Four top speaker-emulators from Mesa/Boogie, Two Notes, Boss, and Universal Audio get the PG review-roundup treatment.
Guitarists have searched for ways to capture big amp tones at low volume since time immemorial, or at least for the last few decades. The quest became more urgent during COVID, as many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music, not just on evenings and weekends, but 24/7.
Fortunately, solutions are legion: hardware amp emulators, faux-amp plug-ins, and—our focus here—load box/speaker emulators that let you capture the sounds of your favorite amps minus their usual volume. In fact, we're zeroing in on one particular type of product: load box/emulators that faithfully mimic the sound of a miked speaker via impulse responses.
Impulsive Behavior
Speaker impulse responses (IRs) are created by running a test signal through a cabinet and recording the results. The software then compares the raw signal to the sound that emerges from the speaker, and imposes the same coloration on raw, direct-from-amp tones.
Meanwhile, the load box makes your amp "think" it's connected to a speaker. (Running an analog amp without a speaker load is a quick way to destroy the amp.) The four devices examined here include speaker-out jacks, so you can play through your speaker at reduced levels if desired while simultaneously capturing the direct IR sound. All four offer attractive faux-speaker sounds. Beyond that, prices and features vary dramatically.
While we're specifically examining stand- alone devices, it's also worth noting that amp manufacturers—among them Revv, Fender, Victory, and Mesa/Boogie—are increasingly offering built-in cab IR tech, too.
During COVID, many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music—not just on evenings and weekends, but 24/7.
About the Demo Clips
I recorded all clips using a ReAmp, so I could run the identical material through each device without having to worry about performance inconsistencies. Each device is represented by three clean tones and three distorted tones. All were recorded through a Carr Lincoln amp, a Vox-inspired boutique model. The test guitars are a pre-CBS Fender Stratocaster for the clean tones and an '80s Gibson Les Paul with retro-style PAFs for the crunchy ones.
Exercise caution when making direct sonic comparisons. The available models and effects vary from device to device. Also, since the Mesa CabClone IR+ has no effects, its clips lack the fattening compression and rich ambience of the rival examples. But CabClone users can easily add those effects within the DAW or at the mixing desk. Finally, remember that only the speaker/cab sound is under review, not the amp tone. Results vary immensely depending on your amp of choice. For example, you may not dig the vintage-flavored tube distortion heard here, but connecting a modern, high-gain amp would instantly yield modern, high-gain tones.
We'll proceed in ascending order of price.
PG editors pick their favorite pedalboard-tested bargain stomps—tremolos, dirt boxes, tuners, switchers, and more.
The past year's record gear sales tell us that pandemic window shopping has become more a passion than a pastime. And whether you're pushing a “buy" button or on the horn to your local music shop, pedals are among the most affordable jones satisfiers. Our editors compared notes—and their own pedalboards—to compile this list of our favorite stomps that provide a big tonal bang for under a Benny. They range from time-proven classics to thoroughly modern mojo machines. Check it out, and at these prices you don't even have to hide your wallet first.
TC Electronic Rusty Fuzz
Many modern Fuzz Face-inspired silicon circuits are too dark and mannered, but this badass bargain zeroes in on a joyful range of anarchic, retro tones, from Hendrix to Big Brother. With unity gain at about 10 o'clock, keeping the fuzz setting under 11 a.m. provides enough hair to sting, and levels above that are slap-your-mama. Floor the fuzz and it's '68 at the Fillmore—held notes sing with feedback and bent strings roar and fluctuate, eventually decaying in a beastly groan. Even with fuzz maxed, the tone dial is quite responsive, so highs needn't get drowned in the tidal wave of fur, and turning the tone all the way down warms things if desired. And with a maximum output gain of +55 dB, punching through a live mix is not an issue. The Rusty Fuzz oxidizes the sound of humbuckers at every setting, although it takes some cranking to drive single-coils to glorious ruin. Add a wah pedal and cock it to different positions to tap some truly dinosauric sounds. There's no 9V battery option, but there is enough dynamism and control to satisfy any breed of vintage raunch hound. —Ted Drozdowski
The Good: Easily controllable, super-authentic-sounding vintage fuzz at a bargain price.
The Bad: No 9V option.
$69 street, tcelectronic.com
Mooer Trelicopter
From Origin Effects' and MXR's latest tremolo wonders to other time-proven gems, there's no shortage of cool amplitude-undulators on the market. But what I've long loved about the Trelicopter is that it puts remarkably amp-like tremolo at your feet not just for a ridiculously nice price, but also in a miniscule package. Even better, whereas many more expensive trem stomps tend to sacrifice faster, choppier sounds for slower, super-chill vibes (or vice versa), Trelicopter hovers in a wonderful middle ground. This is largely thanks to its handy bias control, which sharpens or smooths waveform edges to simulate sounds ranging from black- to brown-panel-esque. —Shawn Hammond
The Good: Vintage-feeling amp trem in a tiny package that's more flexible than many more expensive stomps.
The Bad: Seems to very slightly sap treble frequencies. Mini pots lack indicator mark.
$88 street, mooeraudio.com
Nobels ODR-Mini
It's not a stretch to think that aspiring session guitarists come to Nashville packing a Tele, a capo, and this overdrive. This mini version of the cult classic keeps the general vibe of its larger sibling along with its beautifully rich and mid-focused sound. Thanks to session player Tom Bukovac, the Nobels has taken on a life of its own—to the point where Buk' had to make a video busting all the myths around his early history with it, right down to the $30 price tag. Once word got out about the ODR, it landed on every Nashville cat's board and prices for vintage ones started to rise. Naturally the gain and level controls are self-explanatory, but the real magic is in the spectrum knob. Unlike a typical tone control, the spectrum moves several different frequencies around at the same time. Turning it counter-clockwise gives the tone a mid hump, but not in the way you might think. It decreases the bass and treble—a very handy feature when you're trying to find the right guitar/amp/pedal combo in a mix. If you dig the whole TS vibe but want more mid control, start with this other green box. —Jason Shadrick
The Good: Glow-in-the-dark knobs! You can run it at 18V for more headroom.
The Bad: At extreme gain settings it gets a bit fizzy.
$79 street, nobels.de
Korg Pitchblack Custom
For what's arguably the most important pedal on the floor, this tuner appeals to the type of player who—alongside quickness and accuracy—puts high value on visibility to counteract dark stages and/or sub-par vision. Its 3-D, liquid-like screen makes up about 75 percent of the face of the pedal and leaves no doubt as to what's on the display, no matter which of the four different meter modes chosen. In terms of accuracy, you'd be hard pressed to do much better than the Pitchblack Custom's +/- 0.1 cent spec, unless you pony up for a desktop strobe unit. You won't find a big menu of tuning presets, polyphonic functionality, or other ancillary features on the true-bypass Custom, but it's wonderfully simple and fast, and caters to people like me who can never find their glasses. It's just icing on the cake that the sub-$100 box happens to look like a stealthy spy gadget. —Rich Osweiler
The Good: Huge, crisp, and clear display. Minimalist design. Accuracy to +/- 0.1 cents.
The Bad: Nada.
$99 street, korg.com
Boss TR-2 Tremolo
This list is supposed to be about pedals less than 100 bucks. But at $103 and change, we've made an exception for the venerable and perpetually overachieving TR-2. I bought mine more than a decade ago (I think it was then priced closer to $129), stuck it on my board, and, with a few exceptions, it's been there ever since. Does it top the sounds of vintage Fender amp trems, or one of the more exacting (and expensive) new-school DSP-vintage-driven emulations? No, but I tend to find the comparisons academic. The TR-2 has a warm but familiar voice all its own—several actually, when you factor in the waveform control, which moves from soft, round sine-wave pulses to choppier square waves, and many blends in between. The TR-2 has quirks, like a depth control that makes the modulation virtually imperceptible until just before high noon on the dial. But the perceived volume drop that allegedly plagued early models is long gone, And like so many Boss pedals, it's built to sturdy standards that rival much more expensive and exclusive boutique offerings. —Charles Saufley
The Good: Great range of tremolo textures, from soft, soulfully undulating pulses to hard-choppin' square waves.
The Bad: Not much perceptible modulation in the first half of the depth control's range
$103 street, boss.info
MXR Blue Box
This two-octaves-down-plus-fuzz stomp has been creating chaos since 1974, although it took Jimmy Page's solo on 1979's "Fool in the Rain" to really put it on the map. Today, the pedal's making a well-deserved comeback in stoner rock. It's a simple critter—the double-octave drop engages when it's switched on, the output controls volume, and blend adds or subtracts fuzz. Counterintuitively, with more fuzz in the mix, the overall sound is more controllable and sustained, and less glitchy. Same thing when you play higher on the neck. But the low octave tones are full of marvelously colorful blips and snorts, and the unpredictable note decay—sometimes it's more like dropping off a cliff—has a stellar charm all its own. Try a chord, for a laugh. If that unpredictable decay becomes annoying, just zip a clean boost in front of the Blue Box to beef up sustain. But half the fun of this venerable device—which works on 9V battery or adaptor power—is that madcap unpredictability. —TD
The Good: A Pagey-approved, distinctively weird-ass sound for the ages.
The Bad: If glitching and unpredictable drop-outs bug you, this one-trick horsie ain't your ride.
$79 street, jimdunlop.com
Radial Engineering BigShot ABY
If you ever get the hankering to see how fun/cool it is to play through or switch between two amps, just keep in mind it's not quite as simple as just tracking down a box that lets you send your mono signal to two outputs. As many players have found the hard way, phase-cancellation and ground-loop goblins lurk in the shadows of such setups, so if your junction box doesn't have features to deal with them, you may be prematurely thrown off your game and wonder "What the hell! These amps sound fantastic on their own—why don't they now?" In our Rig Rundowns, you've no doubt seen innumerable professionals using Radial utilities for unexciting-but-critical concerns such as these. That's because Radial gear is super sturdy and typically addresses all possible gigging downfalls with straightforward simplicity. For instance, the BigShot ABY requires no power (unless you want to power the current version's channel-indicator LEDs—mine is an older one without LEDs, but I keep the amps on full-time so it doesn't matter) and features a slider for correcting that weak, nasal sound you get when your amps are out of phase, as well as ground-lift and isolation-transformer switches to help eliminate hum. Even cooler, while Radial might not encourage it, I've had wonderful luck using the BigShot's tuner output to route my signal to a third amp, sans any phasing or noise issues. —SH
The Good: Smart, superb, no-nonsense way to play through two or three amps.
The Bad: NA
$99 street, radialeng.com
ProCo RAT 2
We see a lot more RAT 2 homages from boutique builders these days. That's a welcome development, because the RAT 2's basic architecture and tone profile has always been more versatile than its heavy reputation suggests. Good RATs can make leads liquid and white hot with sustain. They also generate great low- to mid-gain overdrive tones, and the filter/tone knob can crate thick, smoky fuzz and distortion voices. But one of the best things about the RAT 2 is that the contemporary China-built version—which sells for a whopping $70—still gets you most of the way to the sound of a vintage late-'80s/early-'90s version. I had one of these recent RATs on extended loan from a pal. It lacked some of the mysterious, hazy thickness and complexity that my vintage version delivers at heavily filtered, attenuated-highs settings. It can also seem a bit peaky in the top end compared to my battered oldie. But 95 percent of the time—and especially in those growling mid-gain distortion settings that folks love to hear from a RAT—the recent-vintage unit sounded and felt practically indiscernible. Did I get lucky? Maybe. But it seems more likely that after selling about a zillion RAT 2s, Pro Co has sorted out how to build this classic to consistently high standards on the cheap. —CS
The Good: Almost all of the killer sounds you'd get from a vintage RAT 2. Super inexpensive.
The Bad: Filtered tones can lack some of the complexity heard in vintage versions.
$70 street, ratdistortion.com
TC Electronic Hall of Fame 2 Mini
Emulating the sound and feel of space is one of the most enduring and strangely satisfying musical effects for guitarists. From the drippy goodness of vintage Fender combos to the ethereal and metallic sounds of modern shimmer, various types of reverb are close to rivaling the number of 3-knob overdrives. The Hall of Fame 2 Mini is a tiny little stomp that covers nearly any possible reverb flavor you might need. When I first got my hands on one, I needed more of a set-and-forget for times when I had a reverb-less backline. Admittedly, I also spent a fair amount of time just blissfully exploring the more ambient settings. One significant upgrade over its predecessor is the addition of a MASH footswitch that acts as an expression pedal to give certain settings more real-time depth and dynamics. You can really interact with the tones in a meaningful way by simply pressing down a bit more. In most cases the effect is subtle but present. However, with a bit of deeper editing via the TonePrint app, you can get downright Fripp-esque with it. If anyone asks about a reverb pedal but doesn't have an affinity toward a particular flavor, I point them to the HOF 2. —JS
The Good: Mind-boggling amount of control via the app. Very authentic analog sounds.
The Bad: Not easy to switch reverb types on the fly.
$99 street, tcelectronic.com
TC Electronic Hall of Fame 2 Mini - Pedals Under $100
Electro-Harmonix Stereo Pulsar
Pulsar is a space-age-sounding name for a decidedly retro analog pedal, and its ability to toggle between triangle and square waves is common to other tremolo stomps, as is the shape dial that adds adjustable sawtooth characteristics to the triangle mode and variable pulse widths to the square wave mode. Rate and depth are the other controls, naturally. So, what makes this box special? It's a stereo tremolo for under $100, and if you think that's not a big deal it's only because you haven't experienced the psychoacoustic payoff of on/off square wave pulses ricocheting between a pair of amps—and your eardrums. It's an enjoyably trippy experience, as the pulses gently and intermittently slap the sides of your skull. But triangle mode shines, too, in a smoother way. Slow pulses of moderate depth also blend well with chorus, phasing, flanging, and even carefully tailored delay-pedal settings, so there's room for more sonic deviance. Use the main out only, and the pedal's mono, giving your amp classic Fender-style tremolo sounds. Add in 9V battery and adaptor power options, and a hard metal shell that's likely bulletproof, and you've got a workhorse stomp that dabbles in microdosing.—TD
The Good: Honest vintage tremolo that's easily shapeable and, in stereo, trippy as hell.
The Bad: If you're looking for modern twists like shimmer and layering, this ain't your juice box.
$89 street, ehx.com
Mooer Lo-Fi Machine
My first crack at trying a Mooer came when I reviewed the LoFi Machine nearly seven years ago. Initially, I was skeptical because of the brand's super-low prices and newness on the scene, but it didn't take long to forget all that. The bit knob reduces sampling depth from 5–16 bits, while mix and sample control dry/wet ratio and sample-rate reduction (60–31,250 Hz), respectively, and a 3-way toggle optimizes EQ response for synth, guitar, or bass. With careful manipulation of these controls (as well as your picking attack and other effects), you can use the Machine to summon everything from cool vintage electric-piano approximations to harpsichord tones and old-school video game sounds. Needless to say, I bought this rad stompbox after the review, and today it's still part of my rig—only at the moment it sits atop my keyboard, where I can easily manipulate controls with one hand while playing with the other. —SH
The Good: Myriad unusual sounds—from tame and lovely to lovably silly or sadistically warped—in a small, affordable package.
The Bad: Slightly saps treble frequencies. Mini-pot settings difficult to keep track of.
$98 street, mooeraudio.com
EarthQuaker Devices Plumes
The ubiquity of the Tube Screamer—and the scores of overdrives that have come in its wake—make it easy to forget the virtues and potential of the original. In fact, EarthQuaker Devices founder Jamie Stillman once hinted he would never bother with building a TS-based pedal. But EQD is nothing if not a restless bunch, and I suspect that the challenge of building a TS-inspired circuit with variable clipping—all for 99 bucks—was more than Stillman and crew could resist. The results are impressive. In general, the Plumes has a bit more headroom and clarity in the top end than your average TS. The LED symmetrical clipping mode ranges to savage grinding and beautifully compressed. The asymmetrical clipping mode is a little softer around the edges, with almost-saturated Fender-amp-like overdrive. There's also a no-clipping op-amp boost setting that reminds you how effectively a TS can work as a near-clean boost. Plumes would be a great TS alternative if it were 50 to 70 percent more expensive. At this price, it's a steal. —CS
The Good: A TS with a triple twist of clipping options. Great range of aggressive-to-clean sounds. Great tone control. More headroom than your average TS-style pedal.
The Bad: Hard to switch clipping modes on the fly without major volume changes.
$99 street, earthquakerdevices.com
Kliq TinyTune
When it comes to mini tuner pedals, mainstream brands like TC Electronic, D'Addario, and Korg tend to rule the roost for serious players, but does that mean they're our only viable option? I decided to put that question to the test a couple years ago when my old Planet Waves Chromatic Pedal Tuner finally died and I saw all the great Amazon reviews for the KLIQ TinyTune. As you've probably noticed, shopper reviews—whether on Amazon or a respected retailer's site—are often overly fawning simply because the item arrived quickly, the sales consultant was engaging and friendly, or, most offensively, the person didn't encounter any problems after using the product for an hour or two. Nevertheless, with an average rating of 4.5 and hundreds upon hundreds of reviews, I figured $29 wasn't that big a gamble. When the TinyTune arrived, I was pleasantly surprised to find that it seemed every bit as sturdy and feature-laden as other tuners on the market, and its display was both brighter and less jumpy than many tuners I've used. —SH
The Good: Excellent build quality and feature set. Clear, bright, easy-to-read interface.
The Bad: Registers notes slightly slower than more expensive offerings.
$29 street, kliqmusicgear.com
Electro-Harmonix Nano Bass Big Muff
Electro-Harmonix is known for a lot of things, with distorted tones and affordability way up high on that list. Inspired by the company's lauded green Russian Big Muff, but in a smaller package and voiced for bassists, the Nano Bass Big Muff houses the accustomed volume, tone, and sustain dials for sound sculpting. However, this Muff also has a mini toggle to switch over to a 50/50 wet/dry signal blend and assist in low-end retention and clarity. At just about 80 bucks, the price is certainly nice, but so is its dirt delivery, which leans more towards warm and fat as opposed to a treble-y or harsher timbre. The NBBM's range of thick fuzz tones are apt for stoner and doom to vintage rock and metal, and really pushing it will spit out copious amounts of tummy tickling fuzz with synth-y flavor, but the NBBM also hangs nicely as a foundational tool with just a kiss of dirty in dry mode. There are a lot of great fuzz pedals for bassists on the market, but pound for pound divided by price, the Nano Bass Big Muff is pretty close to Nobrainerville for me. —Rich Osweiler
The Good: Excellent low-end retention. Dry switch for wet/dry blend.
The Bad: Wet/dry blend limited to the toggle switch's preset 50/50 ratio.
$80 street, ehx.com
Electro-Harmonix Bass Big Muff Nano - Pedals Under $100
MXR CSP101SL Script Phase 90
Maybe it's just front of mind because of Edward Van Halen's recent passing, but when the idea for this story first came across my desk, I immediately flashed on "Eruption" and went to see what a Phase 90 was going for. Thankfully, this Custom Shop version squeaked right under our dollar parameters. The thick syrupy sounds of a well-crafted phaser have permeated not only some of EVH's most famous jams, but also the outlaw funk of Waylon Jennings and the reggae jams of Bob Marley. For the orange-box purists, the script logo versions are the way to go. Thankfully, this particular model has both an LED and an option for 9V power—both of which are missing in the original model. With only one knob to control the speed, the lack of tweakable options is freeing, in a way. Simply turn it until it sounds good. Many times I find myself using my foot to dial in just the right amount, thanks to the handy rubber ring that MXR throws in the box. This is easily one of trippiest pedals to stand the test of time. —JS
The Good: Dead simple to use. Sounds fantastic.
The Bad: I probably use it too much.
$99 street,jimdunlop.com
MXR CSP101SL Script Phase 90 - Pedals Under $100
Big Knob Tone Blender MkII 66
Once you've experienced the rush of hearing a vintage Tone Bender fire up—volume erupting through the roof, mohair-thick fuzz wrapping every note, super-creamy and responsive sustain that gives way to rancorous decay, and subtone artifacts that wobble behind held notes—coveting one is inevitable. Trouble is, a '60s or '70s Bender will set you back $500 to $800. Some clones aren't much cheaper, and most of them tend to sound darker than the originals or lack those artifact surprises. Not so the Tone Blender MkII 66. Big Knob "supreme commander" and one-man band Gary Kibler has been hand-building faithful reproductions of vintage circuits at his workbench for 12 years now, even cutting circuit boards from strip. The MkII is, like its namesake, a three-gain-stage circuit, using Soviet-era military NOS germanium transistors. Level, with unity at, um, barely on, provides a shocking amount of volume on tap, and the attack dial goes from colorful fuzz to hairy, howling banshee. There's no power supply option, in keeping with the originals. You'll want to use your guitar's volume and tone knobs to help command this insane fuzz, which fulfills Kibler's mission to provide classic tones for players on a budget. —TD
The Good: The gory glories of the original MkII Tone Blender at a shocking low price.
The Bad: Also like the originals, you'll need to invest a little time to learn to control this wild, snarling beast—unless you just drop the leash.
$80 street, bigknobpedals.com
Big Knob Tone Blender MkII 66 - Pedals Under $100
Premier Guitar''s Premier Gear Awards salute this year''s outstanding gear in 12 categories
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Rather than repeat ourselves in a nutshell here, we’ve gathered a select group of items from all that gear, to show you a few things we thought were really special, and broken it down into twelve categories. All the gear we’ve singled out here either exemplified a trend, represented new ideas, displayed first-rate attention to quality, was real bang for your buck, or possessed some other quality that’s harder to name. Whatever the name, you can be sure our reviewers thought it was something worthy of your attention. Of course, a lot of this gear could easily fit into more than one of these categories, but we tried to put things where we thought they would best highlight the reason why each reviewer was so impressed. Watch for “revisited” products, where our reviewers give you some extra input, now that they’ve let the gear’s effects soak in.
Without further ado, the 2008 Premier Gear Awards go to…
Reinhardt SV 18 Not all low-wattage amps are quiet, as evidenced by the gig-ready Reinhardt SV 18. Starting with the same basics as the Marshall 1974X that spawned the entire genre—three 12AX7s, two EL84s and a EZ81 rectifier tube—Bob Reinhardt created an amp that sounds great at pretty much any setting. This versatility made the amp great for a number of genres, but fans of old-school Marshalls should take special note. “Reinhardt Amplification has come out swinging, and in the process has placed the SV 18 near the top of a crowded field.” – March ’08
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Read the review... |
Goodsell SuperSeventeen Mark III The SuperSeventeen Mark III lent an EL84 chime and sparkle that shined the brightest somewhere between clean and dirty. If 17 watts is too high, it is switchable down to 5 watts, which opens up even more tones. Said reviewer James Egolf [August ‘08], “Although the Mark Three always sounds like a Mark Three, it hints at a bastard amalgam of an AC15 and a tweed Deluxe in 17-watt mode, and suggests an old Princeton in a 12” enclosure when producing 5 watts.” | |
Read the review... Watch the demo... |
REVISITED: | Read the review... Watch the demo... |
Retro King 18-Watt Combo -- Revisited “I actually purchased [the amp], which alone speaks volumes about it, as I already have a number of great amps in my stable. The decision to do so was based on one thing alone: the tone. I discovered that when using the amp with the master at various positions, the degree of output tube saturation could be so varied that I could use the amp for a much wider palette of tones than I had imagined. I have occasion to play a variety of types of gigs both live and in the studio, and the light weight and smaller size made it a great choice for both of these venues. With my Les Paul and the BSM Rory Gallagher booster pedal I am able to get an absolutely vicious harmonic-laden octave sustaining tone that I think any rocker would die for. With my Strats and Teles and using no pedals at all I could do all the modern snarly country and blues licks with great touch sensitivity and feel. It’s not the loudest amp on the block, but it speaks more convincingly than most others.” – Kenny Rardin |
Carr Mini Mercury Want low wattage? Try a variable output that gets as small as a tenth of a watt. The Mini Mercury’s downsizing to a 10” speaker (from the Mercury’s original 12”) gave it a completely new sound when coupled with the amp’s EL34s. The amp’s Boost circuit was the top draw, however, bringing a smile to the face of reviewer James Egolf, who said [March ‘08], “If you’ve ever uttered the words ‘British’ and ‘Top Boost’ in the same sentence, the Boost circuit alone is worth whatever price Steve [Carr] wants.” | |
Read the review... |
Mills Acoustics Afterburner Cab A cabinet winning an award? Hell yeah. A beastly cab, the Afterburner 4x12 weighs 116 pounds and is loaded with Celestion V30s. Attention to detail and thoughtful innovations like the ported, virtually voidless plywood baffle were impressive, but it was what came out of the cab that reviewer Brett Petrusek described as, “huge bottom-end, clear and articulate mids and highs and a larger-than-usual soundscape.” | |
Read the review... |
Industrial Amps Rock 120 Industrial Amps’ products live up to their name, with no-nonsense, heavy-duty casing. The amp really impressed, however, with gain to spare and an expressive, authentic tone. The Rock 120’s 120 watts poured out a sufficiently saturated tone without getting muddy, and really shined through a Strat, drawing comparisons to a Fender Deluxe through its Classic channel and to a Mark II/Soldano hybrid through its Heavy channel. “While the price may be equivalent to other boutique amp models out there, the Rock 120 defi nitely gives you a lot more, in terms of sound and power.” – February ‘08
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Read the review... Watch the demo... |
Reason SM50 Don’t let the Reason’s 50 watts fool you into thinking it doesn’t deserve this award. We gave a double take upon first listen, thinking it had to be a 100-watter. Wrong. The SM50 delivered a variety of tones, thanks to its three-way Normal/Stack/Bright switch that takes a Strat from JTM45 territory to near-plexi sounds to a modified JCM800. Simply put, this is a good-old-fashioned rock n’ roll amp that delivers both vintage and volume in equal parts. “If you like vintage tones, and would like to use them as a jumping off point to make some too-loud rock n’ roll, give the SM50 an audition.” – October ‘08
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Read the review... Watch the demo... |
Carvin X-100B The Carvin X-100B is a special recipient of the Loud as Hell award, because it allows you to go from an ear-splitting 100 watts down to 50 or 25 if your ears need to take a sonic break. The overdrive channel was the highlight, giving pure, musical overtones and fat distortion. Of course, the requisite gain was there; said reviewer Kenny Rardin [November ‘08], “[The Gain toggle] switch will produce any amount of over-the-top sustain and gain anyone would ever need.” Top it off with sexy white tolex, and we’re hooked. | |
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Fractal Audio Axe-Fx The Axe-Fx rackmount effects processor boasts 49 amp types, 23 cabs and 25 effect types (with multiple iterations of each) that can be combined and routed endlessly. The versatility was through the roof, with so many convincing tones from stellar reverb to vintage classics with added controls that you may just take this everywhere, from the recording studio to the road. “I can’t say enough good things about this box… a road-worthy all-in-one guitar preamp/effects processor,” said reviewer Steve Ouimette [September ’08, online]. Read the review... Watch the demo... |
Soldano 44 BCM Reviewer Mike Mueller said [August ’08, online], “I would rank this amp’s versatility somewhere between unbelievable and ridiculous.” The 1x12 combo BCM—which stands for Blues City Music, where the amp is exclusively sold—is as capable of producing crunchy classic rock as it is sharp death metal. Its 50 watts are louder than expected, and the reverb holds its own. Add customizable tolex, speakers and preamp configurations, and you have even more options for tonal bliss. | |
Read the review... |
Xotic BB+ Xotic’s BB+ is a little box packed with a lot of tone. It was two channels that can be stacked in either direction, with tone controls for each. The flavors it produces include all of the usual suspects—plexi, brown sound, tweed—but leave the door wide open for tone shaping of your own. The versatility is key for live situations, complementing whatever needs you have. Reviewer Chris Burgess said [August ’08, online], “While it might not be the last boost/overdrive pedal you ever buy, it will certainly be the last one you’ll ever think about selling.” | |
Read the review... |
Arteffect Zenith Overdrive An overdrive with a mess of available tones isn’t always a good thing, but the Zenith manages to make each one count. The list of tones available with some working of the pedal’s five knobs reads like a checklist of desired tones: clean boost, Marshall, Screamer, Southern rock, woman tone, metal, and more. To top it all off, the pedal blends into your existing rig and tone flawlessly. “The Zenith is an anomaly, offering an incredibly broad range of tones with nearly all of them kicking ass.” – June ’08.
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Jekeko Fixed Wah If you’ve ever found a good parked Wah tone, then you’ve probably also lost it. A stompbox-housed Wah pedal that loses the treadle for easily replicated parked tones is such a great idea that we were surprised it took this long. If you’re into the parked sound, there’s no reason not to try this pedal out; you may never look back. There is nothing tonally lost, and dialing in is a breeze. Said reviewer James Egolf, “If you’re in the mood for some parking, order one, learn ‘Cracked Actor’ and ‘Mother Mary,’ then just try to wipe the grin off your face.” | |
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Source Audio Soundblox Multiwave Distortion Source Audio’s new Distortion can’t be described by comparisons to classic tones, because nearly everything that comes out of it is brand new. After listening to a few dozen ODs this year, this was incredibly refreshing. The pedal handles complex chords with clarity, and the sounds are easily sculpted through your string attack. You’re going to play with this one for a while. On top of that, we have to mention the Hot Hand device, which Source Audio sells separately. The motion sensor combined with the already robust offerings of the Multiwave distortion opened up so many sounds that reviewer Gary Guzman noted [August ’08, online], “There were so many different sounds pouring out of this unit that other players will think you’re using multiple effects…” Um, yes please. | |
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Ribbecke Halfling Pin Bridge Acoustic It’s not often that an innovation actually becomes an entirely new instrument. With an archtop in the front and a flattop in the back, the Halfling somehow takes the best of both worlds and combines them into one guitar. You get the smoothness and warmth of an archtop with the liveliness and brilliance of a flattop. Ribbecke made more innovative changes with the Pin Bridge, which takes the Halfling concept and applies it to an acoustic platform. Like many innovations, the Halfling Pin Bridge takes a bold hand to jump in and get the most out of it, but the result is completely worth it. “If you’re a serious and confi dent player who’s not afraid to live a little bit large, this guitar will rock your world. This isn’t the only guitar you’ll ever need, but it’s one hell of a ride.” – October ‘08
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The Tone God TubeUlent The TubeUlent doesn’t hide its innovation behind a standard packaging. If we saw this thing onstage with someone, you bet we’d be asking about it after the show. Of course little amps aren’t new, there are a number of bit-sized combos around the office. But a tiny tube amp that sounds this good, we haven’t encountered before. Both single coils and humbuckers love this little amp, and it can be used well as an amp, a preamp, a distortion effect, making it a good contender for the Versatility award, if it didn’t blow us away with its originality. “The TubeUlent is a great sounding amp that will open you up to new possibilities with your sound and your rig.” – August ’08, online
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Peavey Revalver MKIII Amp modeling software hasn’t quite been like this before. Besides coming stocked with models for Peavey, Marshall, Vox, Fender, Mesa Boogie, Matchless and others, the program conjures up some original amps as presets. From there, you can swap tubes, mix and match sections of completely different amps, change resistor values and build whatever setup you desire, even if it’s impossible in the real world. Cabinets are equally tweakable, and in the end you come away with knowledge you can apply to your real amps and cabs. Add in convincing responsiveness, and you’re in a whole new category of software. Reviewer Roger Adler said [September ‘08], “With this much great tone at your fingertips, the choice should be easy.” Tweak away. | |
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Reverend Ron Asheton Signature – Revisited “Since reviewing the Ron Asheton Signature guitar [$599 Street] from Reverend, I’ve had the opportunity to play a number of other guitars, each espousing its rock credentials in one form or another. But I have yet to find another instrument outside of Gibson’s stripped-raw and beautifully bare Les Paul BFG that so effectively captures the essence of rock n’ roll. From the triple stack of P-90s to the can’t-miss-it orange V design, the Ron Asheton proves that design isn’t dead in the guitar world. It’s truly a bold, beautiful thing.” – Adam Moore Read the review... |
Fishman Matrix Infinity Undersaddle Pickup The Fishman Matrix Infinity [$139.99 Street] took Fishman’s best-selling Matrix acoustic pickups and added a preamp module. The undersaddle pickup was an easy install, with no soldering required, and did its job with great clarity. Said reviewer Gayla Drake Paul [July ‘08], “The clarity was remarkable; I had no problems hearing every note over the background noise and nothing got buried or dropped out at any point along the spectrum.” | |
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C.B. Evans Spitfire The C.B. Evans Spitfire [$1499 direct] has all the makings of a great boutique head—a vintage flavor with a twist, impeccable build quality— but with a price tag that seems mismatched. The Modified Mode, coupled with the amp’s two gain knobs, allowed gain to be dialed up or down for everything from a slightly overdriven tone to a full-on heavy metal high gain tone. Reviewer Gary Guzman called the Spitfire, “An instantly hot-rodded amp without the big price tag.” | |
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St. Blues Mississippi Bluesmaster The Mississippi Bluesmaster [$700-$800 Street] gets down to the business of thick and meaty blues with two customwound Zebra humbuckers. This is a nononsense guitar that you won’t worry about spilling beer on, and will be comfortable to play multiple sets with. No B.S. doesn’t mean simple sounds, however. Reviewer Jeff Carey said, “You’ll find this is a very responsive guitar, and there are a wide range of sounds available, even within the Bluesmaster’s simple electronics setup.” Read the review... |
Hahn Model 228 Chihoe Hahn’s Model 228 brings the Tele to a whole new, hand-built level. Every component is spec’ed to the highest degree; every detail—from the partially cut bridge a la Danny Gatton to the stainless-steel .10” thick neck plate—helped vault this guitar to Tele perfection. The 228 falls squarely in vintage territory, with Lollar pickups, classic tuners, old-school knobs and a thin nitro finish. This award goes directly to Hahn, who screws every screw and solders every point himself. “This is one of the best Teles I’ve ever played.” – John Bohlinger, October ’08, online
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DeTemple Guitars Spirit Series Michael DeTemple has built a Strat exactly the way he wants it with the Spirit Series. It features DeTempledesigned pickups, trem, and truss rod, and is built by Michael himself. Luckily, the Strat Michael wants is pretty damn amazing. Reviewer Adam Hunt called the guitar [November ‘08], “quite possibly the best Stratstyle guitar built today.” The guitar improves upon the Strat model with increased sustain, a bit more beef from the pickups, and clarity with distortion. If you’ve got the cash, we’d venture to say it’s worth the wait. | |
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Collings 290 Slab body, P-90s and TV Yellow nitro finish make the Collings 290’s vintage LP Junior channeling obvious. However, physical differences—a wider bottom, curved upper bout—make for slight visual separation. The sound, however was a refined version of the expected rough rock snarl. Lollar P-90s give the guitar a great clean sound, but open up with a little dirt. Reviewer James Egolf recommended the guitar for Junior aficionados, saying [June ‘08], “The 290 is truly a magical instrument.” Read the review... |
Two-Rock Classic Type Two Unlike the others in this category, the Classic Type Two isn’t a direct emulation of anything. But how can you emulate a Dumble? The amp has drawn comparisons, and is faintly familiar to those tones, but forges its own path. In that respect, it wins this award for the comparisons put on it by others, rather than by the company itself. The Classic Type 2 is rich and detailed, imparted sustain on a Strat and calmed noisy guitars expertly. It is touch-sensitive and brought out the best in everything hooked into it—cabinet, guitars and effects. “[The Classic Type Two’s] rich, fat, detailed, nuanced tone should appeal to players who demand an amp that responds instantly to their input.” – October ‘08
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Carol Ann OD2r -- Revisited The OD2r is a boutique amp that was slimmed down and tailored toward recording. The amp is versatile, with a switch for either 6V6 or 6L6s and two distinct channels. Both of the amp’s two channels were mind-blowers, with Channel A delivering perfect Strat tone, and Channel B delivering a completely new and different sound. Reviewer Steve Ouimette says, “I liked it so much that I’ve ordered one to be part of my arsenal of amps. After I had it for that brief period of time I just felt like there was no other amp that could achieve its tone, so I called up Alan and he’s going to build me one. Clearly, the cat is out of the bag.” | |
Ibanez Tube King TK999HT An update of the nineties Tube King, the new version features a 12AX7 that delivers genuine tube-like distortion. The pedal is easy to get great sounds out of, and is a great choice when a tube amp isn’t an option. Said reviewer Gary Guzman [August ’08, online], “It can make any guitar setup with average pickups and amp sound amazing.” With a street price of $149.99, the Tube King nearly won the Nice Price award as well. | |
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Hamer Talladega Pro We got our hands on the Talladega Pro a mere half-year after the Talladega. The Talladega Pro was spot on; it brought together a wraparound bridge and humbuckers, dropped the controls in a classic LP configuration, and classed it up with ivoroid binding on the mahogany neck. The Pro really separated itself from its predecessor by offering a thick, Gibson-like tone with a Fender scale and feel. Read the review... “If you’re a Fender aficionado and switching between different scale lengths gives you the willies, the Talladega Pro could handle your humbucker-flavored chores with aplomb.” – July ‘08
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Jaguar Twin The Jaguar Twin took us by surprise. The 2x12 combo, which can be switched between 45 and 30 watts, somehow channels every amp on the short-list of vintage holy grails, nailing Bassman, JTM-45, AC-30 and beyond. Add high-quality components and spectacular build quality, and we couldn’t ask for more. “We’ve been really fortunate around here to have had the opportunity to play through some truly incredible amps… the Jaguar Twin is on the same level as the best of them.” – June ‘08
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Nik Huber Junior & Special Nik Huber’s Junior & Special harken back to the “golden age” with fat, Gibson-esque neck profiles and kickin’ P-90s. Despite figured mahogany and Brazilian rosewood fingerboards, there’s a stripped-down feel that reminds us why we loved those vintage LPs in the first place. Reviewer James Egolf sums it up [October ‘08], “Even though the Junior and the Special are intended as stripped-down rock n’ roll machines, their high-end pedigree is always evident.” | |
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Campbell American Guitars Transitone The Transitone’s vintage vibe was more than skin deep. Besides the guitar’s retro-cool shape, it broke away from the vintage pack with an uncannily broken-in feel from day one. Fitted with Jason Lollar “Jazzmaster” pups, the guitar handled Tele twang, blues and funk remarkably. Reviewer Michael Ross said [August ’08, online], “The Campbell American Transitone is one of the few currently made guitars that offer the vintage experience at well below vintage prices.” Read the review... |
Gretsch G6118T “Double Annie” Gretsch celebrated their 125th anniversary this year, and celebrated with the release of several guitars that are reminiscent of the roots of rock n’ roll. The Double Annie is one of those guitars, conjuring images of Gretsches from the fifties and sixties. The company managed to take a step forward while paying close tribute to vintage instruments by incorporating new bracing and TV Jones pickups. But even the TV Jones PowerTrons added to the vintage feel and sound, evoking the old FilterTrons. In the end, this guitar was as Gretsch as it gets. Said reviewer Chris Burgess [September ’08, online], “If you’re looking to Gretsch-ify your sound, and you want a perfect match-up for your vintage amp, the Double Annie would be a great way to go. Read the review... |
To the gear that just got to us: above and beyond how good you are, you have that certain… something else. Please call. And please accept our Premier Gear Aura Award.
Duesenberg Mike Campbell Signature We didn’t necessarily want to fall all over ourselves for a signature guitar… it’s like falling for someone else’s girl. But the sparkly, racing-striped semi-hollowbody won us over with a reliable guitar that shined with every configuration we threw at it. Rhythm, rock, country, blues, jazz were no problem, and reviewer Chris Burgess was forced to buy it, after he realized his playing would never be the same. Read the review... “I’ve always liked the idea of a guitar that did everything equally well, but had assumed that was a pipe dream. The Duesenberg handled everything fearlessly.” – February ‘08
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Tubewonder Harmonic Control Amplifier The Tubewonder blew our mind with the ease at which it encouraged creation of new tones—our own tones. Reviewer James Egolf explained, “The Tubewonder is basically a blank canvas that provides the tonal flexibility to give the player what they want—not what Leo Fender envisioned, or Jim Marshall or Dick Denney, but what you want—delivered at all times with impeccable tone.” Reverb, an array of exotic tubes, and a sound that blocked out the rest of the world solidified the Tubewonder’s place in the Aura category. | |
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BOSS SL-20 Slicer -- Revisited “It’s only been a month since I reviewed BOSS’s SL-20 Slicer, but I’ve already been battling the withdrawal symptoms for a few weeks. I find myself dreaming in spacious stereo rhythms; I see the Slicer’s Christmas tree lights everywhere I look; I’m tapping out tempos while I wait in line at the bank. Yes, yes, it’s not for everybody, but it’s definitely for somebody, and they’ll likely get the addiction, too. You’ve been warned.” |
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McPherson MG3.5 -- Revisited “Simply put, McPherson’s 3.5 has absolutely ruined me. Every acoustic I play is now subconsciously measured against the 3.5’s big-but-articulate sound and rock solid build, and of course nothing can stand up to it. It’s like being dumped by a supermodel, and being forced to return to the speed dating pool at the local Marriott. There’s little wonder McPherson’s artist list includes some of the biggest names in music. The 3.5 has set an absurdly high standard in my life. Thanks for nothing.” – Adam Moore Read the review... |
Catalinbread Serrano Picoso The Serrano Picoso doesn’t try go too far in coloring your tone, but instead imparts a clean, transparent boost rarely seen in nature. Said reviewer James Egolf [March ’08, online], “The Serrano Picoso sounds like the mythical “More” pedal guitarists have been clamoring for, adding enough boost to be noticed, all while staying off of your rig’s inherent tonal fingerprint.” With an equally tiny footprint and price, this one’s a no-brainer. Read the review... |
Huss & Dalton 00-SP Custom The small-bodied 00-SP is remarkable in that it does just what it’s supposed to do extremely well, with no surprises—good or bad—up its sleeve. It’s incredibly beautiful, with flamed Australian blackwood back and sides and great appointments. The guitar has a 12-fret scale, but manages to retain low-end focus and cohesive sounds throughout the neck. There’s no breaking in this guitar, you’ll love it from the word go. Read the review... “If you dig quality gear and are auditioning small-bodied acoustics for fingerstyle chores, do yourself a huge favor and check out a 00-SP.” – July ’08
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L.R. Baggs Core 1 Acoustic Amp – Revisited “After I reviewed the Core 1, I was so impressed that I sold my PA system and bought one. I’ve used it in many different situations over the past few months, and it’s never let me down. The control that’s available over each channel ensures that I get exactly the tone I’m looking for whether I plug in two guitars or a guitar and vocal mic. I’ve never needed more than the 200 available watts in a stand-alone situation, and the sound somehow doesn’t compete with room noise in a restaurant or bar—it cuts through it, so the sound is clearly audible even through background noise. Its lightweight, compact size and durability make it the ideal companion for the road. I’ve used it as a gig-saving stage monitor at outdoor festivals, and used it as a direct box as well, allowing me to have the best of both worlds—ultimate guitar-friendly control over my sound, and 2000 watts of power through a massive PA system. I can’t find one single thing to complain about after almost a year with it.” – Gayla Drake Paul “The Core 1 mixes innovation, perfect sound and high style with affordability and value.” – January ‘08
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Read the Delay review... Read the Reverb review... | T.C. Electronic Nova Series T.C. Electronic’s Nova Series represented a shift back to their roots, yet the floor pedals were different enough from their usual rack-mounted effects that they earned the Branching Out award. We reviewed the Reverb and Delay, both receiving stellar marks for their versatility, musicality and authenticity. Said reviewer James Egolf about the Delay [April ‘08], “…for a meat and potatoes, throw-it-in-your-gigbag delay, the TC is unbeatable.” |
Taylor Solid Body The most obvious choice for this award was Taylor’s high-profile foray into the electric solidbody realm. Taylor pulled out the stops for the release, taking the guitars on an extensive road trip around the country, and keeping their visibility high. Luckily, the guitars delivered. With specially designed ¾-sized pickups (in the Custom and Classic models), stunning tonewoods, comfortable weight and feel, redesigned hardware and a tone that brought out the best in our reviewer’s amplifiers, Taylor put 100 percent into these releases, and it showed. Read the review... Watch the demo... “They are premium solidbody electric guitars from a company who has redefined the acoustic world, and I have no problem getting behind that.” – August ‘08
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Brown’s Guitar Factory BGF Guitar The first guitar from a bass maker could’ve won the Branching Out award, but the exquisite shimmer of the koa top and headstock faceplate placed the guitar solidly in the artisan category. The BGF features a shape that will stand out on stage, and a pickup configuration that allows for endless tones from humbucker to single coil to piezo and onboard ghost preamp and any endless combinations of those. Reviewer Brett Petrusek said [April ‘08], “Brown’s BGF Chambered Guitar provides a great range of tones to pull the player through the most demanding of musical situations, and the craftsmanship is top-notch.” Read the review... |
Xits Piper X30 Often, spicing up an amp consists of a new color of tolex. This is not the case with Xits. The Piper X30 combines stunning woven vinyl and exotic hardwoods for a beauty of an amp. The artistry extends to less visible places—ebony on the backplate, finished wood inside—and to the crafting of the amp’s AC30-inspired tone. Thick, loud and articulate, both channels are stunners. “…a handmade amp of unsurpassed quality, exceptional good looks, and astounding tone.” – October ’08, online
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Zemaitis Tribal Tattoo Guitar We could stare at Zemaitis’ intricate engraving for hours, and everything about the guitar—from the looks to the sound to the price—makes a statement. With a metal top engraved by Zemaitis’ long-time engraver Danny O’Brien, the single-cut Tribal Tattoo excels in its clean tones. As reviewer Adam Hunt put it [September ‘08], “In terms of playability, tone and ergonomics, the Tribal Tattoo is a top-tier guitar that anyone would be proud to add to their collection.” Read the review... |
Remember to check out our full list of top rated gear from 2008, only on premierguitar.com. |