefs up single-coil guitars and at lower volumes enriches the bass response.
Celestion G12M Greenback
The ASTRO-20 combo is loaded with the legendary G12M Greenback from Celestion. Its broad mid-range attack and well-controlled low-end let’s explore every tonal nuisance found in each of the ASTRO’s Galaxies.
If you want authentic Soldano tube tone with the modern flexibility of digital control, the Soldano ASTRO-20 is the amp for you.
For more information, please visit soldano.com.
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Duane Denison of the Jesus Lizard, EGC Chessie in hands, coaxing some nasty tones from his Hiwatt.
The Jesus Lizard’s sixth album, Blue, served as the band’s final statement from the frontlines of noisy rock for the next 26 years. By the time of their dissolution in 1999, they’d earned a reputation for extreme performances chock full of hard-hitting, machine-like grooves delivered by bassist David Wm. Sims and, at their conclusion, drummer Mac McNeilly, at times aided and at other times punctured by the frontline of guitarist Duane Denison’s incisive, dissonant riffing, and presided over by the cantankerous howl of vocalist David Yow. In the years since, performative, thrilling bands such as Pissed Jeans, METZ, and Idles have built upon the Lizard’s musical foundation.
Denison has kept himself plenty busy over the last couple decades, forming the avant-rock supergroup Tomahawk—with vocalist Mike Patton, bassist Trevor Dunn (both from Mr. Bungle), and drummer John Stanier of Helmet—and alongside various other projects including Th’ Legendary Shack Shakers and Hank Williams III. The Jesus Lizard eventually reunited, but until now have only celebrated their catalog, never releasing new jams.
The Jesus Lizard, from left: bassist David Wm. Sims, singer David Yow, drummer Mac McNeilly, and guitarist Duane Denison.
Photo by Joshua Black Wilkins
Back in 2018, Denison, hanging in a hotel room with Yow, played a riff on his unplugged electric guitar that caught the singer’s ear. That song, called “West Side,” will remain unreleased for now, but Denison explains: “He said, ‘Wow, that’s really good. What is that?’ And I said, ‘It’s just some new thing. Why don’t we do an album?’” From those unassuming beginnings, the Jesus Lizard’s creative juices started flowing.
So, how does a band—especially one who so indelibly captured the ineffable energy of live rock performance—prepare to get a new record together 26 years after their last? Back in their earlier days, the members all lived together in a band house, collectively tending to the creative fire when inspiration struck. All these years later, they reside in different cities, so their process requires sending files back and forth and only meeting up for occasional demo sessions over the course of “three or four years.”
“When the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.” —Duane Denison
the Jesus Lizard "Alexis Feels Sick"
Distance creates an obstacle to striking while the proverbial iron is hot, but Denison has a method to keep things energized: “Practice loud.” The guitarist professes the importance of practice, in general, and especially with a metronome. “We keep very detailed records of what the beats per minute of these songs are,” he explains. “To me, the way to do it is to run it to a Bluetooth speaker and crank it, and then crank your amp. I play a little at home, but when the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.”
It’s a proven solution. On Rack—recorded at Patrick Carney’s Audio Eagle studio with producer Paul Allen—the band sound as vigorous as ever, proving they’ve not only remained in step with their younger selves, but they may have surpassed it with faders cranked. “Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style,” explains Allen. “The conviction in his playing that he is known for from his recordings in the ’80s and ’90s is still 100-percent intact and still driving full throttle today.”
“I try to be really, really precise,” he says. “I think we all do when it comes to the basic tracks, especially the rhythm parts. The band has always been this machine-like thing.” Together, they build a tension with Yow’s careening voice. “The vocals tend to be all over the place—in and out of tune, in and out of time,” he points out. “You’ve got this very free thing moving around in the foreground, and then you’ve got this very precise, detailed band playing behind it. That’s why it works.”
Before Rack, the Jesus Lizard hadn’t released a new record since 1998’s Blue.
Denison’s guitar also serves as the foreground foil to Yow’s unhinged raving, as on “Alexis Feels Sick,” where they form a demented harmony, or on the midnight creep of “What If,” where his vibrato-laden melodies bolster the singer’s unsettled, maniacal display. As precise as his riffs might be, his playing doesn’t stay strictly on the grid. On the slow, skulking “Armistice Day,” his percussive chording goes off the rails, giving way to a solo that slices that groove like a chef’s knife through warm butter as he reorganizes rock ’n’ roll histrionics into his own cut-up vocabulary.
“During recording sessions, his first solo takes are usually what we decide to keep,” explains Allen. “Listen to Duane’s guitar solos on Jack White’s ‘Morning, Noon, and Night,’ Tomahawk’s ‘Fatback,’ and ‘Grind’ off Rack. There’s a common ‘contained chaos’ thread among them that sounds like a harmonic Rubik’s cube that could only be solved by Duane.”
“Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style.” —Rack producer Paul Allen
To encapsulate just the right amount of intensity, “I don’t over practice everything,” the guitarist says. Instead, once he’s created a part, “I set it aside and don’t wear it out.” On Rack, it’s obvious not a single kilowatt of musical energy was lost in the rehearsal process.
Denison issues his noisy masterclass with assertive, overdriven tones supporting his dissonant voicings like barbed wire on top of an electric fence. The occasional application of slapback delay adds a threatening aura to his exacting riffage. His tones were just as carefully crafted as the parts he plays, and he relied mostly on his signature Electrical Guitar Company Chessie for the sessions, though a Fender Uptown Strat also appears, as well as a Taylor T5Z, which he chose for its “cleaner, hyper-articulated sound” on “Swan the Dog.” Though he’s been spotted at recent Jesus Lizard shows with a brand-new Powers Electric—he points out he played a demo model and says, “I just couldn’t let go of it,” so he ordered his own—that wasn’t until tracking was complete.
Duane Denison's Gear
Denison wields his Powers Electric at the Blue Room in Nashville last June.
Photo by Doug Coombe
Guitars
- Electrical Guitar Company Chessie
- Fender Uptown Strat
- Taylor T5Z
- Gibson ES-135
- Powers Electric
Amps
- Hiwatt Little J
- Hiwatt 2x12 cab with Fane F75 speakers
- Fender Super-Sonic combo
- Early ’60s Fender Bassman
- Marshall 1987X Plexi Reissue
- Victory Super Sheriff head
- Blackstar HT Stage 60—2 combos in stereo with Celestion Neo Creamback speakers and Mullard tubes
Effects
- Line 6 Helix
- Mantic Flex Pro
- TC Electronic G-Force
- Menatone Red Snapper
Strings and Picks
- Stringjoy Orbiters .0105 and .011 sets
- Dunlop celluloid white medium
- Sun Studios yellow picks
He ran through various amps—Marshalls, a Fender Bassman, two Fender Super-Sonic combos, and a Hiwatt Little J—at Audio Eagle. Live, if he’s not on backline gear, you’ll catch him mostly using 60-watt Blackstar HT Stage 60s loaded with Celestion Neo Creambacks. And while some boxes were stomped, he got most of his effects from a Line 6 Helix. “All of those sounds [in the Helix] are modeled on analog sounds, and you can tweak them endlessly,” he explains. “It’s just so practical and easy.”
The tools have only changed slightly since the band’s earlier days, when he favored Travis Beans and Hiwatts. Though he’s started to prefer higher gain sounds, Allen points out that “his guitar sound has always had teeth with a slightly bright sheen, and still does.”
“Honestly, I don’t think my tone has changed much over the past 30-something years,” Denison says. “I tend to favor a brighter, sharper sound with articulation. Someone sent me a video I had never seen of myself playing in the ’80s. I had a band called Cargo Cult in Austin, Texas. What struck me about it is it didn’t sound terribly different than what I sound like right now as far as the guitar sound and the approach. I don’t know what that tells you—I’m consistent?”
YouTube It
The Jesus Lizard take off at Nashville’s Blue Room this past June with “Hide & Seek” from Rack.
Keith Urban has spent decades traveling the world and topping global country-music charts, and on this episode of Wong Notes, the country-guitar hero tells host Cory Wong how he conquered the world—and what keeps him chasing new sounds on his 6-string via a new record, High, which releases on September 20.
Urban came up as guitarist and singer at the same time, and he details how his playing and singing have always worked as a duet in service of the song: “When I stop singing, [my guitar] wants to say something, and he says it in a different way.” Those traits served him well when he made his move into the American music industry, a story that begins in part with a fateful meeting with a 6-string banjo in a Nashville music store in 1995.
It’s a different world for working musicians now, and Urban weighs in on the state of radio, social media, and podcasts for modern guitarists, but he still believes in word-of-mouth over the algorithm when it comes to discovering exciting new players.
And in case you didn’t know, Keith Urban is a total gearhead. He shares his essential budget stomps and admits he’s a pedal hound, chasing new sounds week in and week out, but what role does new gear play in his routine? Urban puts it simply: “I’m not chasing tone, I’m pursuing inspiration.”
