
Wicked slider Michelle Malone at home with some dear friends: her Supro Super and Dual-Tone amps, and her Dual-Tone guitar.
The veteran singer, songwriter, and guitarist’s favorite sound crunchers are a pair of vintage oddballs from the vaults of Valco.
Like a lot of slide players, Michelle Malone enjoys some grit in her tone. And when it comes to grit—along with glorious midrange, trippin’ out reverb, and a blend of snappy response with just a ladle full of sponginess to temper brittleness—vintage Supro amps deliver better than UPS. So, her favorite amps are a pair of old Supros: a 1959 Dual-Tone and a 1961 Super.
By the way, is there anything cooler in gearland than naming a one-knob amp a “Super”? It seems audacious until you plug into one and hear the way it breaks up. These amps, with their cute, little stock 8" speakers, bite like baby sharks. But alas, I digress.
On her new album, 1977, named for the year she started playing guitar, Malone really flies her songwriter’s flag with tunes that delve into the personal. “Not Who I Used to Be” chronicles her growth as a human, “Buck Knife Man” is a tribute to her father, and “Georgia Made” is her grandfather’s life story—all powered by her clear-toned honey-and-biscuits singing and smartly textured arrangements.
The soaring leads on this release, her 17th studio album, are played by her band’s other guitarist, Doug Kees. But for her brass-knuckled live performances and on her previous albums—which started with 1988’s New Experience and her 1990 major-label debut, Relentless,and have continued through more than three decades—whenever a slide comes out of a pocket, it’s Malone’s. (You can hear her dig in on the video for “Just Getting Started” that accompanies this story.)
The Atlanta-based artist already had a rough-talking electric guitar voice when she committed to slide while recording her 2003 album, Stompin’ Ground. “I was working on the song ‘Lafayette’ in the studio when I realized it needed a slide part, and no one else was there to put it down, so I did it myself,” she says. Thus hooked, she developed a notable approach that blends the terse and the languid as she uses her signature Rocky Mountain Slides ceramic model with her Fender guitars or her white Supro Dual-Tone 6-string.
“It sounds so good—a little trashy, with awesome mids and just the right break-up—but you can’t turn it up all the way or it craps out.”
The latter was purchased as a package with her Dual-Tone amp, likely via eBay, in about 2007. The Super came from now-gone Atlanta gear store Midtown Music, which had a reputation among local musicians for its used and vintage equipment. Both amps have quirks. The Super has a 6"speaker, rather than its stock 8". “I blew out the one it came with in the ’90s,” Malone says. “Having one knob on this amp is a beautiful thing. It sounds so good—a little trashy, with awesome mids and just the right break-up—but you can’t turn it up all the way or it craps out.” The rest of the 5-watt blast box is stock simplicity, with one 12AX7 for the preamp and a 6V6 on the power side.
The Dual-Tone is an oddball. A stock example of this 24-watt, 12"-speaker growler typically has two channels with two inputs each, 12AX7-driven tremolo, 6973 power tubes (which were also used in 1960s juke boxes), a 12AX7 phase inverter tube, and two more 12AX7s for the channel 1 and channel 2 preamps. There are volume and tone controls for each channel, plus the usual speed and intensity for tremolo. Malone’s weirdo example, which she extracted from an “Alabama road case,” aka a cardboard box, to eyeball during our conversation, has three inputs and volume and tone dials, plus an 8" speaker—although it’s likely a replacement, since Malone remarks that the cabinet has room for a much larger speaker. It also has just three tubes: a 12AX7, a 6V6, and a 5Y3GT rectifier tube. In that respect, it resembles a Supro Reverb model, but … no reverb. This isn’t as strange as it may seem, given original Supro builder Valco’s penchant for using whatever was around the shop at any given time to fulfill orders, sometimes causing variations in products sharing the same model name. And recently, a Dual-Tone with the same setup was listed on Reverb.
Malone teams her amps and guitars with a few basic pedals. She uses a Keeley Compressor and a Seymour Duncan Pickup Booster when she plays slide. Her Ibanez Soundtank Delay stays on all the time, and it reminds her of the slightly compressed and enhanced character of the Echoplex she used to carry on the road from the late ’80s to early ’90s. And she also uses an MXR Carbon Copy for a cleaner echo vibe, and an EHX Holy Grail when spring reverb needs to join the game.
“I normally take both of those amps on an average gig,” she says. “For larger rooms, or when I need more volume, I'll take along one of my black-panel Deluxes. But as long as you have a good sound engineer, you can turn up these little Supros and you’re golden.”
Michelle Malone - Just Getting Started [Official Video]
See Michelle Malone make her vintage Supro amps, and her Dual-Tone guitar, howl on slide as she performs “Just Getting Started” from her 2018 album, Slings & Arrows.
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Ernie Ball, the world’s leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayer’s exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projection—making them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitarist’s sound alive.
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.