
A comparison photo of the shapes and sizes of transistors over time, ranging from the 1960s Black Glass (bottom left) to the 21st-century SOT-223 transistor (top right).
When it comes to vintage electronics, those contemporary to their release tend to see them as outdated, while the next generation has a different point of view. Here, our columnist dives deep into the subject.
Let’s begin this article with my memories from when I was a teenager, in the late 1990s and early 2000s. My father was an electronics wizard. He once built a 1000-watt tube pirate radio, and also my first guitar amplifier from a modified boombox. One day, while exploring his garage, I stumbled upon a dusty box labeled “Echo Device for Vocal.” To my surprise, I found two Matsushita MN3005 bucket-brigade delay integrated circuits (ICs) inside. As I’d been delving into the guitar world and its cults at that age, I felt like I had discovered a treasure! Even as early as the ’90s, analog delay was a vintage holy grail.
Afterward, I approached my father and said, “Dad, look, I found a made-in-Japan analog delay with authentic bucket-brigade delay ICs. Are you not using it anymore?” He simply replied, “Made-in-Japan is no good. You can use it if you want.”
Reflecting on that conversation, I realized something—we were two different generations living in distinct social circles. For me and perhaps my friends, Japanese-made gadgets from the ’80s were masterpieces, especially in the category of electronic musical instruments. Today, their value has surpassed their functional essence. In Indonesia, for instance, people buy made-in-Japan Boss products, not just to use, but as an investment! This also applies to products from Ibanez, Yamaha, Roland, Korg, and other vintage Japanese manufacturers. On the other hand, my father considered them to be items he no longer wanted, either due to his perception of their quality or because they were outdated. This generational and social-circle paradox slowly pulled me in, especially concerning the eternal debates like through-hole vs. SMD/SMT, silicon vs. germanium, vacuum tube vs. solid-state, vintage vs. modern, and, of course, analog vs. digital!
“In Indonesia, for instance, people buy made-in-Japan Boss products, not just to use, but as an investment.”
One day in 2019, I performed at an event after a long hiatus, and the event organizers asked me what equipment I would need onstage. I simply requested two sets of guitar amplifiers, specifically the Roland JC-120, as I wanted to crank up the volume. But the organizers were surprised by my request. One of them mentioned that I was the only performer who had asked for guitar amplifiers in the past few years. I thought it was just a joke, but I realized their honesty on the day of the event. Among the bands that performed, mine was the only one using conventional guitar amplifiers. It was the first time I truly witnessed a band performance where all the guitarists had adopted the “amp-less” stage concept. They tended to use amp simulators, whether digital or analog, and were perfectly comfortable without the presence of traditional guitar amplifiers, which have always been an emblem of rock ’n’ roll. Of course, the majority of the guitarists performing were 10 to 15 years younger than me. Now, I understand my father’s mindset from 25 years ago a little better.
Humans are a species that continues to evolve throughout time, always discovering new things, especially in technology. Let’s narrow the discussion down to musical instruments and related equipment. I can’t help but wonder, if super-compact DSP multi-effect stompboxes had been created in the 1950s, would we have the series of debates I mentioned earlier above? As a pedal effect builder, I strive to remain neutral. Nevertheless, I must be open to all possibilities regarding technological advancements.
We all live in a world that keeps on turning. Perhaps 20 years from now, my child will find NUX pedals in my storage and say, “Dad, you have a holy grail pedal from NUX; my friends will envy me!” Who knows? Well, after this, I will visit my father to enjoy a cup of coffee with him while listening to dangdut music from his super-slim smartphone. Now, I’m starting to think about hoarding and storing SMD/SMT components. Who knows, maybe my grandchild will consider them a holy grail 50 years from now.
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It’s almost over, but there’s still time to win! Enter Stompboxtober Day 30 for your shot at today’s pedal from SoloDallas!
The Schaffer Replica: Storm
The Schaffer Replica Storm is an all-analog combination of Optical Limiter+Harmonic Clipping Circuit+EQ Expansion+Boost+Line Buffer derived from a 70s wireless unit AC/DC and others used as an effect. Over 50 pros use this unique device to achieve percussive attack, copious harmonics and singing sustain.
A 1000-watt speaker cabinet crafted for musicians who demand power and precision. Sunn Amps intends to reinvent the standard 4x12 configuration with the introduction of this new cabinet.
The Sunn Amps DoomBox is built to accommodate both guitar and bass, offering an impressive 1000-watt handling capacity—making it the first commercially available 4x12 cabinet with such high power handling. With four specially designed 12” drivers rated at 250 watts each, this cabinet provides clean, unrestrained sound levels that can maintain power integrity across all frequencies, ideal for high-volume performances.
Inspired and developed using feedback from artists and bands who rely on the depth of lower tunings and high volume genres, the DoomBox was engineered to meet the unique demands of professional musicians looking for a robust, high-efficiency cab that can translate the raw power of their sound without compromise.
Premium Craftsmanship and Materials
The Doom Box cabinet is crafted from solid finger-jointed Baltic Birch plywood, ensuring both durability and tonal clarity. Each cabinet is constructed by hand in the U.S.A. using original 1930s machinery, the DoomBox reflects Sunn’s historic commitment to quality, contrasting with some of the mass-produced, MDF-based cabinets on the market today. The cabinet’s aluminum basket, ferrite magnet, and custom Sunn weave Tolex with a custom grill design complete its professional-grade build.
Technical Specifications:
• Power Handling: 1000W
• Inputs: 1 x ¼”
• Impedance: 8 Ohm
• Drivers: 4 x Sunn 12S250
• Construction: Marine Grade Baltic Birch
• Dimensions: 29.25” X 30” X 14”
• Weight: 107 lbs
• Price: $2399.00
With clear low-end punch, even sound response, and ample air movement, the Doom Box ensures that every note reaches the audience with clarity and power. This cabinet is a game-changer for musicians who need high-performance, road-ready equipment that enhances their unique sound.
Does the guitar’s design encourage sonic exploration more than sight reading?
A popular song between 1910 and 1920 would usually sell millions of copies of sheet music annually. The world population was roughly 25 percent of what it is today, so imagine those sales would be four or five times larger in an alternate-reality 2024. My father is 88, but even with his generation, friends and family would routinely gather around a piano and play and sing their way through a stack of songbooks. (This still happens at my dad’s house every time I’m there.)
Back in their day, recordings of music were a way to promote sheet music. Labels released recordings only after sheet-music sales slowed down on a particular song. That means that until recently, a large section of society not only knew how to read music well, but they did it often—not as often as we stare at our phones, but it was a primary part of home entertainment. By today’s standards, written music feels like a dead language. Music is probably the most common language on Earth, yet I bet it has the highest illiteracy rate.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.