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]
One watt sounds monstrous in this '50s-meets-modern mighty mite.
Solid class A tone at an affordable price. Responsive and fun to crank. Simple design. Line level signal from the line-out jack adds useful functionality.
Probably too quiet for a gig-able clean tone.
$449
Supro Delta King 8
suprousa.com
Since its 2014 revival, Supro has given fans of small, low-wattage combos plenty to talk about. This should come as no surprise. Tiny but ferocious amplifiers with the Supro logo have been on the scene since the early days of the electric guitar and landed on some of the most classic guitar records of all time. And the company's recent offerings have captured the sonic essence of those vintage models with a line of well-built, modern amps that look just as cool as they sound.
Thus far, the current Supro team have drawn inspiration primarily from their 1960s models. But the new Delta King series digs in a little deeper, delivering the sound and aesthetics of their 1950s combos—stripes and all. The Delta King 8 is the tiniest of the bunch, offering just 1 watt of all-tube class A power via a single 12AX7 preamp tube and a single 12AU7 power tube. While it may be small, this amp lives up to the sonic legacy of its vintage predecessors and projects a surprisingly fearsome roar.
- Clip 1: Controls at noon, miked.
- Clip 2: Controls at noon, direct line out signal.
- Clip 3: Full volume, tone control at noon, full master volume, miked.
- Clip 4: Full volume, tone control at noon, full master volume, direct line out signal.
- Clip 5: Full volume, tone control at noon, master volume muted, line out plugged into a 1971 Fender Deluxe Reverb, miked.
Robust, Balanced, and Nasty
Playing the Delta King 8 is immediately satisfying. Using Telecaster- and Jazzmaster–style guitars, I set all three knobs—volume, tone, and master—to noon and got a clean, smooth, midrange-focused tone. This is, however, just about all of the clean volume that this amp has to offer. Turning the volume knob above noon gently eases the combo into an overdriven sound that, at full volume, is gnarly and cutting but retains warmth and clarity. The boost switch bumps the volume and adds a little more gain. Naturally, I had the most fun with everything cranked and the boost on. But while it's impressively loud for 1 watt, the Delta King 8 will be most useful for recording, practicing, or for extremely quiet gigs.
Turning the volume knob above noon gently eases the amp into an overdriven tone that, at full volume, is gnarly and cutting but retains warmth and clarity.
The 8" Supro DK8 speaker sounds robust and balanced, and easily handled the overdriven tones without sounding trashy. I've probably spent too much of my life wondering about speaker swaps for other small combos, but I'd be quite satisfied with this stock speaker.
A Cure for the Backline Blues
The line-out jack on the back of the Delta King 8 provides a line-level signal that is perfect for direct recording. This feature was thoughtfully positioned before the master volume control (an unusual feature on an amp this small), which means you can get warm tube preamp tone straight into your audio interface and opt to have the speaker muted when you turn the master volume down to zero.
That isn't the only trick up the Delta King 8's sleeve. To unlock its hidden superpower, go ahead and plug the same line-out straight into another amp. In this setup, the Delta King 8 essentially becomes a tube-driven overdrive unit. Chronic sufferers of the backline blues will celebrate the fact that this little Supro can lend its low-watt, class A tone to bigger, flatter-sounding stage amps. I was blown away by the snarling sounds it generated with my Deluxe Reverb at very reasonable volumes. And by keeping the master volume up on the Supro, you can also create cool A/B blends if you mic up both amps. If you're used to playing house gear but can figure out a way to schlep an extra 15 pounds, this tiny amp could be a game-changing addition to your gigging rig.
The Verdict
The Delta King 8 delivers much of the vintage Supro experience in a hip, well-built package. It's fun, sounds good in clean settings, and great in more overdriven ones. At $449, it's a great deal for those reasons alone. But the convenience and versatility that comes with the addition of the pre-master line out opens up possibilities in the studio and offers solutions to backline woes that make the price even more appealing.