Like all Crimsontone amps, the Moro is entirely handwired. It boasts Mercury Magnetics power and output transformers, and a mix of Sprague and Mallory capacitors. The rear panel includes a speaker out (switchable between 8 and 16 ?) and a jack for the provided footswitch. Succulent red Tolex pays tribute to the amp’s namesake, a type of blood orange. The tubes and transformers are visible through the Moro’s Plexiglas front panel.
The Moro’s EQ controls are rather unconventional: The main tone shaper is mid-sweep, a control that cuts low-mids when turned counterclockwise, and high-mids in the reverse direction. This 400–750 Hz cut is more noticeable when the adjacent EQ curve switch is in the down position, providing both a mid cut and a bass boost. There’s also a hi-cut control, a post-master attenuator that can be pulled for a more aggressive top-end shave.
Big Red
I propped the Moro atop a trusted 4x12 cabinet with Celestion Vintage 30s and plugged in a Les Paul. I set the EQ curve flat and the drive to clean.
Ratings
Pros:
Footswitchable boost. Gritty gain with ample volume.
Cons:
Difficult to get clean humbucker tones at high volumes.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$1,359
Crimsontone Moro
crimsontone.com
Now, I have it on good authority that a band whose name rhymes with “TT Bop” actually doesn’t use the giant stacks adorning their stage, opting instead to mic a solitary low-wattage amp positioned offstage. Whether this is true or not, I’ll be darned if the Moro doesn’t immediately capture that spirit. The honking ’bucker output yielded an authentic vintage drawl, great for classic rock.
The clean output is impressive, considering the low wattage. Maxing out the master and pushing up the gain provides a fairly crunch-free output, although humbuckers don’t sound spotlessly clean at louder volumes. I really enjoyed these lower-gain settings—flipping the EQ curve to bass boost accentuated the country-tinged moans of Mick Taylor’s “Honky Tonk Women” licks. Switching to a Strat with single-coils, I appreciated how well the mid-sweep and hi-cut controls tamed treble frequencies.
Flipping up the drive switch (or selecting the mode via footswitch) releases a fireball of gain. The Moro’s sheer volume floored me—it easily carries over the clamor of a full band. The amp feels more powerful and brilliant than many higher-wattage amps. (Though higher wattage does have some advantages: While fuzz pedals sound great through the Crimsontone, you can’t beat the tonal bonuses a fuzz gleans from 100-watt headroom.)
The Verdict
The Moro is a great example of why amp size often doesn’t matter: If you assemble quality parts, heavy tone can be yours at low wattages. The Moro sounds great with any pickup configuration and with many types of pedals. It’s a perfect companion for the studio and for stages of any size.
Specs for the SE Meany and Scarlet Mini:
- Single channel Gain control with a panel-switched Gain Boost
- 4 watts of Class A output through Mercury Magnetics transformers
- 2 x 12AX7 preamp tubes and 1 x EL84 (SE Meany) or 6V6 (Scarlet Mini) output tube
- Ultra compact footprint, just under 7 lbs. and less than 8” wide
- Single High-Mid Cut Tone control with frequency Shift switch (SE Meany)
- Mid-Sweep control with Flat and Mid-Cut EQ “Curve” settings (Scarlet Mini)
- Switchable 8 or 16Ω speaker output jack
Specs for the Moro:
- Single Gain control with a panel or foot-switched Gain Boost and Master Volume
- 15 watts of Class AB output through Mercury Magnetics transformers
- 3 x 12AX7 preamp tubes and 2 x EL84 output tubes
- Compact footprint, just under 12 lbs. and less than 12” wide
- Mid-Sweep control with two EQ “Curve” settings; Flat and Mid-Cut/Bass Boost
- Pull-Shiftable “Hi-Cut” control with two selectable cut-off frequencies
- Switchable 8 or 16Ω speaker output jack
All amps are custom built in Mesa, Arizona by hand and can be built to spec or as-is. Street price for these models are $829 for the SE Meany or Scarlet Mini and $1,359 for the Moro.
For more information:
Crimsontone