
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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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.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!