"Why Can't You Turn That Down?" An Interview with Steve Carey of FluxTone
FluxTone''s Steve Carey explains how their Variable Magnetic Technology allows you to retain your tone (and your relationships) when turning your amp down.
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After plugging in several of the rowdiest 50-Watt heads in residence and hearing the sounds of dimed amps at levels that could barely pass through an office doorāwe were persuaded. And we could tell from his reaction that Carey recognized the mixture of surprise and gratification that was surely written all over our faces.
The fact that Careyās method isnāt one of those we already knew about made us want a closer lookāwhile the FluxTone speaker system really is a new idea, the Variable Magnetic Technology at the heart of the system is itself based on a pretty old idea. What appeared to be obsolete a half a century ago turns out only to have been waitingāfor a guy like Carey, with a knack and need. I had to pick his brain to find out just how it works.
CB: Can you tell me about your background and how you got started with this?
SC: I had a pretty good introduction to tube electronic theory and circuitry in the sixties. I was in an experimental electronics course offered one year in high school. There were like a hundred and forty of us⦠it was a disaster⦠too much data, but I just happened to be at the right place at the right time and took it all in. We went from atomic charges to super heterodyne receivers in nine months. I built my first tube amp in the late sixties and got into hi-fi repair all the way through the seventies.
Then I started building PA systems for the disco era, doing church sound systems, things like that. We built big transistor amps back in the early seventies, when you couldnāt get them⦠a few years ago, I got into the restaurant business, and we set up a stage. We were doing blues jams and local acts. Sure enough, the age-old problem came up: my girlfriend would say, āI canāt take the orders on the phone, because those guys are too loud. Can you turn that down?ā Of course the guitarists always responded, āNo, that will ruin my tone.ā One by one by one, we went through all the versions of how to turn it down without losing the tone. And one by one by one, the guitarists would say either, āYeah⦠that sounds just like my other thing that has a master volume control,ā or else theyād say, āIt doesnāt work.ā We tried building regulated power supplies for the output tubes, driving a small output tube into an inductive load and then re-amplifying it, all the normal master volume controls. There were various kinds of load boxes and such. Being in the hi-fi business, we always had load boxes when testing amps.
All that time in the back of my mind, I knew about what would become the FluxTone system, or VMT (variable magnetic technology), but I always thought it was just such a long way around to get the desired effect. Why would I want to do that? After everything else was undesirable to the guitarists playing in our restaurant, I finally said, āFine. Okay.ā FluxTone manufactures hardware for speaker assemblies in small production runs.
Thatās when you decided to go ahead and take the long way around the problem?
Yeah, I got an old field coil speaker and built a variable power supply for it. I did all the preliminary testing. Iād call up a few guitarists who live nearby, whoāve been playing thirty or forty yearsāwhen there were tone issuesāand tell them to get over here and play the thing, test it out.
Then we showed it to other guitarists. They would hear it, and then the inevitable⦠what I call the FluxTone smile would creep across their faces. I swear they hear things I donāt, and thatās because theyāve been playing twenty, thirty or forty years and theyāre tuned in to the nuances. Iām just an oscilloscope guy, looking for distortion. Itās hard enough to see on equipment, and itās even harder to hear. But players hear it, and when they heard the VMT system work, they said, āWow! You did it!ā So, we started demonstrating at local shops here in Colorado, and every single time it always ended with, āThat really works!ā Three years later, I have yet to find anybody who says it doesnāt work. Itās been unanimous.
When did that turn into the decision to start a business?
After demonstrating to maybe fifty or a hundred people, we couldnāt find anyone who would say, āYouāre full of it.ā Instead, we were hearing, āWhy hasnāt somebody else done this? Why did it take fifty years?ā We also heard a lot of, āWhen can I get one?ā and of course, all the time Iām doing my tests, my buddies are giving me their tonal input; I set them up with VMT systems and theyāre totally addicted. Theyāre going to their gigs with it. Weāve gotten only positive feedback.
So you didnāt run into any problems?
The only negative was that field coil speakers were abandoned in the fifties. Who makes them? Nobody.
Our patent is not for a field coil speaker. The FluxTone patent is for a certain method of use. The field coil speaker has been around since the twenties. It was abandoned when the technology moved forward. Back in then, we didnāt have Alnico, and there was no way to make a really strong magnetic field with rare earth, so the magnetic field was produced with a field coil. It also doubled as a power-supply-quieting device in those early crude amplifiers⦠it managed to get the hum out of the power supply, because back then there werenāt these great big capacitorsāso the field coil was used to smooth the power supply and to create a magnetic field that was strong enough to be viable. But then after WWII, and Alnico, people figured out how to make stronger magnets. Then field coils went by the wayside. They were just too expensive, they were too hard to make, thereās too much copper involved, thereās too much labor⦠theyāre just a pain the butt.
So, youāre going in the opposite direction of the technological development?
Right. Back then nobody ever wanted to reduce the power to the field coil of a speaker. Why would you do that? They were trying to get all the efficiency they could. Not to mention those old speakers operated at lethal voltages! With FluxTone we redesigned the field coil system, and our speakers operate at a completely safe voltage⦠you can even stick your finger on the field terminals.
How does it work?
Letās look at what the VMT preserves. FluxTone has little to no value with a transistor amplifier, because transistor amps donāt have an output transformer. Tubes operate at such high voltages that they canāt be connected directly to the voice coil of a speaker. Itās just such a mismatch of voltage and current, it makes an output transformer necessary... in the case of a tube amplifier, the output transformer, being a magnetic device, is connected directly to the speakerās voice coil, which is also a magnetic device. As long as theyāre connected to each other with nothing between but wires, they form this magnetic circuit, so when you overdrive the output tubes, that circuit starts to ring, and create tones that didnāt come out of your guitar. Theyāre very much in tune with what youāre playing. Itās kind of like on an organ: push one key, and you get one tone. Pull out another stop, or some other switch, and you get a whole chorus of tones that are all associated with that one key.
If you put something between the output transformer and the voice coil, like a load box, it prevents those tones from being generated, or theyāre so quiet you canāt hear them anymore⦠youāre inevitably going to hinder or kill all those overtones that are generated when you overdrive the amp. What we did with FluxTone was to vary the speakerās ability to be loud, by adjusting its magnetic strength. We removed the permanent magnet and replaced it with an electromagnet, and now we vary the power going to that electromagnet.
Thereās a gap where the voice coil is inside the speaker, and that gap has a magnetic intensity, and itās measured in so many gauss, or how strong the flux is in that gap. Weāre varying that flux strength by having a variable magnet, which doesnāt interfere with the relationship between the voice coil and the output transformer, so whatever overtones are generated are still there. Itās just like reducing the size of the magnet on the speaker, thereby reducing its ability to be loud.
The magnets in your speakers are copper. What do you say to players who are worried that if theyāre not getting a speaker with an Alnico or ceramic magnet theyāre not going to get that precise tone they know and love?
Modern speakers mostly use ceramic magnetic structures, which are much easier to manufacture than Alnico. Ceramic magnets came along about the same time that amplifiers started changing to transistors to get more power at less cost. Now remember that tubes and transistors already sound different, and because the voice coils were asked to handle more power they needed to have more room in the gap to fit more turns on the voice coil. That made the gap bigger, which⦠every time you double the gap width, you need four times the amount of magnetic strength to maintain the same magnetism across that gap. You couldnāt get that kind of magnetism out of Alnico magnets without making them prohibitively expensive. Ceramic magnets were much more powerful per pound, so they lent themselves to the wider gap.
While acknowledging that players can hear a difference between ceramic speakers and Alnico speakers, we have taken the time to install and test the exact same cone assemblies in ceramic, Alnico, and field coil frames. Once we removed the variables, in my observation, both in the lab and on stage, the differences in tonal characteristics are not so much from the origin of the magnetism, but rather because of the weight of the moving parts, what theyāre made out of, and the distance they move. The old Alnico speakers had a much lower power rating, therefore the elements that moved were lighter, and did not move as far, so they could jump to those delicate frequencies more quickly.
Youāre offering different types of speakers. How many types of voices are there, and are these the standard types of speakers used in guitar amps?
We have about six voices at this point. We have a custom made voice from Eminence that sounds very, very close to the original Jensen P12Q or P12R: the old Alnico speakers that came with the low-power Fender amplifiers from the fiftiesāthe ones that most people drool over. We install that voice in one of our baskets, so when you use that particular FluxTone driver, itās going to sound like the old Jensen sound. We also get cones that are manufactured in Italy by the company that bought the Jensen name, and those cones typically come in amps like a new Fender Twin Reverb. We put those in for another voice, if you like that one. And then we have four different cones we get directly from Celestion.
Ninety-nine percent of that sound actually comes from the parts that move, rather than the basket or the paint, or how the magnetism is generated. Itās actually coming from the weight of the voice coil, the size of the wire, the size of the voice coil winding, the gap width and height, all that stuff. The part thatās moving, the cone, the dustcap, the voice coil, the spider, those things are all glued together, and they move as one piece. The mass of those various elements, and the lengths of the paper pulp fibers that are in the cone, plus other minor minutiae (glue, humidity, etc.) all dictate exactly what itās going to sound like.
As long as you take that whole assembly togetherāthe cone, the spider, the voice coil, all of the moving partsāif you take that whole thing out of a Celestion gold speaker, say, and put it into another speaker frame, itās going to sound the same because all the moving parts are the same.
We put the cone assemblies directly into our hardware. So, if you buy a Celestion Blue from us, youāre getting everything a Celestion blue is, as far as its tonal abilities and power handling, only you get it with FluxToneās VMT. Because weāre building speakers more or less one at a time, we have very small production runs, maybe ten or twenty in one run, so we can hold our tolerances tight. The overall efficiency of our drivers is usually the same or higher than the equivalent driver in the industry.
An example of the FluxTone retrofit on a ā54 Fender Pro. |
Absolutely. People come to us with old classics, and they donāt want them permanently altered. We can remove your original speaker, put it in a box for you to put on your shelfā because quite often theyāre worth as much as the amp. Then weāll install a FluxTone speaker and an external power supply to run it. It just comes down to a little box with a knob on it. You have your old amp playing through your favorite voice in a FluxTone speaker, so you donāt need an extra cabinet. People send their amps to us, and weāll do the retrofit and return them. Or you can buy just a speaker and a power supply and retrofit your own. Thereās a wide variety of options.
How does it work with a configuration like 2x12 or 4x12?
You can do it any way you want. If you want it elaborate, like some recording studios do, it will have two or four voices in a single box, and itāll have one control for each voice, so you can actually mix and match voices. That way you can come up with a very unique sound that just doesnāt exist anywhere else, or any one of the voices that you select. Or you can hook two or four speakers up to a single power supply.
What are your plans for the future of FluxTone?
We are looking at various OEM situations, getting some licensing agreements where we can supply speaker to some companies, and weāre looking at partnering with speaker manufacturers, and seeing about getting these things a little more mass-produced.
For more information:
fluxtone-speakers.com
You can also demo the FluxTone speaker system at the following dealers:
larkstreetmusic.com / New Jersey
guitar-emporium.com / Louisville
cornermusic.com / Nashville
actionguitar.com / Wash DC
This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxesātheyāre part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isnāt always important. In the recording studio, where weāre often crafting sounds for each section of a song individually, thereās little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an āintelligent pitch-changerā that could generate stereo harmonies in a user-specified key. This was heady stuff in the ā80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. Itās essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and itās also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the deviceās guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days itās not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000ās capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymonās āshimmerā effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If youāre ever without your deck of Oblique Strategies cards, the H3000ās singular knob makes a pretty good substitute. (Spin the big wheel and find out what youāve won!)
āIf youāre ever without your deck of Oblique Strategies cards, the H3000ās singular knob makes a pretty good substitute.ā
But thereās another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. Itās easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which theyāre mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isnāt always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offerāand I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, thatās a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions donāt quite capture. (They also have a habit of leaking black goo all over the motherboard!) Itās all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists wonāt be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations existāEventideās own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhereāand youāve got the timeāfire it up, wait for the distinctive āclickā of its relays, spin the knob, and start digging.
The luthierās stash.
There is more to a guitar than just the details.
A guitar is not simply a collection of wood, wire, and metalāit is an act of faith. Faith that a slab of lumber can be coaxed to sing, and that magnets and copper wire can capture something as expansive as human emotion. While itās comforting to think that tone can be calculated like a tax return, the truth is far messier. A guitar is a living argument between its componentsāan uneasy alliance of materials and craftsmanship. When it works, itās glorious.
The Uncooperative Nature of Wood
For me it all starts with the wood. Not just the species, but the piece. Despite what spec sheets and tonewood debates would have you believe, no two boards are the same. One piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.
Builders know this, which is why youāll occasionally catch one tapping on a rough blank, head cocked like a bird listening. Theyāre not crazy. Theyāre hunting for a lively, responsive quality that makes the wood feel awake in your hands. But wood is less than half the battle. So many guitarists make the mistake of buying the lumber instead of the luthier.
Pickups: Magnetic Hopes and Dreams
The engine of the guitar, pickups are the part that allegedly defines the electric guitarās voice. Sure, swapping pickups will alter the tonality, to use a color metaphor, but they can only translate whatās already there, and thereās little percentage in trying to wake the dead. Yet, pickups do matter. A PAF-style might offer more harmonic complexity, or an overwound single-coil may bring some extra snarl, but hereās the thing: Two pickups made to the same specs can still sound different. The wire tension, the winding pattern, or even the temperature on the assembly line that day all add tiny variables that the spec sheet doesnāt mention. Donāt even get me started about the unrepeatability of āhand-scatter winding,ā unless youāre a compulsive gambler.
āOne piece of ash might have a bright, airy ring, while another from the same tree might sound like it spent a hard winter in a muddy ditch.ā
Wires, Caps, and Wishful Thinking
Inside the control cavity, the pots and capacitors await, quietly shaping your tone whether you notice them or not. A potentiometer swap can make your volume taper feel like an on/off switch or smooth as an aged Tennessee whiskey. A capacitor change can make or break the tone controlās usefulness. Itās subtle, but noticeable. The kind of detail that sends people down the rabbit hole of swapping $3 capacitors for $50 āvintage-specā caps, just to see if they can āfeelā the mojo of the 1950s.
Hardware: The Unsung Saboteur
Bridges, nuts, tuners, and tailpieces are occasionally credited for their sonic contributions, but theyāre quietly running the show. A steel block reflects and resonates differently than a die-cast zinc or aluminum bridge. Sloppy threads on bridge studs can weigh in, just as plate-style bridges can couple firmly to the body. Tuning machines can influence not just tuning stability, but their weight can alter the way the headstock itself vibrates.
Itās All Connected
Then thereās the neck jointāthe place where sustain goes to die. A tight neck pocket allows the energy to transfer efficiently. A sloppy fit? Some credit it for creating the infamous cluck and twang of Fender guitars, so pick your poison. One of the most important specs is scale length. A longer scale not only creates more string tension, it also requires the frets to be further apart. This changes the feel and the sound. A shorter scale seems to diminish bright overtones, accentuating the lows and mids. Scale length has a definite effect on where the neck joins the body and the position of the bridge, where compromises must be made in a guitarās overall design. There are so many choices, and just as many opportunities to miss the mark. Itās like driving without a map unless youāve been there before.
Alchemy, Not Arithmetic
At the end of the day, a guitarās greatness doesnāt come from its spec sheet. Itās not about the wood species or the coil-wire gauge. Itās about how it all conspires to either soar or sink. Two guitars, built to identical specs, can feel like long-lost soulmates or total strangers. All of these factors are why mix-and-match mods are a long game that can eventually pay off. But thatās the mystery of it. You canāt build magic from a parts list. You canāt buy mojo by the pound. A guitar is more than the sum of its partsāitās a sometimes unpredictable collaboration of materials, choices, and human touch. And sometimes, whether in the hands of an experienced builder or a dedicated tinkerer, it just works.
Two Iconic Titans of Rock & Metal Join Forces for a Canāt-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 ā Biloxi, MS ā Mississippi Coast Coliseum
Thu Sep 18 ā Alpharetta, GA ā Ameris Bank Amphitheatre*
Sat Sep 20 ā Charlotte, NC ā PNC Music Pavilion
Sun Sep 21 ā Franklin, TN ā FirstBank Amphitheater
Wed Sep 24 ā Virginia Beach, VA ā Veterans United Home Loans Amphitheater
Fri Sep 26 ā Holmdel, NJ ā PNC Bank Arts Center
Sat Sep 27 ā Saratoga Springs, NY ā Broadview Stage at SPAC
Mon Sep 29 ā Toronto, ON ā Budweiser Stage
Wed Oct 01 ā Burgettstown, PA ā The Pavilion at Star Lake
Thu Oct 02 ā Clarkston, MI ā Pine Knob Music Theatre
Sat Oct 04 ā Cincinnati, OH ā Riverbend Music Center
Sun Oct 05 ā Tinley Park, IL ā Credit Union 1 Amphitheatre
Fri Oct 10 ā Colorado Springs, CO ā Broadmoor World Arena
Sun Oct 12 ā Salt Lake City, UT ā Utah First Credit Union Amphitheatre
Tue Oct 14 ā Mountain View, CA ā Shoreline Amphitheatre
Wed Oct 15 ā Wheatland, CA ā Toyota Amphitheatre
Sat Oct 18 ā Chula Vista, CA ā North Island Credit Union Amphitheatre
Sun Oct 19 ā Los Angeles, CA ā Kia Forum
Wed Oct 22 ā Phoenix, AZ ā Talking Stick Resort Amphitheatre
Thu Oct 23 ā Albuquerque, NM ā Isleta Amphitheater
Sat Oct 25 ā Austin, TX ā Germania Insurance Amphitheater
Sun Oct 26 ā Houston, TX ā The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
MT 15 and Archon 50 Classic amplifiers offer fresh tones in release alongside a doubled-in-size Archon cabinet
PRS Guitars today released the updated MT 15 and the new Archon Classic amplifiers, along with a larger Archon speaker cabinet. The 15-watt, two-channel Mark Tremonti signature amp MT 15 now features a lead channel overdrive control. An addition to the Archon series, not a replacement, the 50-watt Classic offers a fresh voice by producing retro rock āclassicā tones reminiscent of sound permeating the radio four and five decades ago. Now twice the size of the first Archon cabinet, the Archon 4x12 boasts four Celestion V-Type speakers.
MT 15 Amplifier Head
Balancing aggression and articulation, this 15-watt amp supplies both heavy rhythms and clear lead tones. The MT 15 revision builds off the design of the MT 100, bringing the voice of the 100ās overdrive channel into its smaller-format sibling. Updating the model, the lead channel also features a push/pull overdrive control that removes two gain stages to produce vintage, crunchier āmid gainā tones. The clean channel still features a push/pull boost control that adds a touch of overdrive crunch. A half-power switch takes the MT to 7 watts.
āSeven years ago, we released my signature MT 15 amplifier, a compact powerhouse that quickly became a go-to for players seeking both pristine cleans and crushing high-gain tones. In 2023, we took things even further with the MT 100, delivering a full-scale amplifier that carried my signature sound to the next level. That inspired us to find a way to fit the 100's third channel into the 15's lunchbox size,ā said Mark Tremonti.
āToday, Iām beyond excited to introduce the next evolution of the MT15, now featuring a push/pull overdrive control on the Lead channel and a half-power switch, giving players even more tonal flexibility to shape their sound with a compact amp. Canāt wait for you all to plug in and experience it!ā
Archon Classic Amplifier Head
With a refined gain structure from the original Archon, the Archon Classicās lead channel offers a wider range of tones colored with gain, especially in the midrange. The clean channel goes from pristine all the way to the edge of breakup. This additional Archon version was developed to be a go-to tool for playing classic rock or pushing the envelope into modern territory. The Archon Classic still features the originalās bright switch, presence and depth controls. PRS continues to stock the Archon in retailers worldwide.
āThe Archon Classic is not a re-issue of the original Archon, but a newly voiced circuit with the lead channel excelling in '70s and '80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types, and a juiced- up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design,ā said PRS Amp Designer Doug Sewell.
Archon 4x12 Cabinet
As in the Archon 1x12 and 2x12, the mega-sized PRS Archon 4x12 speaker cabinet features Celestion V-Type speakers and a closed-back design, delivering power, punch, and tight low end. Also like its smaller brethren, the 4x12 is wrapped in durable black vinyl and adorned with a British-style black knitted-weave grill cloth. The Archon 4x12 is only the second four-speaker cabinet in the PRS lineup, next to the HDRX 4x12.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40 th Anniversary limited-edition guitars throughout the year. For all of the latest news, click www.prsguitars.com/40 and follow @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.