The amp features a slightly modified preamp of the highly regarded Custom 50, adjustable boost, and two knob reverb controls.
Cincinnati, OH (June 6, 2014) -- Reeves Amplification announces the release of the all-new Space Cowboy. An all-tube guitar amplifier that features a slightly modified preamp of the highly regarded Custom 50, adjustable boost, and a two-knob reverb control.
āOur simple control layout and rock solid hand-wired construction of tube amplifiers speaks for itselfā, said Bill Jansen, owner of the Cincinnati-based company. āThe new Space Cowboy offers the classic tones we've been known for, but with a few enhancements to make it even more versatile ā I think players will find this an exciting amplifier."
At just $2,499 (estimated US street price) the Space Cowboy, (available in 50-watt or 100-watt versions) is an all-tube class A/B head with the tone, good looks and rugged construction you would expect to find in a Reeves amplifier.
All Reeves amplifiers feature rugged multi-ply hardwood cabinetry, 16-gauge steel chassis, custom Heyboer transformers, and hand-wired turret board construction for durable, roadworthy performance.
For more information:
Reeves
Baroni Recording Amps: Faithful tone to iconic amps in rock history. High-Voltage Class A tube preamp and analog simulation for direct FOH or DAW use. VARICAB circuit for realistic cab simulations. Perfect for pedal demos and connecting pedalboard to DAW.
Baroni (A Foxgear Brand) Is proud to introduce its first range of Recording Amps with a range of five products designed to replicate five of the most iconic amps in rock history, including Fender, Marshall, Hiwatt, Orange and Vox. Each Baroni Recording amp is made of a High-Voltage Class A tube preamp and a renewed analog simulation that mimics all the chain after the preamp such as the power section, the speaker, the microphone, and preparing the signal in a 100% analog way to go direct to FOH console, or into the Audio Interface of your DAW. Thanks to the VARICAB circuit, introduced last year into Foxgearās Miniamp series, and recently updated, and thanks to two separate control of Gain (Body) and Volume on the preamp section, you can truly mimic the behavior of the real amplifier, including the grit or bottom-end/punch usually added by the power tubes before to go to the XLR balanced out with a faithful recreation of your favorite sound with a big advantage: Eating Pedals perfectly.
Each Recording Amp also boasts a series fx loop, and a traditional TS Jack out to use as a standard preamp going into the return section of an amp, or into a power amplifier.No dozens of options, just pure tone straight to the point to not compromise the easy to use with pedals. Some YouTubers have already ordered their one to be used as their main interface to do pedal demos.
Baroni Preamps/D.I. Recording Amps Highlights include:
- Faithful tone to the original Amplifier
- 100% Analog signal path and Cab Simulation- Infinite and real-time changing cab simulations with VARICAB
- The definitive device to connect your pedalboard to your DAW without compromises.
For more information, please visit foxgeardistribution.com.
How this simple sustain stomp helped me bring one of my favorite David Lynch scenes to life and took me across oceans.
Thereās a scene in David LynchāsMulholland Drivewhere Naomi Watts and Laura Harringās characters find themselves in a darkened, mostly empty theater. Against a backdrop of spooky, synthy chords, they breathlessly watch the nightās oddball emcee deliver an intense, cryptic soliloquy on recorded sound. A trumpet player slowly walks onto the stage, the two characters clutching each other. Theyāand youāget fully drawn into his muted, jazzy lines. Suddenly, he pulls his instrument away from the mic, throwing his hands in the air. But the solo continues. The narrator looks to the audience: āItās all recorded.ā
Like the best Lynch moments, itās a thoroughly dramatic moment that needs to be experienced with all applicable senses. Words alone wonāt do. This scene is meant to stick with you.
I had that scene in mind as I first plugged into an Electro-Harmonix Freeze. I wanted to play a note and have it keep going ā¦ and going ā¦ until the audience would see that those notes were just lingering in the air, my strings no longer vibrating, unsure what the effect is. The Freeze could do just that.
āThis wasnāt some new iteration of some other effectāa crazy fuzz or a weird flanger. This was a new category.ā
If youāve never played one, the Freeze elegantly holds whatever you give itāa note, a chord, a pick scrape, or whatever else. For such an obvious effect to come out when it did felt so refreshingly groundbreaking. It represented new possibilities. This wasnāt some new iteration of some other effectāa crazy fuzz or a weird flanger. This was a new category.
There had already been ways to fake drones and sustained notes with loopers and delay pedals, but those inevitably had their quirks that ruined the illusion. David Cockerell, the designer of the Freeze, explains that loopers capture short bits of sound, apply an amplitude envelope, and play it back repeatedly. This can work to make sustained notes if the passage includes a whole number of cycles of the sound's fundamental pitch, but in most cases, youāll hear a click when it repeats.
Back in the ā70s, the EHX team had worked on the idea for a sustain pedal. āAt that time, the best I could do was intelligent-splice-single-cycle-looping,ā recalls Cockerell. āThis looked for a waveform match in the same way that guitar tuning meters do, and then endlessly played one cycle. It worked reasonably well for saxophone or other instruments with strictly harmonic overtones, but it was hopeless for guitar.ā
āThe pedal only requires one knob for volume, one toggle for latching or fast/slow swell modes, and a footswitch.ā
Fast-forward to the early ā00s when DSP chips became available that could reproduce more complex sounds and overtones. While he was working on the EHX Hog with John Pisani, the companyās current-day chief engineer, the idea for a sustain pedal reared its head once again. Cockerell used an algorithm with a special provision that avoids freezing on a pluck transient, thus eliminating the risk of that pesky click. And the Freeze was born.
Released in 2010, the Freeze has a simple beauty. The pedal only requires one knob for volume, one toggle for latching or fast/slow swell modes, and a footswitch. Within, thereās such a wide range of subtlety: How you hit the pedal after your attack greatly affects the response. With the level setting, you can create subtle drones, much like an electronic shruti box, meant to subtly fill space. Or you can set it more obviously as you change chords, freeing up your hands. At higher volume settings in fast momentary mode, you can create glitchy stutter effects. And the way it interacts with other pedals opens up entirely new worlds.
I threw myself into the pedal not long after it hit the market, learning its nuances and eventually buying a second one to create a stereo effect. With my retuned 12-string Strat, I blasted my amps with drones, blowing a few speakers with abandon. Soon, the Freeze changed my approach to the guitar, and I released a series of solo drone and noise albums that took me across the U.S. and Europe. When I recognized Bill Frisell using one during a solo set, Iād bonded with the pedal so much that it was like a friend was sitting in with my favorite guitar player.
āI blasted my amps with drones, blowing a few speakers with abandon.ā
There are plenty of pedals that have followed, adding more functionality. EHXās Pico Deep Freeze, most obviously, but also the Gamechanger Plus, TC Electronic Infinite Sample, and the Chase Bliss Onwardāenough that guitar sustain pedals have become their own class of effect. As fabulous as those pedals are, I still cherish the simplicity of the Freeze, a rare thing that leaves all the creative decisions on our side of the pedalboard.
Crafted for comfort and ready to rumble, the potent and flexible Ultra II Meteora shatters the Fender offset mold.
Built for players boldly seeking the best, American Ultra II is our most advanced series of instruments. American Ultra II guitars and basses feature premium materials, precision craftsmanship and cutting-edge design for instruments that both advance the state-of-the-art and stand the test of time.
The Fender American Ultra II Meteora features a select alder body with sculpted body contours. For effortless playability, the quartersawn maple neck features our Modern D profile and smooth Ultra Satin finish. Ebony or quartersawn maple 10ā-14ā compound radius fingerboards feature Ultra rolled edges, medium-jumbo frets, Luminlay side dots and Graph Tech TUSQ nuts. The tapered neck heel and sculpted body contours allow unparalleled access to the higher register.
Under the hood, a pair of Haymaker humbuckers deliver everything from sweet cleans to modern crunch and searing leads, all without a hint of hum. Our patented S-1 switch cleverly splits the Haymakers for even more tonal variety, and you can further sculpt your tone with both conventional master tone control plus a carefully voiced bass cut knob. Additional road-ready features include 6-saddle string-through-body hardtail with polished stainless steel block saddles, deluxe locking tuners, knurled aluminum knobs and 1-ply anodized aluminum pickguard.
The American Ultra II Meteora infuses iconic style with advanced appointments to take your playing to stratospheric new heights. For players who demand flawless tone, infinite versatility and limitless performance, American Ultra II delivers.
Learn more here.
Fender American Ultra II Meteora Electric Guitar - Texas Tea, Ebony Fingerboard
Am Ultra II Meteora, Texas TeaPG's host straps on a prototype Tele to unleash the Knife Drop's horror and heft only to dismantle Jack White's Triplecaster in one accidental Bigsby bomb.