Vox Expands MV Amp Line, Introduces the Starstream Type-1 Plus and Giulietta Series
The Giulietta series uses the AREOS-D system along with the guitar’s magnetic pickup to create electric guitar models and synth sounds.
Melville, NY (January 18, 2018) -- VOX Amplification has created a new guitar series, designed for the player craving classic styling, modern playability and state of the art modeled sounds. The Giulietta VGA-3PS and VGA-3D electric archtop guitars are the newest addition to VOX’s growing line of modernized electric guitars.
The new Giulietta series is an evolution of the classic, full-hollow archtop acoustic electric guitar. It features VOX’s AREOS-D Digital Modeling System, a sophisticated system that incorporates several elements to achieve its incredible sound quality.It includes a wide range of electric, acoustic and synth models, delivering a powerful new tool for live performances and recording sessions. VOX’s AREOS-D system also uses the guitar’s magnetic pickup to create the electric guitar models and synth sounds for greater realism and accuracy.
The Giulietta VGA-3PS features a compact body size, making for a more comfortable playing experience, while also reducing feedback and improving the overall tone of the guitar. The real secret of the Giulietta, however, is the innovative patent-pending VOX Hybrid Bridge System. This new system includes aluminum and wood materials that providestrength and tuning stability with more sustain, especially with the built in piezo pickup system.
“First we changed the modern guitar market with the Starstream. Now we are excited to announce the new Giuliettas, an innovative approach to helpingguitarists find new sounds and techniques in their playing,” says Brian Piccolo, Director of Guitar Brands at Korg USA. “Perfect for a variety of musicians,especiallyjazz and fusion guitarists, these light and practical guitars are a perfect addition to the VOX family,” explains Piccolo.
The new Giulietta Electric Archtop Guitar line marries a smaller, more comfortable single cutaway body with a smooth modern-shape neck for effortless performance, producing endless creativity thanks to its advanced modeling technology.
Pricing and availability for the Giulietta line is TBD.
VOX Amplification has announced the MV50 High Gain and MV50 Boutique, two additionstothe revolutionary ampseries.Like the Clean, AC and Rock versions, the High Gain and Boutique amps offeran impressive 50 watts of power and feature Korg’s acclaimed Nutube technology, all while weighing in at justover a pound.
The MV50 High Gain mimics the sound of increasing the input gain which is what provides that iconic distortion tone that high-gain fans crave. This new model contains a mid-switch control, providing a versatile expressive range that extends from an edgy sound, ideal for riffing, to a low rich sound that’s suitable for lead. Comparatively, the MV50 Boutique provides a clean and harmonic richness, as well as blooming sound distinctive to a traditional vacuum tube amp.
“The outpouring of compliments and positive feedback about the MV50 series this year has been incredible,” says Corey Witt, Product Marketing Manager at Korg USA. “Watching an artist or reviewer unpack one of these for the first time and comment on the size, only to be blown away byits power says everything you need to know about this product,” Witt concludes.
The MV50 High Gain and MV50 Boutique amps will make their debut at WNAMM 2018 atthe Korg USA booth, Hall B #8802. They will be available February2018for $199.99 each.
A 150W two-channel guitar amp head and combo series has just been launched by historic amp brand, VOX Amplification. The MVX150 head and cabinet are the newest additions to the growing amp lineoffering extreme power and innovative technology.
The MVX150 is the first amplifier equipped with Korg’s acclaimed Nutube technology in both the preamp and power amp. Coined as “NuPower,” it uses Nutube in a push-pull configuration, borrowing circuit design techniques from some of history’s best vacuum tube amps, resulting in both a pure cleantone, as well as a modern high-gain sound, with a powerful low end.
These carefully constructed amps contain two channels withtwo modes for each channel, resulting in a diverse range of sounds. The passive tone circuit, with the addition of bright and fat switches, produceswarm, tonal quality,reminiscent of a supreme boutique amp.
“This new ampline is perfect for guitarists who want a premium and innovative vacuum tube amplifierthat prefer a real analog sound,” says Director of Guitar Brands at Korg USA, Brian Piccolo. “They’re light-weight, easily transportable and sound incredible. VOX has yet again managed to design a new series that preserves their iconicimage, yet also moves forward in a modern direction,” Piccolo concludes.
The MVX150 series will be available February 2018 for $849.99 and $999, respectively.
Last year, VOX introduced a fresh, new approach to the modern electric guitar world with the release of the Starstream Type-1, a futuristic and versatile electric guitar. Today, VOX has expanded on the cutting-edge line with the release of the Starstream Type-1 Plus, an updated version equipped with enticing new features, including upgradedmodeling sounds powered by VOX’s updated AREOS-D system.
The new Type-1 Plus also introduces a new passive mode, allowing for the ability to performusing traditional electric guitar soundswithout the need for battery power. Additionally, the on-board sounds have been enhanced, producing richer and fuller guitar tones.
“VOX has been pushing boundaries in the guitar and amplifier market for decades, beginning with the famous GuitarOrgan in 1966,” says Product Manager for Guitar Brands, John Stippell. “The Starstream Type-1 with its unique design and impressive array of sounds and functionality represents the next phase of electric guitar innovation from VOX,” Stippell says.
The Type-1 Plus line also includes a Mahogany model which features a genuine Mahogany body for deep, resonant tones and smooth sustain.
Pricing and availability for the Starstream Type-1 Plus and Type-1 Plus Mahogany is TBD.
For more information:
Vox Amps
We are excited to share that Mod® Electronics is launching a new line of Vintage Amplifier DIY kits,beginning with five models.
These vintage amplifier kits offer enthusiasts the opportunity to construct vacuum-tube-driven circuits from scratch resulting in their own hand-built equipment. Each kit includes all necessary components to build an amp including the chassis and components, as well as comprehensive, colorful, easy-to-follow instructions. These kits are available standalone, or can be paired with a matching cabinet and/or speaker.
These kits are available in the following circuits and cabinets:
- 5F1 - 5 Watt, Tweed Champ style - Amp kit only - $385.95, Amp kit + Speaker + Cabinet (complete build) - $720.90
- 5E3 - 12 Watt, Tweed Deluxe style - Amp kit only - $565.95, Amp kit + Speaker + Cabinet(complete build) - $968.51
- AA764 - 5 Watt, Blackface Era Vibrato style - Amp kit only - $535.95, Amp kit + Speaker + Cabinet(complete build) - $964.82
- AA1164 - 12 Watt, Blackface Era Reverb style - Amp kit only - $695.95, Amp kit + Speaker +Cabinet (complete build) - $1093.49
- AB763 - 22 Watt Blackface Era Reverb style - Amp kit only - $855.95, Amp kit + Speaker + Cabinet(complete build) - $1354.49
Mod® Kits cater to musicians of all skill levels, providing an accessible way to build custom amps and effects pedals. To help you choose the right project for you, each kit has a build difficulty rating.The kits come with user-friendly instructions and utilize point-to-point wiring. Each kit includes a pre-drilled enclosure and all necessary parts; you'll just need to supply basic hand tools, a soldering iron, and solder.
Available now at Amplifedparts.com.
J Mascis is well known for his legendary feats of volume.
J Mascis is well known for his legendary feats of volume. Just check out a photo of his rig to see an intimidating wall of amps pointed directly at the Dinosaur Jr. leader’s head. And though his loudness permeates all that he does and has helped cement his reputation, there’s a lot more to his playing.
On this episode of 100 Guitarists, we’re looking at each phase of the trio’s long career. How many pedals does J use to get his sound? What’s his best documented use of a flanger? How does his version of “Maggot Brain” (recorded with bassist Mike Watt) compare to Eddie Hazel’s? And were you as surprised as we were when Fender released a J Mascis signature Tele?
Columnist Janek Gwizdala with heroes Dennis Chambers (left) and Mike Stern (right).
Keeping your gigging commitments can be tough, especially when faced with a call from a hero. But it’s always the right choice.
Saying “yes!” to everything early on has put me in a place now where I can say no to almost everything and still be okay. That wasn’t without its challenges. I’d like to share a story about a “yes” that would haunt me for years.
As bass players, we can, if we choose, quite easily find ourselves in a wide variety of situations without having to change much about our sound or our playing. If your time is good and you’re able to help those around you feel good and sound better, the telephone will pretty much always ring.
Playing jazz as an electric-bass player living in New York City from 2000 to 2010 was somewhat of a fool’s errand in terms of getting work. No one wanted electric bass, and bandleaders would go to the bottom of a list of 100 upright players before they would even think about calling you. Not only that, but I wasn’t even at the top of the electric list when I first moved there. Not even close. Anthony Jackson, Richard Bona, Will Lee, Tim Lefebvre, James Genus, Lincoln Goines, Mike Pope, John Benitez, Matthew Garrison—that’s a who’s who of the instrument when I first moved to town, and I was very much a freshman with almost no experience. Almost…
I’d been lucky enough to play extensively with Kenwood Dennard (Jaco’s drummer), and a little with Hiram Bullock (Jaco’s guitarist) before moving to NYC which helped create a little momentum, but only a VERY little.
This is where the story begins:
I’d sent Mike Stern a demo back in late ’97. He’d not only taken the time to listen to it but had called my parents’ house right after I moved to the U.S. to tell me he loved it and wanted to hang. I missed the call but eventually met him at a clinic he gave at Berklee.
Of course, I was buzzing about all of this. It helped me stay laser-focused on practice and on moving to NYC as soon as possible. I got the typical “look me up when you get to town” invitation from Stern and basically counted the seconds through the three semesters I stayed at Berklee until I could split town.
I arrived with a ton of confidence but zero gigs. And nothing happened overnight. It really took saying yes to literally everything I was offered just to keep a roof over my head. Through that process, I felt like I was getting further away from playing with my jazz heroes.
The early gigs were far from glamorous—long hours, terrible pay, and sometimes, after travel expenses, they cost me money to play.
“Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do.”
When Stern finally called, a few years into living in NYC, things started to move pretty quickly. I began playing a lot of gigs at the 55 Bar with him, and short road trips became a thing—a four-night stint at Arturo Sandoval’s new club in Miami, gigs in Chicago, Cleveland, and upstate New York, and then some international work, including a tour of Mexico and a trip to Brazil, if I remember right.
But the hardest phone call of my career came from Mike not long into my time touring with him. It went something like this:
“Hey man, what’s your scene in April? Lincoln can’t make a trip to the West Coast. It’s just one gig. Trio… with DENNIS CHAMBERS.”
Mike didn’t shout Dennis’ name, but that’s how I heard it. My all-time hero. Someone I’d been dreaming about playing with for over 15 years. And here’s the kicker: I had to say no.
I’d just committed to six weeks with Jojo Mayer’s band Nerve in Asia and Europe, and there was no way I could bail on him. And there was no way I could afford to ditch six weeks of work for a single gig with Mike. To say that haunted me for years is an understatement. I was destroyed that I had to turn it down.
The tour with Jojo was amazing—the posters hang in my studio as a reminder of those times to this day. And thankfully, I was able to go on some years later and play dozens of shows with Mike and Dennis all over the world—truly some of the highlights of my career.
I still think about that phone call, though. Whenever I have a single moment of doubt, I think about the time I had to say no to my heroes—the reasons I moved to America, the reason I do what I do. I get emotional writing and thinking about it even now. But I've learned to never have regrets and understand you just have to believe in the process and maintain the willpower to continue—no matter what.
Grez Guitars has introduced the Grez GrandTour Bass, a short scale semi-hollow carve-top instrument available in 4-string format.
The Grez Grand Tour Bass, designed in collaboration with bass powerhouse Ian MartinAllison is, like all Grez instruments, a modern sleek interpretation of the classic instruments from the 50’s and 60’s.
The instruments feature a carved Spruce top, Honduran Mahogany body and neck. The 30" scale construction includes a Macassar ebony fretboard, 12” radius with 21 jumbofrets. Each bass comes equipped with a Halon bridge, Grez string anchor and LaBellaDeep Talkin’ long scale 45-105 flatwound strings. Electronics include Curtis Novak Bisonic/Darkstar pickups with coil tap.
The Grand Tour bass features a nitro finish and is available in a variety of colors(pictured here in custom Toasted Marshmallow).
Grez Grand Tour Bass with Ian Martin Allison
Barry Grzebik explains: “I love process of design instruments, marrying acoustical,electrical, visual and ergonomic engineering with industrial and artistic design. In this case creating something that artfully balances the desire for a robust acoustic voice with the need to hold up to professional touring and stadium stage volumes. One small notable detail is that although this is a short scale instrument, because of the after-length of string past the bridge, it uses standard long scale strings which dramatically increases sting options and availability.”
Ian Marin Allison shares, “I’m inspired by the unique character of vintage hollow andsemi-hollow basses, but they don’t always live up to our modern expectation of stability, playability, versatility and QUALITY. I’m proud to have helped create something that does”.
The Grez Grand Tour Bass, is available now from Grez Guitars and their dealers with astreet price starting at $5,999. Light customization is welcome with delivery times aslittle as 8 weeks.