What is it?

Smaller amps seem to rule the roost these days – definitely in the electric guitar world but also when it comes to acoustic guitar amps too. With acoustic guitars, however, if you’re using an amp it probably means you’re actually going to perform for some kind of audience beyond your bedroom.

Busking is still the most common way people get into performing live with an acoustic, but busking’s close cousins (as activities) are performing in small bars and coffee shops or quick rehearsals in your kitchen or lounge.

Those kinds of scenarios seem to be the target of the latest amp from Orange – better known for its rip-snorting tube amps – though the announcement that it is a collab project with Ed Sheeran was certainly a bit of a surprise. So what do we get?

The Outlowd ES60, whose portmanteau name hints at Sheeran’s other big partnership with Lowden guitars, is a 60-watt combo that can be powered by mains supply or the internal Li-ion rechargeable battery.

This is an upgrade over the numerous AA-size batteries required by busking-ready rivals such as the Boss Street Cube II – though let it be said, the Boss puts out only 10 watts and is considerably cheaper than the ES60, so you’d rightfully expect the Orange to have a beefier solution to al fresco power built in.

A compact, lightweight combo at just over 7kg and only around 28cm high and 30cm deep, it meets its first brief of being the kind of thing you could carry on a bus or on the subway – and it’s padded, quality gigbag with shoulder strap hints at serious have-guitar-will-travel ambitions.

In the US, this model is available exclusively through Guitar Center and Musician's Friend.

The ES60 is a dual-channel design, with one channel clearly intended to plug your guitar into and featuring a high headroom preamp based on that of the Orange Acoustic Pedal. This guitar channel features volume, Treble control, a flexible Mids EQ section with dedicated controls for adjusting ‘Q’ and the centre frequency of the mids, plus Bass and a hall-type Reverb.

Over on the second channel there’s a combination jack/XLR input for a vocal mic or alternate sound source, 48v phantom power switch for use with mics that need it, a high-pass filter switch to take the woof out of vocals, plus an EQ, Volume and, here, a plate-style reverb that’s meant to be optimized for vocals, a Mids EQ section similar to that of Channel One – though minus the ‘Q’ control – and a channel level control labelled Gain rather than Volume.

Round the back we’ve got an XLR line out, so the amp can run straight into a powerful PA rig while giving you local control over EQ and so on, a Ground Lift button, plus an FX loop if you want to expand the tonal palette and sonic capabilities of the combo.

In short, the ES60 sets its sights on enabling serious performance rather than casual, hobbyist play – which may justify, to some degree, its slightly austere lack of extra onboard effects that rivals often offer.

Moving back up to the top panel there’s a button for pairing the combo with Bluetooth devices for music playback – useful when rehearsing songs and, of course, if your performance makes use of backing tracks – plus 1/8-inch headphone and line-in sockets if you need them.

Specs

• Launch price: $699 (exclusively via Guitar Center and Musician's Friend) | £499 | €599
• Type: 60-watt RMS solid state acoustic combo
• Origin: China
• Output: 60 Watts RMS
• Speaker: 8-inch Voice Of The World ‘Whizzer’ speaker
• Channels: TwoControls: Ch 1: Volume, Treble, Middle, Q, Mid-Freq, Bass, Reverb; Ch 2: +48v Phantom Power Switch, HPF Switch, Gain, Treble, Middle, Mid-Freq, Bass, Reverb; Master: Volume
• Connectivity: 1/4" jack Input, Combi XLR /1/4"Jack Input, Balanced Line Out (XLR). Effects Loop 1/4" Send & Return, Aux Input 3.5mm Jack, 3.5mm Headphone Output
• Footswitch: NoWeight: 16.18 lb / 7.34 kgDimensions: 355 x 280 x 295mm / 14 x 11 x 11.6”
• Contact: Orange Amplification

Build quality

Build quality rating: ★★★★½

The ES60’s angled cab feels chunky and robust. Impressively, it’s made from 15mm birch plywood rather than MDF or similar, underscoring the combo’s roadworthy credentials. The control knobs and switching feel positive and avoid flimsiness.

The fact the Bluetooth pairing button is metal not plastic is a nice touch, too. The chunky top-mounted handle is more than tough enough to lug the amp about on, given its light weight.

Usability and features

Usability and features rating: ★★★½

In terms of usability, the feature set on both channels is relatively straightforward though there are some quirks.

The Mid-freq and Q controls work as a double act in terms of tailoring the amplified voice of the guitar but do feel very slightly vague in operation – the Q effect certainly isn’t dramatic, though you could argue that allowing the player to apply gentle tweaking to the mids to match personal taste is completely valid and maybe more practical in the real world than making those controls overpowered.

If they’d called the two controls ‘sweetness’ and ‘focus’ it might make more intuitive sense as a subtle but audible rounding, opening or tightening of the mids is really what’s going on here. It grew on me the more I used it.

The Treble control really could have more authority, though - while I like the woody, warm voice of the amp, it would be nice to have just a little more crystalline edge on tap here to provide clarity and snap.

Bluetooth pairing is easy and intuitive and the Reverb couldn’t be simpler with just one Hall-type reverb on offer on the guitar channel, though the upper limit of the ‘verb is tastefully atmospheric rather than cavernous.

With rivals such as the aforementioned Boss Street Cube II or the Laney A-Fresco 2 offering additional effects such as chorus and more, you will either view the ES60s feature set as admirably straightforward with little to confuse you during performance – or a bit sparsely equipped.

Sounds

Sounds rating: ★★★★½

Plugging in my Beard Decophonic Southside with magnetic LR Baggs M1 soundhole pickup and my Martin Custom 000-14 (with an unknown but good-sounding under-saddle piezo system fitted by a previous owner), the roundness and warmth of the ES60’s sound is genuinely flattering and easy on the ear.

I may instinctively want a little more treble to be available but there are no unpleasant or unsatisfying sounds here, especially with the wiggle room for fine adjustment offered by the Mids controls – if Sheeran’s part in the project was to help dial in a very pleasant, usable overall sound, I’d say he did a great job.

The mic channel was similarly warm, supple of tone and usable with my test Shure SM57 and the few frills on offer didn’t hinder me from thinking the combo is a very capable tool for street performance and playing small venues.

Verdict

The ES60 is a purposeful and roadworthy acoustic / street performance tool that has a really attractive sound. It feels curiously over-specced in some areas and under-specced in others.

And, let it be said, it does face some keen competition at this price and below and you can’t help but wonder how much that famous moniker alone is adding to the hangtag price.

But if you view it as a piece of no-nonsense, capable kit with an emphasis on core quality rather than a showy spec sheet bursting with gimmicks it makes solid sense.

Guitar World verdict: This punchy little amp is a more serious tool than it might seem at first glance – just make sure you are happy to embrace its high core quality and simple but purposeful, performance-focused feature set.

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Hands-on videos

Orange and Ed Sheeran

Thomann

Guitar Center

• ​​Best acoustic guitar amps 2026: let your acoustic tone shine

Fender is shining the spotlight on its oft-forgotten era of ‘brown-panel’ guitar amps with a new ’62 Deluxe reissue.

The Big F’s black-panel and tweed amps are household names for guitarists, and their history and lineage is widely revered. There was, however, a niche subsection of Fender amps from the early 1960s that bridged the gap between the two.

As such, the short-lived brown-panel amps have often been overlooked in favor of their more popular siblings. Fender has recently been giving brown-panels their flowers, and last summer revived the “hidden treasure” American Vintage ’62 Super Amp.

Now, it’s joined by the more affordable ‘62 Deluxe Amp. Like its predecessor, the ’62 Deluxe looks to bring the unique brown-panel amp sound – defined by its distinct woodiness, warm pokiness, and gritty overdrive when cranked – to the masses.

In other words, Fender says we should expect something that sits between the “raw sound of its ’50s-era tweed” amps and “sparkling clean tones” of mid-’60s black-panel amps.

This one has two 6V6 output tubes, offers 20 watts of power, and comes packing with a custom-designed Celestion 12” speaker. It’s a slightly more streamlined Brown Panel, with Normal and Bright channels (Volume and Tone controls for each), as well as Speed and Intensity controls for the tube-bias tremolo.

“The brown-panel amps are one of those eras not many players have experienced,” Fender Senior Product Manager, Rick Heins, told Guitarist last year of Fender’s mission to bring the amps back.

“They’re rare, expensive, getting harder to find and almost unobtainable at this point.”

“Browns have a punchiness, a sort of immediate feel,” he adds of their tone. “They don’t sag like tweeds. The power section feels more robust. Crank one and it’s a warm, fat overdrive. Not thin, not ‘paper tear’ distortion, but a fuller, fatter sound. That midrange and warmth sits perfectly in a mix, whether live or recording.”

The '62 Deluxe Amp is available now for $1,699.

Head over to Fender for more.

Fender has had a busy few weeks. Alongside the '62 Deluxe, it also recently dropped its annual mid-year gear lineup, which included the return of the Squier Paranormal series, the limited-edition Player Fusion range, and a boatload of pedals, amps, acoustics and more.

What is it?

For those of you under the age of 30, Kustom with a “K” is most likely an unfamiliar guitar amp brand to you. But if you need a little history, Kustom was one of the very first “trendy” brands to integrate solid-state technology into its amplifiers and PA systems in the early Seventies. Its signature “Tuck-n-Roll” amplifiers, covered in padded Naugahyde, had an unmistakable look that resembled something between an overstuffed armchair and the "Michelin Man" tire mascot. Even so, these distinctive amps arrived in eye-catching, metallic-sparkle colors and were adopted by many popular artists of the time, from John Fogerty to the Jackson 5, and not too long ago, Sheryl Crow.

Kustom eventually went bankrupt but resurfaced with new ownership during the late 1990s and 2000s, reviving the nostalgic Tuck-n-Roll amp series. While not a barnstorming relaunch, the amps faded away once more but still resonate among those who valued their retro looks and punchy tones.

Now, while it seems the Tuck-n-Roll line is temporarily shelved, Kustom has returned with a new line of amps that look surprisingly… well, basic. Gone is the plushy visual flair that’s been replaced by a line of boxy, vintage-style combos that will undoubtedly appeal to players who don’t want their amplifiers to look like car upholstery. Looks aside, that shouldn’t stop you from further investigating Kustom's brand new and enticingly affordable Carbon Series — the company’s first digital modeling amplifiers, which come in full-featured 25-, 50-, and 100-Watt combos, as well as a 100HD head.

For this review, I spent some time with the Carbon 100 1x12 combo, which, as far as new digital amps go, is a bit of a throwback for its minimalist design. What I mean by that is there’s something satisfying about an amplifier that lacks a touchscreen or a display and operates entirely without the need for a companion Android or iOS app.

All of the Carbon 100's functionality is accessible directly through a straightforward set of physical knobs on the front panel. You’ll find, like me, the Kustom Carbon 100 to be the ultimate plug-and-play solution — a stellar-sounding modeling amp that delivers authentic, tube-inspired tones and a versatile array of effects easily accessed with minimal effort.

Specs

• Price: $429.99 | £335
• Type: Digital combo amp
• Origin: China
• Output: 100W
• Channels: 2
• Speaker: 1 x 12” Kustom Design
• Controls: Ch1 Volume, Ch2 Amp Model select, Gain, Volume, Bass, Mid, Treble, FX select, FX Level, Master Volume. Ch select button, Tap Tempo button, Tap Tempo LED
• Features: 12 onboard digital effects and 12 onboard amp models
• Connectivity: External Speaker Output jack, Footswitch Jack (Channel switch / Effects On/Off), Effects Loop, DI Balanced Out, Ground Lift Switch, Aux In, Headphones Input and USB Audio Interface
• Weight: 27 lbs / 12.3 kgs
• Dimensions: 340 x 510 x 471 mm
• Contact: Kustom

Build quality

Build quality rating: ★★★★☆

When you think of a 100-watt combo, you might imagine it to be a behemoth of an amp, not so with Kustom’s Carbon 100, which is astonishingly compact and rather boxy. In fact, it’s very much a portable cube of an amplifier, ruggedly handsome and classic-looking with its black tolex covering and vintage silver-and-black woven grille cloth, miniature “Kustom” logo, durable rubber handle, chrome corners, and a grey steel control panel with classic Kustom knobs.

Compared to other black-on-black digital amps with multiple black plastic parts and black panels, there’s a nice contrast here. However, considering the brand’s colorful past, I feel that Kustom missed an opportunity here, where this new series could have been offered in bright custom colors and contrasting-colored grille cloth.

The amplifier also features a semi-open back design with a small oval perforated grill on the rear, which houses a custom-designed 12-inch Kustom speaker. Overall, the amp belies its actual 27 pounds and is surprisingly lightweight and easily transportable.

Usability and features

Usability and features rating: ★★★☆☆

The Carbon 100 is all about good ol’ fashioned knob-twisting of familiar amp controls and nary a LCD screen with exhaustive menus to reckon with. The amp features two distinct channels with a shared 3-band EQ (Bass, Mid and Treble) to bounce between (using either a footswitch or the channel select button), but there is a slight catch: Channel one is a pristine clean channel with a single volume knob that works in tandem with the master volume control, but this channel is divorced from any of the effects and Amp modeling rotary selections found on channel 2.

This separation results in a cleaner character that differs significantly from any of the three modeled clean tones available on channel 2. In essence, channel 1 provides an unadulterated, pure tone, making it an excellent foundation for guitarists who rely heavily on pedalboards.

Most players will immediately vibe in the digital backyard of Channel 2, where the amp thrives in its amp modeling and effects capabilities. Here, you have separate Volume and Gain controls to tailor your sound, and a rotary Amp model knob to select 12 different amp types. This rotary knob breaks up the amp types into four categories — Clean, Drive, Lead, and Hi-Gain — with three differently voiced amp models in each. Keep in mind, there is no indication of what the actual amps are or what kind was modeled, but you can certainly tell by the gain structure and EQ curve that each falls in its appropriate category.

Moving over to the FX rotary knob, it functions similarly to the Amp knob, separating the effects into four categories and options. For example, Multi-Effects has four groupings (Reverb, Delay, and Chorus; Reverb and Chorus; Reverb and Delay 1; Delay and Boost), and Mod FX also includes four options (Chorus; Flanger; Phaser; Tremolo and Reverb). Two choices are offered in Verb (Long and short reverb) and Delay (one repeat and long delay), and if you’re wondering, the delay sounds very much like an analog tape echo, and the tap tempo button and the tap LED help with on-the-spot tweaking.

For better or worse, your only means of adjusting any amount of depth, rate, or output to the effects is with the sole FX Level knob, which is not terrible; you just have to use your ears. The other drawback is once you adjust your personal setting on any effect you’re using — whether it’s a delay time or a warbly chorus — you can't save that sound, and it reverts to the default effects setting once you switch channels. A bit of a bummer.

Finally, the amp’s back panel offers better-than-average connectivity with an external speaker output jack, a footswitch jack (channel toggle and effects on/off), an effects loop, DI balanced out, a ground lift switch, an aux In, headphones input, and a USB audio interface.

Sounds

Sounds rating: ★★★½

Despite my minor grumblings that you can’t save sounds and the inherent limitations of fine-tuning an effect with just a sole FX Level knob, let me reiterate definitively that this is a great-sounding combo with responsive amp modeling and a solid effects selection that complements your tone. In fact, just plugging into channel 2 with each EQ set midway (or noon), and sweeping through each of the 12 modeled amp types, from clean to hi-gain, all sound stellar for this price point.

But let’s say you just need a bold and foundational clean tone devoid of any effects, where you get to hear how your guitar sounds in its purest form, or maybe hear how your pedals respond and react, and I’d point you toward the Carbon 100’s channel 1 as a solid starting point. It’s impressive how loud you can crank this channel to get the cleans to sound firmly pristine without the amp crumbling into breakup. I’ll say it again: it’s a different type of clean sound here on this channel, one that jazz players might gravitate toward because it sounds so warm and full — and hell, jazzbos love digital amps for their consistency, which the Carbon 100 delivers in spades on this channel.

When you turn the amp on, it automatically defaults to channel 2 on the first clean amp model setting with the short reverb from the effects. Right off the bat, it’s a sparkling clean sound with a splashy spring reverb adding some musical depth. So far, nothing to complain about here, and as you rotate your way toward the drive settings and upping the drive using the Gain knob, you’ll run the gamut of classic rock bark and bite, and warmly overdriven textures, no matter what guitar you use.

The Lead section is also quite good and has a slightly mid-focused EQ to its saturation. Once you add the longer delay setting or the multi-effect grouping of delay and reverb, you’ll be one step closer to nailing some cool Lukather-style solo tones.

The Hi-Gain models were the only section that I felt was kinda “mid” (as the kids say), where I found myself sticking with one model that was decent for metal and Dimebag-inspired riffing. I did run the Carbon 100 through various speaker cabinets using the external cab out with great results, allowing the amp to sound fuller and louder, and I’ll be the first to say the onboard Kustom speaker is voiced perfectly in not making this cubed combo sound boxy.

Finally, the onboard effects are good to great in tones and texture, and sound just as you’d imagine as digital representations of chorus, flanger, tremolo, delays and reverbs, but you are limited in scope in how much you can fine-tune and tweak. You’re stuck with, more or less, setting and forgetting the effect type you will use sparingly or all the time.

Verdict

At the end of the day, digital is no longer a dirty word. Even Joe Bonamassa has opted for a digital reproduction amplifier over his vintage Fender tube combo for his live performances, signaling a significant shift in how players regard digital amps. The truth is, digital amplification has evolved substantially since the solid-state era of Kustom’s classic Tuck-n-Roll models.

The Carbon Series, in my opinion, represents a fresh chapter for Kustom, offering a no-nonsense digital amplifier alternative that avoids the overly complex options currently trending and quickly becoming the norm in this space.

Guitar World verdict: The Kustom Carbon 100 stands out as an affordable plug-and-play modeling combo that offers the touch-sensitive responsiveness of a traditional tube amp, making its digital guts easy to forgive. There are a few drawbacks to this simpler approach, but whether you are in a rehearsal space or performing live, this compact combo proves to be an impressively capable performer.

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• Best guitar amps 2026: tube, solid-state, and modeling amplifiers for all levels and budgets

What is it?

For any rock guitar player, Eddie Van Halen and the 5150 moniker are nothing less than Iconic. As the title of the Van Halen album that ushered in the Sammy Hagar era, the name of Eddie Van Halen’s home studio, and his signature series of amplifiers, 5150 is synonymous with the influential, high-gain, high-octane rock that Van Halen propagated.

The original 5150 tube amp started life in 1992 as a signature amplifier built by Peavey for Eddie. After moving on from Peavey in the early 2000’s, he took the 5150 trademark with him into his own brand - EVH (Peavey continues to produce its take under the 6505 name).

Fast forward a few decades, and the 5150 III 6L6 amplifier has been brought into the modern era with the release of the EVH 5150 III Hypersonic 6L6 combos. The EVH Hypersonic series follows in the footsteps of parent company Fender’s Tone Master range, turning to digital modeling technology for the amplifier but marrying it with a real guitar cabinet to create a digitally modeled combo amp.

These digital versions of the 5150 III 6L6 should, on paper, be about as accurate as it is possible for digital modeling to be for two reasons. Firstly, all of the digital processing power is dedicated to recreating one amp well, rather than a collection of iconic amps and effects and fancy (but useful) routing in floorboards such as the Quad Cortex.

Secondly, utilizing a real cabinet bypasses digital cabinet emulation and puts the player directly in front of two 12” Celestion G12H speakers, reducing the number of digital steps between the modeled tone and your ears. We should note here that there is cabinet emulation for a direct-to-desk sound on the amp, should you need it.

So far, the Hypersonic range consists of the 5150 III FRFR speaker, the 5150 III 6L6 1x12 combo, and what I have here, the 5150 III 6L6 2x12 combo. Looking forward to getting stuck into some high-gain tones, let’s see if it delivers what it should.

Specs

• Launch price: $1,699 | £1,399 | €1,625
• Type: Three-channel digital combo amp
• Origin: China
• Output: 50 watts
• Speaker: 2x12, Celestion G12H 30W anniversary series
• Channels: Three
• Controls: Independent three-band EQ, Gain and Volume for each channel, Presence, Resonance and Reverb, Power Mode switch, IR selector
• Connectivity: 1/4" input, IR-loaded XLR output
• Footswitch: Included
• Weight: 56lbs/25.5kg
• Dimensions: 27.5”x11.8”x24.4”
• Contact: EVH

Build quality

Build quality rating: ★★★★½

Generally speaking, one of the biggest upsides of digital technology is increased portability, but this does not apply in quite the same way when you start making digital combos big enough to house two 12” speakers. Even considering this, the EVH 5150 III Hypersonic is pretty big at 27.5”x11.8”x24.4”.

At 56lbs/25.5kg, it is also relatively heavy in the context of digital equipment (for example, the 2x12 Boss Katana Gen 3 is 43lbs), but, when compared to the 85lbs of the tube equivalent, it is a significant, back-saving reduction.

So, best avoid if you need to work with a relatively small space on stage, but thankfully, there is a 1x12 version for those who need a smaller footprint.

I say on stage, because unless you're playing live, there would be little point in buying the oomph of the 2x12 over the smaller 1x12. And, EVH has built the chassis with live use in mind, as evidenced by the thick plywood sides and reassuring metal bracings on the corners.

Big clunky switches for the power and mute functions also offer an impression of industrial strength, as do the sliders, rotary selectors, and knobs that control the I/O on the back of the unit.

The only place where I feel there is a little room for improvement is the chicken head controls that form the top half of the dual concentric setup on the top panel. They feel a little loose in use relative to the other controls, so they don't quite have the same premium feel as the rest of the amp.

The lower of the dual controls for the Green channel (channel one) and the standalone chicken head knobs for the Red channel (channel 3) happily don’t have this issue and meet the high bar that the amp sets.

Usability and features

Usability and features rating: ★★★★☆

Another benefit of digital technology is the ability to include some extra features. The Hypersonic EVH 5150 III makes use of this, but builds it around a faithful recreation of the real thing, which includes three footswitchable channels, each with its own Gain and Volume control, plus a master Presence and Resonance control, an effects loop, a sturdy footswitch, and MIDI connectivity.

A little note, as we go forward, the three channels are canonically called the Green, Blue, and Red channels. Green for clean, Blue for rhythm, and Red for lead.

The extras on this digital version include a three-band EQ for each channel (on the tube version, channels one and two share an EQ), a noise gate for each channel, and a speaker-emulated XLR out with two built-in Impulse Responses.

For running a silent stage and utilizing just the XLR output, there is a mute switch around the back.

These IRs can be swapped and changed with the EVH IR manager app. Using the app requires a firmware update for the amp, which is easy enough to do, but finding out how requires some browsing around on the EVH website's support page. I would rather have this outlined in the included manual, as it is an operation everyone who buys this amp will need to carry out.

Additionally, instead of the Power Level control featured on the tube amp, the Hypersonic version has selectable 1, 5, 25, and 50-watt outputs.

In short, there are plenty of features for almost everyone. The only omission in my eyes is a Master volume control, as with three channels that have their own independent volume, a master volume would be handy in changing the overall output of the amp without having to worry about accidentally changing the balance you have set between each of the channels.

Adding a Master to a tube amp can bring some compromises depending on its placement in the circuit, but this is a digital amp, so I can’t help but feel this is a missed opportunity.

However, the benefit of the amp being styled after something more traditional is that there are no menus to scroll through or screens to look at. It’s the upside of digital modeling with the plug-and-go sensibilities of old school tube amps.

For the most part, it’s plug your guitar in, tweak the EQ, gain, and volume to your liking, and go. A breath of fresh air in the context of digital floor boards that are getting increasingly complicated.

But that’s not to say there aren’t a few awkward quirks.

The biggest issue being the chicken head knobs positioned on top of the dual concentric controls for EQ, Gain, and Volume on the first two channels (the Green and Blue channels). The Green channel is tweaked by the lower control, and the Blue channel by the chicken head control on top (the Red channel gets its own dedicated knobs).

The top and bottom of the chicken head knobs are bigger than the control below it, and therefore, get in the way when trying to turn the lower control.

This is more than a little annoying. These controls can be done effectively, as demonstrated by Boss in pedals such as the JHS Angry Driver. So on the EVH, I find this to be a good idea that falls short in its execution.

Switching channels with the footswitch is easy, with the channel you are on properly indicated by the LED alongside the switches. Without the footswitch, the LED that indicates what channel you are on is built into the mini rotary knob that is each channel's noise gate control.

I found this confusing, initially believing, as most would, that an LED lighting up a noise gate control would indicate the noise gate being on. Nope, the noise gate is always active (turn the dial to zero to effectively have it off) and the LED indicates which channel is currently being used.

Getting back to the positive, the noise gates themselves are straightforward to utilize and a godsend on an amp with this much gain on tap. EVH has elected to avoid in-depth parameters like attack and release, and has just included one mini knob to control how severe the gate effect is.

Assuming the more in-depth parameters have been set well (we’ll cover this later - spoiler alert - they have), the result is we only need to turn the relevant gate up until the hiss goes away. Easy. And I particularly appreciate having three of them that are independent for each channel.

Having three channels with independent EQ and volume controls makes the amp a versatile beast when it comes to live use, by providing clean, rhythm, and lead sounds without the need for pedals.

Having said that, I’m sure that most of us would prefer to have a pedalboard with perhaps a nice phaser and delay to spice things up a bit, and for this, you will find an effects loop around the back, should you prefer to run things that way.

Sounds

Sounds rating: ★★★★½

Making some noise, when it’s run squeaky clean, the Green channel is a little lacking in those harmonic overtones that make a clean tone feel lively.

However, turn the Gain control up until it growls a bit, and there is a healthy, but not unpleasant, amount of high-end that is complemented by a tight low end, making for a very rewarding pushed clean tone.

Testing with both my Gibson SG and Music Man Silhouette Special, things get a little bit muddy in the low mids when that gain is pushed beyond halfway, so be careful here.

For tone shaping, the channels three band EQ sports powerful High and Mid controls, but is more subtle on the Low control. And then we have the master Resonance and Presence controls, which are both quite conservative in their effect, but help control the low-end thump and airy high end of the amp's character, without giving you enough to ruin a tone with.

Let’s face it - most of us will be looking at this amp for its driven sounds. And it does not disappoint. The Blue channel immediately adds a ton more gain, with the control ranging from a heavier crunch to all-out distortion in the first half of its travel, and then adding more than you would ever need as you push it further.

What makes it so much fun to play is that it stays tight throughout. No flubby low end here, so use that neck pickup to your heart's content. On a bridge humbucker, it’s perfect for the chuggy, high-gain, eighties rock thing, with palm mutes benefiting from that tightness.

The Red channel is similar to the Green but gets into distortion territory even earlier and has a slightly more pronounced mid-range, whilst staying super tight in the low end. In short, the perfect high-gain lead.

We also have a little space, courtesy of some digital reverb. Again, this is kept simple with just one control to adjust the amount, and is voiced with a controlled low end that keeps things mud-free even at higher settings. Being picky, I’d say it feels a little bit separate from the dry signal at lower settings, but not problematically so.

As previously mentioned, the XLR out on the back comes with two stock IRs. These are based on the EVH 5150 III cab and speaker, one with an off-axis SM57 and the second an on-axis SM7B.

Testing both, they are impressive IRs. I find myself preferring the on-axis SM7B as it is just a little rounder and has less of that digital fizz. In both cases, utilising the high cut built into the IR Loader app is a good option for mitigating that.

When compared to the real cabinet, there is a little less beefy mid-range in both, which is the sort of thing I would expect when hearing a cabinet through a microphone rather than standing in front of the real thing.

The IR loader app allows for the user to load in their own IR’s, too, so if these don’t do it for you, you are covered. Personally, with a little bit of that high cut, I would happily use the built-in IRs as a direct-to-desk solution.

Verdict

The provenance of the 5150 moniker means that there is a certain expectation on gear that bears that title, as we immediately think Van Halen and great high-gain tones. Thankfully, that is exactly what the EVH Hypersonic 5150 III 6L6 provides.

While I’m not a massive fan of the Green (clean) channel, the super tight, high-gain sounds of the Blue and Red channels are what we are all really here for.

Having three channels, each with its own individual noise gate and EQ, plus the benefits of a direct-to-desk XLR output equipped with decent pre-loaded IRs, makes the amp all any high-gain shredder will need to get through any gig. And that is in both high-volume and silent stage contexts.

The real win here is in taking cabinet emulation out of the digital equation and running a modeling amp into a real guitar cabinet and speaker. A lot of that amp in the room thing comes from the experience of being in front of a real cab, so it makes sense that this would result in a digital combo that feels real.

In short, when playing through the cab, I forgot it was digital.

The uncomfortable truth is that tubes are not going to be around forever. But if this is the future of guitar amplification, I’m okay with it.

Guitar World verdict: The EVH 5150 III Hypersonic 6L6 blends the benefits of a modeling amp with the feel of a real speaker cabinet. It plays like a real amp in a room, but with some of the upsides of digital technology, such as an IR-loaded XLR out and lower power modes. In short, despite a few usability-related shortcomings, it’s an ideal gigging solution for any high-gain player.

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Dagan Wilkin

EVH

John Nathan Cordy

After a charming soft-launch in his hometown of Ipswich over the weekend, Ed Sheeran and Orange have officially unveiled his latest pieces of signature gear: a compact series of combo amps built for buskers.

The loop pedal-loving hitmaker traveled to Ipswich Waterfront for a surprise street performance, before giving his then-unannounced amp – from his all-new Outlowd ES series – to a young fan.

It turns out the collaboration has produced three separate models – the ES3, ES60, and ES100 – with Orange saying their work together “focused on sound portability and performance.”

It pairs Orange Amps’ “analog heritage” with “a modern, musician’s approach”, with the 60- and 100-watt models delivering dedicated guitar and vocal channels, the latter with +48V phantom power and a high-pass filter and Bluetooth, all in a compact package.

The ES3 is a more streamlined model with a single-channel guitar input, Shape, Reverb, and Volume controls, as well as Bluetooth connectivity, a Li-Ion battery with USB-C charging, a leather strap, a metal grille, and a 4” speaker. It’s a 3-watt practice amp and Bluetooth speaker, but as you travel up the range, things get more exciting.

The ES60 is billed as the all-rounder, packing enough power for busking performances and ideal for home practice. Its EQ expands to include Volume, Treble, Middle, Q, Mid-Freq, Bass, and Reverb for the guitar channel, and Phantom Power switch, HPF switch, Gain, Treble, Middle, Mid-Freq, Bass, and Reverb for the vocal channel. There’s also a Master Volume.

The amp can plug directly into PA systems and adds an Effects Loop, XLR input/output, and a powered DC adapter for those who don't want to rely on its built-in Li-Ion battery.

Packing 100 watts, the big daddy ES100 takes things up a level with premium Celestion neodymium speakers, delivering “clean headroom with natural, warm voicing” for its guitar channel, and plenty of clarity for vocals.

Notably, it does away with the battery, meaning it needs to be plugged into the mains.

The ES100, Orange says, “is built for serious acoustic players in professional environments worldwide”, and is inspired by Sheeran’s countless hours of experience playing both high streets and stadiums alike.

“Music doesn’t start in arenas or on streaming platforms. It starts in bedrooms, youth clubs, pubs, schools, parks, living rooms, and street corners,” says Sheeran. “I wanted this project with Orange to feel honest to that – celebrating local musicians, local communities, and the idea that anyone can start somewhere.

“With this collaboration, it was like, would I use this? Is this something that I need in my life as a musician? And the answer was yes.”

The series, as Orange explains, was built around Sheeran’s journey from streets to stadiums, with each model proving “approachable, inspiring and genuinely useful for musicians at different stages of their musical lives.”

They look like incredibly well-spec'd and well-designed street corner combos, and the fact they've been built in collaboration with one of modern music's most famous buskers, they could give the Roland Cube – widely seen as the busking amp to beat – a run for its money.

The Orange ES3 ($199), ES60 ($699), and ES100 ($1,499) are available now and are Guitar Center exclusives in the US.

It’s another gear collab for Sheeran, adding to his two PRS baritone models, including a surprisingly versatile hollowbody, his own line of loopers, and busker-oriented PAs.

See Orange for more.

What is it?

It seems that every piece of gear that comes across my desk to review these days is leaning into artificial intelligence. Gone are the good ol’ days of plugging into a tube amp, cranking the gain, and playing the guitar. We’re living in a bold new era of prompt-driven sounds, AI-generated signal chains, and on-demand tonal tweaks that can be achieved with nothing but an app and your imagination. You’d be forgiven for feeling slightly overwhelmed in today’s modeling amp market.

Positive Grid – the biggest name in the practice amp game – was one of the earliest champions of this burgeoning tech. For its near-perfect Spark 2 practice amp, for example, it explored AI tone generation through the Spark AI feature.

Now, Positive Grid is back with a brand new amp range, hinging on a newly developed AI feature, which is promising to push the boundaries of artificially intelligent amps into new frontiers.

Enter the Reactor – a fully fledged, 50 or, as reviewed here, 100-watt combo that is offering near-instantaneous signal creation that, in theory, will give you any and every tone you could ever need.

It’s a big move from Positive Grid, and arguably its most important launch since it swept to market domination with its widely acclaimed Spark family. It's a huge statement of intent, doubling-down on the firm's commitment to developing gig-level amps, which has been explored in the past with the likes of the Bias Head and Spark Cab.

As such, there’s a lot riding on the Reactor, even more so given the ambitious nature of the amp itself. Here, Positive Grid is rolling out what it’s calling Amp Intelligence – a new “sound engine” that promises uber-authentic tube amp tones, and which uses AI to give you a number of novel ways to build sounds and signal chains on demand.

There’s also a dedicated new Reactor app to shout about – complete with a new user interface and tone exploring experience – as well as a Tone Memory function that learns your playing style and refines your tone over time. So, yes, plenty from Positive Grid to announce this brave new era. Let’s see what the Reactor is made of…

Specs

• Launch price: 100W $449 | £379 | €449
• Type: Digital amp
• Origin: China
• Output: 100W with 1W and 25W power selector
• Speaker: Custom 1x12" guitar speaker
• Channels: Clean, Warm, Grit, Crunch, Hi-Gain, Extreme
• Controls: Amp selector, Push/Smooth, Heat, Gain, Bass, Middle, Treble, Master, Effects, Volume
• Connectivity: Input, Foot Control, MIDI In, Power Amp In, Line Out, Headphones, FX Loop, USB-C, Bluetooth audio, Bluetooth connection to Reactor Control
• Footswitch: Reactor Control | sold separately ($149)
• Weight: 29Lbs / 13.3kgs
• Dimensions: 530 x 450 x 205 mm
• Contact: Positive Grid

Build quality

Build quality rating: ★★★★☆

If the name wasn’t enough to let you know that this is a completely different kettle of fish from the Spark family, the Reactor itself will confirm it. It looks like it could have been made by an entirely different brand altogether. Here, Positive Grid has opted for frills-free styling, playing down company branding and opting instead for a bombastic silver ‘R’ logo that feels like it’s meant to give minimalist vibes.

This ‘new-range, new-look’ feel is extended through the silver top control panel, which houses the generous array of bells and whistles (more on those later, natch), and silver bars at the top and bottom of the silver/grey grille.

But is it a good look for a new lineup? The words I would use are “sterile” and “inoffensive”. Dare I say “uninspired”. I get what they’re going for, but it’s a bit jarring to have something that promises such advanced, futuristic, problem-solving AI tech look… a bit dated.

Maybe that’s a bit harsh. Positive Grid clearly needed to make a big departure from the Spark range – a range literally every guitar player out there could identify – so I’ve got to give them kudos for trying something bold here. Still, it might not be to everyone’s tastes.

Aesthetics aside, there’s no denying that this is built really well. I have no qualms with the actual quality of the build here. No surprise, really, given Positive Grid’s expertise. It’s lightweight yet solid, and because of the power level you could easily rehearse and gig with this thing. I’d have no hesitation taking this on the road, and wouldn’t fret over its safety.

The amp itself is constructed from a solid wood build and nicely finished in a robust tolex outer shell, which is further supported by small but effective corner covers issued to prevent any damage directly to the amp itself. These have a nice matte finish, too, so seem relatively immune to scuff marks with heavy usage, even if they don't elevate the amp itself from the ground too much.

Likewise, the rubber carry handle feels reliable and more than up to the task of carrying this humble 29lbs amp around, and the finishing inside the open-back cab is commendable – no rough edges, dodgy joints or loose screws to report.

To that end, all those aforementioned bells and whistles feel firm and robust; the rotary switches are solid, the parameters have a good secure sweep, and the buttons to trigger effects aren’t falling off anytime soon. I’d expect nothing less from Positive Grid.

Making a combo is an entirely different challenge to making a small desktop amp, and Positive Grid is clearly not a one trick pony. It knows how to build amps. This means business.

Usability and features

Usability and features rating: ★★★½

Despite its digital prowess, the amp itself looks and (broadly) functions like a conventional guitar amp, so if you don’t want to get in the weeds with the AI stuff, you don’t have to. App-free, there’s plenty of features to tuck into.

You have a rotary switch to move between six amp types; a three-band EQ; knobs for Gain, Master and Volume, and a sole level parameter to dictate the six onboard effects. The open-back combo features an actual guitar speaker, rather than an FRFR speaker, with a connectivity port for all the I/Os.

Oh, and there are two toggle switches for Push/Smooth and ‘Heat’ functions, which adjust harmonics and feel, as well as response types for lead and rhythm playing. It’s a unique feature I’ve not really seen elsewhere, and I like it.

From this alone, you can dial in some really stellar tones, and the fairly familiar control panel – which isn’t a far cry from Blackstar ID:X and Boss Katana combos – is easy to get around, albeit not the most seamless and intuitive. The effects section can be a bit head-scratching, though, especially with its system which relies on colored, flashing and solid lights. It’s a bit tedious at first, but a necessary hump to get over.

But the real USP of the Reactor is what’s going on under the hood. The new partner Reactor app gives you access to a Creator Hub, which gives you three main ways to generate a signal chain: text, audio, and photo. There's also a 'Fix My Tone' function that can critique your preset and suggest improvements.

I try the text-based prompt function first, because that’s the most common and perhaps the easiest to get right. Unsurprisingly, it works well. It has no problem coughing up an edge-of-break-up clean tone, nor does it break a sweat when I ask for a '80s rhythm sound drenched in chorus and reverb. I get similarly excellent results with higher gain stuff, too.

What’s most interesting about the Reactor, though, is that it can generate tones based on an image. It sounds cool on paper, and it’s pretty fun to work with, but after the novelty of the new function wears off, I can’t help but wonder when this would actually come in handy.

For example, I uploaded a picture of Slash, and it rightly identified the picture, generating a raft of actually-very-good Marshall-y tone presets that did a commendable job of recreating a high-gain lead Guns N' Roses sound. But… I could have just asked for a Slash tone, right? Why go through the ceremony of providing a picture? It’s a nice novel approach, but I’m not sure I’d ever actually get much use out of it in practice.

But, to play devil's advocate, that's probably not the point of the image tone generator, and Positive Grid's intentions for this function no doubt go beyond this. My skepticism and obvious hiccups aside, this feature can work well, and could certainly be an engaging and novel approach to guitar tone that could hook beginners and more seasoned players alike.

After all, the idea here is to get creative and have fun with your tone, so what better way to test than to give it the most random image possible and see what it comes up with?

With that in mind, I uploaded an image of a weird Spider-Duck figurine laying around the house (don’t ask), and not only did it actually work out what I was showing it (yes, I was trying to catch it out) but it gave me some great presets to boot, and justified its selection.

So, you can definitely have fun with it, even if it’s not the most useful feature out there. What is far more useful is the audio function, which listens to an audio excerpt or screen recording and curates some presets either directly based on, or inspired by, the source material.

Again, the Reactor has no real problems with this, but it’s not perfect. I gave it an audio recording of a tone I’d created using my gigging rig in rehearsals, and although it didn’t come back with a like-for-like tone, it impressively identified the vibe and got close to the ball park.

As for actual songs, I fed it John Mayer’s Slow Dancing…, and it gave me a nice Fender-y clean tone. Conversely, I then gave it 30 seconds of Mk.gee’s guitar tone from Daisies and it offered up a “Modern High Gain Lead” preset that boasted “aggressive compressed saturation”. Not quite the same vibe.

So, it’s a tech that clearly needs refining, but the potential is certainly there. Like I say, I had some great success stories with an abundance of superb sounds, but also a fair few howlers that let the overall experience down.

To that end, what I like about the AI stuff is that each prompt gives you a few different presets to play with. What I really don’t like is how the app looks and feels. Again, it’s such an aesthetic clash with the hardware itself, using some, er, eye-catching AI-generated images of amps and pedals. There’s no real cohesion there and it all feels weirdly mish-mash – like two separate products that have been hodge-podged together.

That said, the additional Reactor Control footswitch is a clear extension of the Reactor cosmetic, and is a great add-on to the playing experience. It's built as equally robust, and transforms the Reactor from a tone-tinkering tool into a sound-recalling piece of gear that you could use to play an entire set.

Oh, and a quick word on 'Tone Memory', which adapts and refines tones based on your playing over time. I don't think I've played the Reactor enough to reap the rewards, but Positive Grid's slightly terrifying 'It Remembers' marketing tag line sounds oddly like a threat. It'd be interesting to see just how effective that is.

Sounds

Sounds rating: ★★★★☆

Despite my misgivings over looks and the AI, there was no denying that the vast majority of the presets I played through sounded really good. I’m incredibly picky when it comes to dynamics and response, especially from soft-driven clean tones, and where many modeling amps of this ilk fail to impress me, I found the Reactor to be incredibly receptive, balanced and warm.

As mentioned, you can get great tones straight from the amp without having to navigate the Reactor amp, and the addition of the Push/Smooth and Heat toggle switches really do bring something new and genuinely useful to the table. It’s an easy way to give a basic clean tone a bit of a harmonic bump, and add some additional attack and squishy responsiveness when using something a bit more dirty.

I had similar success moving along the gain spectrum. I’m a huge fan of how the Spark 2 sounds, and I get the same amount of joy here, especially with the abundance of effects on tap. There are delays, reverbs, modulations and drives, with plenty of each flavor to explore in the app. Naturally, you get digital clones of popular pedals, including the Rat, Big Muff and beyond.

I’m also actually impressed with how often I find myself in the higher-gain amp models on the Reactor, specifically the Extreme. I’m always put off by heavy drives on digital amps, on the basis they don’t always feel authentic or respond to my playing in a natural way, but here I have no such problems. It isn't fizzy and doesn't get away from me, which I like.

However, given the ambitious, signal chain-building nature of the AI tone generator, it’s easy to come across some presets that aren’t as good as others. Not a problem, really, because these can be ignored altogether or refined using the Creator Hub, but for every 10 good presets you play through, you’ll come across one that disrupts the flow.

Now, that’s a pretty low ratio, so nothing that hampers the overall tonal experience. But these are usually the ones that look to layer effects and create complex tones, often neglecting simple things like a decent EQ setup or taming some of the effects. Again, that can be remedied, and maybe I'm being too harsh looking for perfection, but with Positive Grid making a big deal about getting "finished, playable sound in seconds", it's an important caveat to note.

Whatever the case, the sounds are by and large the best aspect of the Reactor. Even without all the app and AI additions, it could quite easily stand on its own as a genuinely good practice amp.

Verdict

As far as amp launches in the modern age go, the arrival of the Positive Grid Reactor is a pretty big deal. Having already blown the competition out the water with its ever-growing Spark lineup, expectations for a new Positive Grid amp will be sky high.

Will the Reactor ever live up to the lofty expectations set by the Spark? Right off the bat, it’s got a bit of work to do before it gets there, but there’s no reason why it can’t – especially as the AI software develops and the app (hopefully) improves. There are some very promising signs here that hint at a very bright future for the Reactor family.

Sure, the AI thing might not be the most reliable, but when it's in full swing it can be helpful. It works more often than it doesn't, which is a relief, and even if you never use the app with the Reactor (probably not advisable, admittedly) you're still left with a mostly intuitive combo amp.

But, with all that said and done, there’s one thing that needs to be hammered home: this is a great sounding amp, and the stellar tones you can get from the Reactor are worth the price of admission alone. It’s just a shame that, if you go down the AI route, it can be a bit of a mission to get them.

Guitar World verdict: This is a strong start for Positive Grid's new outing, and indicative of the firm's amp expertise outside the Spark family. Although there may be a few teething problems with the ambitious artificial intelligence infrastructure that might put players off, there's no doubting that at the core of the Reactor is a great-sounding combo with some exceptional modeling amp tones.

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Anderton's Music Co.

Mannys Music

Positive Grid

Positive Grid has announced its first new amp range outside of the Spark family, with the Reactor series of intelligent 1x12” combos arriving with some new ambitious technology advances.

Available in 50- and 100-watt packages, the Reactor amps become Positive Grid's closest rivals to the Boss Katana and Blackstar ID:X platforms, though look to get ahead of the competition with some market-first features.

Indeed, the Reactor lineup is offering “a new approach to amplification that builds tone from the ground up”, with its 'Amp Intelligence' – notably not 'Artificial Intelligence' – engine building on the success of the Bias X plugin’s prompt-generated tones.

Dedicated signal chains are said to be generated in seconds, thanks to the all-new companion Reactor app, with entirely custom amps sometimes created in the process – and they all promise to be dynamic under a player’s fingers.

Importantly, though, all tones are fully tweakable, with a fairly comprehensive set of controls on the amp itself. There’s an Amp dial for Clean, Warm, Grit, Crunch, Hi-Gain, and Extreme flavors, alongside Gain and Master controls, a three-band EQ, and six on-board effects including a noise gate, compressor, overdrive, delay, reverb, and modulation.

But there are also “two controls you won’t find on any other amp” via the AI-powered Push/Smooth and Heat mini-switches. The former is a three-way switch, with the middle position the default. In Push mode, it adds more bite to “cut through the mix without touching your gain,” while Smooth makes tones a little warmer.

The Heat control, on the other hand, has five stages for affecting the amp’s response. More heat increases attack and harmonics, while less heat yields a more “elastic, open” tone.

As for how those tones are generated, the Reactor app offers three distinct modes for sound creation via its Amp Intelligence tech: by text prompt, by image, or by audio snippet. In turn, eight effects be stacked simultaneously, adding wah and EQ to the mix, with the signal chain fully customizable.

By extension, there's also a new Tone Memory feature that analyses and adapts to your unique playing style over time, filtering in automatic tonal refinements to best fit your own sound.

“The more you use it,” Positive Grid says, “the more it sounds like you.”

On the flipside, the back panel is heartily decked out. A USB-C input allows players to plug directly into their DAW, while there's also a 3.5mm headphone out and 1/4” jack line out, which sends its in-built cab sim along the line.

And for good measure, there’s an input for the partnering Reactor footswitch (sold separately), which can also connect wirelessly via Bluetooth and has an expression pedal input and a MIDI input.

In addition, it can serve as a Bluetooth speaker and has built-in Wi-Fi for downloading updates without needing to connect to a computer.

There are unlimited preset slots in the app, too, which makes it a handy storage system for the tones that don’t make the eight onboard slots saved on the amp itself.

It’s packing a lot, then, with the 50W model costing $349, and rising to $449 for twice the power. The footswitch is priced at $149. Those are very competitive prices indeed.

In Guitar World's early review, the ambition of the project was applauded, and despite some AI teething problems, the package was deemed a worthy companion to the Spark and a superb addition to the Positive Grid family.

See Positive Grid for more.

Whether he’s scoring Hollywood blockbusters, touring with Marilyn Manson and Jerry Cantrell, or jamming at home, one amp never leaves Tyler Bates’ side. And he got it for free.

Before he made his name penning thousands of hours of TV and film, from Californication to Rob Zombie’s horror films and John Wick, Bates was a struggling guitar teacher. So when he was offered some gear, free of charge, he grabbed it with both hands.

“In the early ’90s, when I was playing clinics and NAMM shows, I met this guy who worked at Peavey,” he says in a new conversation with Guitar World. “He offered me some stuff, and I was broke, so I really appreciated it.”

Among his haul was a Peavey Classic 50 combo amp. The unassuming amplifier did little for him at first, but when he assembled his alt-rock band, Pet, it suddenly became his secret weapon.

“In Pet, I found it was the only way to get a distorted sound with some chime on top,” Bates continues. “Often I’d be playing two different guitar parts at once; one in the bass range with broken melodies on top. I’d split the signal with a modded Marshall stack, playing a Schecter Hellcat prototype.”

The combo shone in ways other amps couldn’t, and it’s carried through with him throughout his journeyman career, including a stint in Jerry Cantrell’s solo band.

“The Marshall didn’t serve the more ethereal guitar stuff,” he says of his scoring work. “So I always had this amp by my side. There’s no time to experiment, but I found a way to explore the versatility of the amp.

“But because the Peavey’s not super-saturated, all the little artifacts and weird kinks that I want to pop out are there,” he adds. “And it's really well articulated when it's not super-distorted. It’s on every Manson album I’ve done.”

Bates has played on four Manson albums, with the second part of the One Assassination Under God album series and his final record with the Pale Emperor set to release later this year. After that, he's stepping away to work on new projects, where his Peavey, as ever, will not be too far away.

“The music I’m making right now, I’m creating a story in my mind, and the visuals are going to follow me,” he explains. “So it’s an interesting role reversal. It’s not a score, and it’s not songs; it’s somewhere in between.”

His championing of the amp is another win for blue-collar champion Peavey, coming off the back of the Decade Too, a reprise of its tiny combo amp that has been fueling Josh Homme’s sound for years.

Guitar World’s full interview with Tyler Bates will be published later this month.

What is it?

There is no substitute for practice, so a convenient home practice tool is vital for honing those chops. But the reality is most of us do our playing in the home, and something compact, flexible and portable will encourage to play even more. Enter the mini practice amp. These compact, neighbour-friendly solutions offer a convenient way to put in the hours whilst taking up minimal space in the home, but have in the past been compromised when it comes to tone. Thankfully, this has changed in the last few years with products like the Positive Grid Spark Go and Laney Prism Mini pushing the boundaries of what mini amps can do.

Looking to push those boundaries even further is Blackstar with its brand new Beam Mini amplifier. The British company blazed a trail years ago with its Fly 3 mini amps, but is now returning with a significant upgrade to the format. But following on from the well-reviewed Beam Solo headphone amp with a similar ‘Light Beam’ interface, this compact practice amplifier will feel familiar to some.

With two full-range two-inch custom drivers alongside two passive bass radiators, squeezed inside a tiny acoustically tuned cabinet, Blackstar is promising big things with the Beam Mini in operation as both a guitar amplifier and a Bluetooth speaker.

As far as guitar tone goes, Blackstar is on a roll with products like the ID:X Floor and ID:X combo amps, sporting amp modeling and ‘Cab Rig’ IR-based cabinet, along mic simulation that impressively outperforms the price tags. With that form, the Beam Mini is an exciting prospect.

The open-minded folks at Blackstar have not just limited the tones to their own technology, however, as in what is some pretty big news, the Beam Mini can run Tone 3000’s NAM captures.

Neural Amp Modeler is an open-source project that allows players to capture their amplifier and then upload that capture for anyone to use via free community platform Tone 3000. It has been gaining popularity over the last few years but Blackstar is the first company to actually build it into an amp, giving players access to literally hundreds of thousands of tones.

All of this is very promising, but products like the JBL Bandbox, the aforementioned Laney Prism Mini, and Positive Grid Spark Go make this a competitive market. Let’s see if Blackstar can take it to them.

Specs

• Launch price: $229 | £169 | €169
• Type: Mini practice amp
• Origin: China
• Output: 2 x 12W RMS
• Speaker: 2 x 2" full range
• Channels: 5 on board presets
• Controls: Patch, Gain, EQ, FX, Volume, app for in depth editing
• Connectivity: 1/4" input, USB-C, Bluetooth
• Weight: 733g/1.6lbs
• Dimensions: 5.9"x3.5"x2.9"/150x90x75mm
• Contact: Blackstar

Build quality

Build quality rating: ★★★★½

At 733g/1.6lbs, the Beam Mini is a little heavier than you might expect. Not problematically so, as I find this heft to be somewhat reassuring. The sides feel reasonably thick and are wrapped in a soft-touch, textured rubber, which not only makes it look premium but also gives the impression of a well-built piece of gear that will survive some rough and tumble in a rucksack.

The downside is that this rubberized, textured finish is prone to little specs getting stuck to it, so you might want to keep it in a case when you're on the move.

The top panel consists of a rotary control that satisfyingly clicks as it is turned and is textured to offer grip, adding to the premium feel. There are seven buttons too - Patch, Gain, EQ, FX, Volume, Power, and Bluetooth. They all have that soft, rubberized finish that is satisfying to use and a resistance that indicates quality.

Those buttons all surround the Light Beam interface, which is bright and easily readable. I’ll get more into how it is to use it later, but for now, it gives a healthy impression of modernity to the little Beam Mini.

I/O wise, we have a ¼” instrument input, USB-C connectivity, and a ⅛” headphone output. Nothing fancy there, but the ¼” instrument input is oddly placed at the bottom of the right side panel. This creates some considerations in use, which we’ll come back to, but the upside is that it feels a little neater to have cables at the side rather than hanging out the top.

Finally, the front panel is reminiscent of traditional amplifier design with a mesh and that Blackstar logo. Rounding off what is an aesthetically pleasing piece of gear.

Usability and features

Usability and features rating: ★★★★½

Getting started with the Beam Mini is simple. Plug in your guitar, turn it on, and go. It’s neater, but a little awkward to have that ¼” jack on the side panel, as if you are on a busy desk or table, it puts the cable directly in the way of your desk clutter. Or at least it does on my admittedly untidy desk.

Mind you, this could be argued to be the lesser of two evils when compared to other small amps that can topple with the weight of a top-mounted cable. However, the Beam Mini is heavy enough that I don't think this would have been an issue.

You are going to want to use the Beam mobile app to get the most out of the amp, but starting with what is available on just the hardware, the amplifier is delightfully easy to use.

There are five adjustable parameters from the top panel, which are accessed by the aforementioned Patch, Gain, EQ, FX, and Volume buttons, a large rotary control to adjust the parameters, and a single LED strip that forms the ‘Light Beam’ interface to let you know what stage each setting is at.

The Light Beam utilises animations that differ depending on the parameter that is being adjusted, in what is a surprisingly intuitive and elegant way of letting the user know what the amp is doing.

For example, push the Patch button, and the LED turns into a narrower band that steps through five locations on the strip to let you know which patch it is on. Press the Volume button, and it turns into a bar that gradually fills as the Volume is increased. Pretty ingenious.

The drawback is that only one parameter of the EQ and FX is available for adjusting this way. Just the Mix on reverb, for example, or the Treble control on the amplifier's EQ.

This parameter cannot be swapped, and although I would prefer the option to define which parameter this is in the app, the set ones still allow plenty of scope to get tones for a quick session. If you want to tweak a little deeper or swap out any amp or effect in the chain, you will need the app.

Admittedly, I find myself a little app-fatigued these days. Everything seems to have one. However, this is mitigated by the ease and stability with which the Bluetooth connection is made here - just press the button and select the Beam from your devices list - and the stylish, highly visual nature of the app.

I am immediately greeted with artistic representations of the gear rather than text-heavy menus, an easily understandable depiction of the signal chain that is split into sections and therefore stops too much information from being displayed at once, and controls that can be moved and pressed in the same way as they would be on physical gear.

It’s an interface that will feel familiar to anyone who has used guitar pedals and amplifiers before, and takes no time at all to get the head around.

What is perhaps less familiar to some of us is the Tone 3000 library of NAM captures. As I mentioned earlier, NAM stands for Neural Amp Modeling (no, not that Neural) and is Tone 3000’s open-source capture software. We’ll get to how it sounds later, the point for now is that browsing through the captures is seamlessly integrated into the amplifier menu within the Beam app, and only requires a quick sign-up to get it working. Easy.

Across the top of the app are the tools for recording to your device via the app over USB, saving new tones to either your device or one of the patches in the amp, and uploading your sounds for sharing in the cloud.

The last tab on the right is interesting, as it basically operates as a built-in YouTube player, with suggestions from Blackstar for backing tracks to jam along to, lessons, and Drum loops. I’m often utilizing YouTube for this anyway, so it’s handy to be able to use it in the same app as the amplifier.

Sounds

Sounds rating: ★★★★½

First, let's talk volume. The Blackstar Beam Mini is so much louder than a speaker of its size has any right to be. As a solo home practice amp, it has more than you could ever need, and as a Bluetooth speaker, it could easily fill any busy room in an average house.

For the latter use, I’m streaming music from my phone, and tonally, the most impressive thing is the level of bass response. Those passive bass radiators are certainly doing their job, and I actually find myself looking for a way to turn the low end down.

The mids and highs are well represented, without being shrill. As a speaker, it is nothing short of impressive, which can only mean good things for the guitar tone.

Recent experience with some of Blackstar's modeling range - namely the ID:X Floor - has taught me not to underestimate Blackstar here. Hoping to be equally as impressed with the tones in the Beam Mini, on offer within it are models of Blackstar's own St James (OD, Crunch and Clean), Artisan 30, HT Club 50 MKII, and Series One MKII amplifiers, as well as six Blackstar Ampton models that imitate everything from a clean Fender Twin (Ampton Twin) to all-out, Peavey 5150 (Ampton 6l6) distortion.

Adding to that, we also have Classic, Modern, and Flat bass preamps to play with, as well as an acoustic preamp.

In short, the tones are addictively inspiring. I’m immediately drawn to the ‘Clean’ and ‘OD’ models of the St James amp. The clean offers plenty of those gorgeous overtones with a good helping of low end, in what is a lively-feeling model. The OD goes the other way with a relatively heavy distortion in the eighties classic rock realm, which manages to maintain note clarity and a tight low end.

For all-out metal, look no further than the Series One model. It features a similar tight low end, but one that feels a little thicker for those chuggy riffs, and has all the gain you could ever need.

I’m not as big a fan of the Crunch version of the St James model, as it feels a little brittle in the high end, but here the HT Club 50 has me covered, with a nice, thick overdrive, perfect for that classic rock rhythm thing.

Impressive too are the Ampton models. An easy highlight is the Amton 800, which is unmistakably Marshall in its present high-end. The only one I feel falls a little short is the Ampton Twin, which doesn’t have the same life that I would expect from a Twin model, although it does sport that lovely mid scoop.

All of these models have the full suite of controls and switches that you would expect from the amplifier they are modeled after. This, on the Blackstar models, includes Blackstar’s ISF control, which moves between an ‘American’ and ‘British’ style sounds, making for a versatile collection of amps.

What sticks out most, however, is the way that the amps clean up on the volume control. This is where a lot of cheaper modeling gear will fall short, but here, models such as the St James EL34 can yield a chimey clean from a relatively driven sound, with the player in complete control of the amount of grit, using nothing but that volume control.

The amp models are only half the story, however, as the other, often underappreciated half, is in the cab sim. In this area, Blackstar is, again, doing things a little differently with its IR-based CabRig technology.

We have six Blackstar cabs to choose from. Open and closed back versions of a 1x12’ and 2x12’, plus a modern and vintage versions of a 4x12. For me, the biggest highlight and the aforementioned difference is Blackstar’s new “In The Room’ technology. With this, rather than modeling a microphone, Blackstar has aimed to “recreate the natural way your ears perceive the tone and feel of an amp in a physical environment.”

And it works. The tone has that low mid presence that I would often associate with being the difference between standing in front of a cab rather than hearing it through a microphone, and happily lacks the shrill high end that I often find myself dialling out of digital modelers. It’s an incredibly enjoyable experience.

There is the option of adding a dynamic, condenser, or ribbon mic, but all of these sound somewhat brittle compared to the In The Room mode, and more reminiscent of the digital thing often negatively associated with modeled guitar tones. In short, stick with the In The Room mode.

More than this, the tech also includes a Room control that allows for bringing in, you guessed it, some room sound, resulting in a subtle ambience that adds some rewarding space to the tone.

When it comes to effects, there is a suite of 28 that cover all the drive, utility, ambient, and wobbly needs you may have. There are three Pre-FX slots consisting of Gate, Filter/Comp and Drive/Fuzz, and three Post-FX slots that are Modulation, Delay, and Reverb.

They are chained in that order and cannot be moved, so perhaps lacking a little flexibility compared to the largely moveable signal chain of something like the Laney Prism Mini.

Most are great fun, like the Envelope Filter, which is very reactive to my picking and tweakable with a simple set of three controls. The Pie Fuzz does an excellent job of that thick Big Muff sound, and the Hall Reverb adds a subtle ambience whilst not getting in the way of the dry signal.

However, some, while still great, aren’t quite up to the high standard of the rest. For example, the TS Drive (Tube Screamer) and K Drive (Klon) are a little thin on their own, but good for boosting an already overdriven amp, and it’s tricky to get enough springy drip out of the spring reverb for that surf sound.

Lastly, we have the Tone 3000 NAM amp captures to consider. Like all capture tech, it is dependent on the person doing the capturing, as the amp needs to be set nicely, mic’d well, and captured properly in order to get good results. What is potentially game-changing here is that the software is completely free, with thousands of captures available. So its integration into the Beam Mini is a big deal.

Browsing through some tones, the results are mixed. In general, I find the sounds to have a little more of that digital high end when compared to Blackstar's own modeling, but I am having fun on an excellent capture of a Roland Jazz Chorus with some lucious cleans, and a JCM800, boosted by a Klon into a 4x12 that kicks out that huge, Marshall overdrive.

Equally, there are some that aren’t as impressive, for example, a 1977 Fender Super Reverb capture that has a strange, underlying distortion and feels a little lifeless.

So, as expected, you will be doing a bit of browsing to get the best out of the Tone 3000 stuff. However, this is an emerging bit of software integrated in an amp here that is quickly gaining traction in its own right, and again, is completely free to download and create captures with.

Its inclusion in the Blackstar Beam Mini is welcome, and it feels like this could be an exciting year for Tone 3000. It is worth noting, however, that we can't yet add any of the Beam Mini's drives in front of the NAM captures, but perhaps a future update from Blackstar could address this.

Verdict

To put it bluntly, the Blackstar Beam Mini feels like a significant step forward in mini guitar amplification. It has an impressive low-end for an amp of this size, an app that is the magic combination of in-depth and easy to use, an ingenious interface on the top panel, and a volume that is astounding coming from something so small.

But it’s the quality of the amp modeling combined with the impressive speakers in this tiny thing that makes the Beam Mini a leader in its class. The sounds are genuinely enjoyable, not just in the context of a small amp, but as guitar sounds in their own right.

At around $229, it's more expensive than the likes of the Positive Grid Spark Go, but the serious tones on offer justify the price. The only real downside is that you will need to use the app to get the most out of it.

Worth mentioning too is what the future holds for this amp, as upcoming is the integration of a live version of Moises, able to separate stems from an audio source streamed over Bluetooth. We got a sneak peek at this, and it is exciting. Keep an eye out, as we will be updating this review when it surfaces later this year.

As it stands, of all the mini practice amps I’ve tried, this is easily my favorite. It is a competitive market, but Blackstar has smashed the competition.

Guitar World verdict: With huge sounds coming out of something so small, mini guitar amplification just got serious, and the competition has some catching up to do. The Blackstar Beam Mini is an easy choice for anyone in the market for a new practice amp.

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What is it?

For an amplifier that has been around since the ‘90s, the Compact 60 is as close to an ‘industry standard’ for acoustic amplification as that overused moniker can claim. Of course, AER, the self-proclaimed Acoustic People, hasn’t sat idle, resting on its reputation. Today, I’m looking at the fourth-generation Compact 60.

It remains a small-footprint, 60-watt combo acoustic amplifier, but this latest iteration introduces a pre/post FX switch for the direct signal, along with an aux-in featuring its own level control. Equipped with an 8-inch twin-cone speaker, the Compact 60 weighs a remarkably light 16lbs (7.3kg) and is housed in an ergonomically compact cabinet.

There's onboard reverb, chorus, and delay that can be used across both channels. Speaking of which, Channel 1 features a ¼-inch input, while Channel 2 offers a combination jack for microphones, ideal for singer-songwriters, along with 48V phantom power for condenser mics and 9V power for instrument preamps.

This is just a snapshot of the many features packed into this humble yet sophisticated amplifier. As I pulled it from the included padded gig bag, I was keen to see whether the Compact 60 could live up to its stellar reputation. After all, it boasts Tommy Emmanuel and Eric Johnson as users. Is this an acoustic guitarist’s dream amp? Let’s find out.

Specs

• Price: $1,499 | £1,099 | €1,000
• Type: Combo acoustic amplifier
• Origin: Germany
• Output: 60 Watts RMS
• Speaker: 1x 8” (200 mm) twin cone speaker
• Channels: 2
• Controls: Three-band EQ controls for both channels, Colour switch, ‘mid-cut-treble-boost’-filter, Reverb, Delay, and Chorus with Level control, Effects Pan, Aux line level, 48V phantom power, high/low -10dB attenuator on each channel, DI out pre/post fx switch
• Connectivity: 1x ¼-inch input, combi-XLR/jack input, Aux in, XLR DI out, ¼-inch line out, Headphones out, FX loop, ¼-inch footswitch input, Tuner input
• Footswitch: Available but not included
• Weight: 7.3 kg / 16.09 lbs
• Dimensions: 260 mm x 325 mm x 235 mm
• Contact: AER

Build quality

Build quality rating: ★★★★★

First things first, I'd say the Compact 60 feels top-end the moment it comes out of the case. The cabinet is Finnish birch ply, finished in a textured water-based acrylic rather than the typical vinyl wrap you’ll find on other amps at this price. It lends a rugged feel to the amp, which is more in keeping with a hard-working PA speaker than a small portable guitar amp.

The top-mounted carry handle is held in place by eight chunky bolts, so there’s no risk of it ripping off, no matter how rough you are with it. The amp chassis itself is rugged metal, the knobs are firm and reassuring under the fingers, and the whole thing has a solidity that belies its compact dimensions. I'd say that if you’re planning to take this on the road, the Compact 60 is one of the more confidence-inspiring options out there.

One thing that will genuinely surprise you is the weight. The Compact 60 tips the scales at just 16lbs, remarkable for something that feels this solid in hand. That’s partly down to the digital power amp section, the neodymium speaker, and, of course, the compact cabinet dimensions.

Thankfully, that lightweight construction doesn’t reflect how solid this amplifier feels. Sure, it’s what you’d expect at this price point, but it's still good to see.

That said, one genuine gripe I have is that there are no corner protectors on the cabinet, which feels like an oversight on an amp aimed squarely at working musicians. Combined with the slightly flimsy carry bag, it's a minor but noticeable inconsistency in an otherwise well-thought-out build.

Usability

Usability rating: ★★★★½

I think an acoustic amp should follow the same ethos as the guitar it is amplifying, and be simple and effective. Acoustic guitars have their own natural voice, and a good acoustic amp's job is to faithfully reproduce that voice. Simplicity in the signal chain means fewer things getting between the guitar and the listener.

Thankfully, the Compact 60 leans fully into that philosophy. It’s a two-channel design, with the first channel offering a straightforward ¼-inch input, while the second handles both instrument and microphone duties via its combo input, complete with phantom power.

Each channel mirrors the other, with Gain, Bass, Middle, and Treble controls, making it easy to dial things in quickly without overthinking. The EQ has a useful amount of sweep without feeling too sensitive, meaning small tweaks make a noticeable difference without throwing your tone completely off balance. The control panel is clean and familiar and, crucially, never gets in the way, whether you’re mid-performance or just trying to find a solid baseline tone.

There’s a bit more depth here if you need it. Both channels feature a High/Low switch, which acts as a -10dB attenuator, handy if you’re dealing with hotter pickups that can push things a little too hard. Alongside that is the tone Colour filter, essentially a quick EQ contour that scoops the mids slightly while adding a touch of top-end sparkle. It’s particularly useful for fingerstyle players, as I've found it helps bring out extra detail and articulation, though it can feel a touch scooped if overused in a mix.

Around the back is where the Compact 60 flexes its versatility, and to AER’s credit, the layout makes intuitive sense in use. The sockets are logically grouped – like, the 3.5mm Aux input sits close to its own dedicated level control, so you’re not hunting across the panel when you need to nudge the backing track volume mid-set. The phantom power and FX routing switches are clearly labeled and easy to locate in low light, which matters more than it sounds when you’re setting up on a dim stage.

It is worth noting that the effects loop is global rather than channel-specific, which keeps things simple but means you can’t, say, run your favorite reverb pedal on the guitar without it affecting your mic as well.

The Neutrik XLR DI out, headphone output, tuner input, and footswitch connection round out a rear panel that covers everything from home practice to small-stage performance without ever feeling cluttered.

Sounds

Sounds rating: ★★★★½

In theory, an acoustic amp has a pretty straightforward job: accurately represent your instrument, louder. Unlike an electric amp, where the amp itself is a core part of the tone, an acoustic amp walks a trickier line; it needs to be transparent enough to honor your guitar's natural voice, while still offering enough tone-shaping to flatter it in a live environment. I think the Compact 60/4 does both. If you want it to be purely transparent, you can, but there’s still plenty of tone-shaping onboard.

For testing, I reached for my Yamaha LS6. This guitar has a slightly scooped midrange with a present, articulate top end that can verge on being too bright for some. Being a slightly smaller jumbo body, it still offers plenty of projection and a strong bass response. Going in, I hoped the AER would preserve that top-end clarity without tipping it into shrillness, while keeping the low end tight and controlled.

Since I am very aware of the limitations of lower-end acoustic amps, I wanted to use a passive pickup and rely solely on the amplifier’s ability to project my guitar’s tone. With no onboard preamp, the passive pickup in the LS6 was, in my mind, the hardest test I could put this little AER through. After 30 minutes of playing through channel one, with the EQ section more or less at noon, I chuckled to myself for ever thinking the amplifier couldn’t handle it.

The tone felt open and three-dimensional, with an almost hi-fi character that AER is known for. The low end stayed tight, the mids were smooth, and the high-end remained detailed and alive without ever becoming brittle. Diving into the EQ section while digging into cowboy chords, rolling back the bass further tightened the low end, which was needed to reduce creeping feedback as I had the volume around three-quarters.

When it comes to volume, the Compact 60 has a ceiling, and it’s worth being honest about where that ceiling sits. Switching between a passive pickup and a Sigma 000M-15E with a Fishman Presys onboard made little meaningful difference to the perceived output; the amp’s character stays consistent regardless of what’s feeding it. In practice, this amp is well-suited to coffee shop gigs and smaller, more intimate venues. It delivers enough headroom to stay clean and present in those settings, but it’s certainly not designed to compete with a full band or a heavy-handed drummer.

Testing it in a rehearsal space alongside an active 12-inch PA speaker made the Compact's volume limitations more obvious. In louder environments, it will struggle to fill the space on its own. That's where the DI out becomes essential, and it's worth knowing that it's post-tone, meaning the signal going to the PA has already been shaped by the Compact's preamp and EQ. This turns the amp into an incredibly high-quality tone-sweetener and personal monitor in one. Thankfully, though, when pushed towards higher volumes, it stayed impressively clean with no obvious breakup or distortion.

As for the built-in effects, most players will immediately reach for reverb, which comes in two options – Long and Short. This allows you to choose between a tighter, more immediate wash or a slightly more spacious bloom, depending on your preference. Now, the onboard chorus was a personal highlight, with a level control that lets you blend it as subtly or prominently as you like.

The delay, similarly, offers level control but no adjustable rate or feedback. These are preset voices rather than fully tweakable effects, which keeps the interface simple but does limit how far you can push them. Crucially, you can only run one effect at a time, which feels like a genuine limitation at this price point. That said, being able to pan the effect between channels is a smart touch, particularly useful when running a microphone through channel two, keeping the reverb off the vocal while the guitar gets the full treatment.

Verdict

Having now sunk far more hours into playing the Compact 60 than I could ever have imagined, I can honestly say I am in love. As far as natural, encompassing acoustic amplification goes, this is one of, if not the best, options I have personally used. The simple layout, compact size, and beautiful tone have made me excited to pick up my acoustic guitar again and again.

The features it does have, including DI out, Colour switch, tuner in, and headphone output, are all things I, and other acoustic guitarists, will actually use. AER hasn’t felt the need to overload this amp with unnecessary extras, instead letting the sound do the talking. It has been beautifully built, feels worth every penny, and weighs only 16lbs. For a working singer-songwriter, acoustic jammer, or anyone looking for professional-sounding acoustic amplification, this is the real deal.

That said, it’s not without its limitations. The volume ceiling means it won’t suit every live scenario on its own, and the inability to combine effects feels like a missed opportunity at this level. However, for the acoustic players playing coffee shops or intimate venues without a drummer, the volume from this little amplifier will be more than enough. And if it’s not, just use the DI out. Simple.

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• Best acoustic guitar amps: let your acoustic tone shine

In the spirit of condensing touring rigs, Quilter Labs has come up with a handy two-in-one solution where the van is the amp.

Now, it’s worth noting that The Vamp (van + amp = vamp) comes with a disclaimer in that Quilter is not responsible for any noise complaints, broken windows, or bleeding eardrums that cranking a 200,000-watt van may cause. All decibel blistering carnage produced by the vehicle’s built-in octet of 12” speakers – which are plumbed into the chassis no less – is of each user’s making.

Sure, the Quad Cortex – and its even-dinkier younger brother, the Quad Cortex Mini – are handy tools for gigging musicians. I just gigged with one and could easily take my Charvel and QC on the train, something a tube amp user could never dream of, but driving my amp to the gig? Well, that’s another story altogether.

More still, it’s got a spec sheet that would make Jeremy Clarkson need to put a pillow over his lap. 200K watts of Class Q glory, eight 12-inch custom-mounted speakers, signal-synchronized LEDs, a built-in fog machine, and the ability to go up to 60mph combine to leave digital modeler users eating dust. Literally.

It can seat five, and for those curious, it weighs 4,600 lbs. Talk about heavy.

“Every amp we’ve ever built has been about doing more with less,” says Quilter Labs founder, Patrick Quilter. “With The Vamp, we wanted to find out what happens when you do more with dramatically more. The answer weighs 4,600 pounds and comes with its own parking problem.”

Guitar World doesn’t have any inside information, but we believe the famously car-loving Yngwie Malmsteen will be first in the queue. Given that he recently sold one of his guitars (with a free Ferrari), he should have plenty of cash spare.

Quilter Labs adds that its team “spent months wiring, soldering, and questioning their life choices” to deliver a vehicle that, if our data is correct, is the world’s largest combo amplifier. And possibly the only amplifier capable of getting a speeding ticket*.

Priced at $274,999, it’s not the most affordable, but you could also live in it if/when you get kicked out of your apartment for having 10 too many noise complaints. So, you know, it’s futureproof.

See Quilter Labs for more.

*Only if you're driving downhill.

What is it?

The Fender Hot Rod Deluxe is a guitar amp that almost every guitarist will be familiar with. Famed as a high-headroom pedal platform, it is a common sight in venues all over the world, as well as within the rigs of both the serious hobbyist and the professional guitar player. This year, the Hot Rod Deluxe turns 30 years old and, given its impact, it deserves to be celebrated. So Fender has marked the occasion with a limited, 30th Anniversary edition.

This version takes the current iteration (the Hot Rod Deluxe IV) and spruces it up a bit with what Fender calls a “Black Western” vinyl, but also swaps out the Hot Rod Deluxe IV’s usual Celestion A-Type speaker for a Celestion G12M-65 Creamback.

Beyond that, it is the same 40-watt, mightily loud, 1x12 combo we all know. It boasts both a clean channel and a drive channel, with a Bright switch to bring in more highs, and a More Drive button to add, you guessed it, more overdrive to the drive channel.

Bass, Mid, Treble, and Presence controls handle EQ duties, while a real spring reverb tank introduces some ambience that is tweaked via a single Reverb knob. We also have an effects send and return, or as Fender calls it on this amp; Pre-amp Out and Power-amp In.

The Hot Rod Deluxe IV is an amp I personally own, and it has faithfully gotten me through hundreds of gigs over the last seven years, so I would happily recommend it as a gigging tube amp that is fairly priced for a professional bit of gear. If you are considering buying one, this limited edition 30th Anniversary version will cost you around $250 more than the stock IV. Therefore, the question is, is it worth it?

Specs

• Launch price: $1,299 | £1,269 | €1,489
• Type: Combo
• Origin: Mexico
• Output: 40 watts RMS
• Speaker: 12”, Celestion G12M-65 Creamback
• Channels: Clean, drive and More Drive mode
• Controls: Volume, Drive, Bass, Mid Treble, Master, Reverb, Presence, Bright/Normal, More Drive, Channel Select
• Connectivity: ¼” input, ¼” low gain input
• Footswitch: Included
• Weight: 41Lbs/18.59kg
• Dimensions: 23.5"x18.7"x10.4"/59.7x47.6x26.5cm
• Contact: Fender

Guitar World video demo

Build quality

Build quality rating: ★★★★½

You don’t get to become a renowned gigging amplifier without a rock-solid build, and the 30th Anniversary Hot Rod Deluxe follows on from the standard model with the same robust construction.

The lightweight pine chassis feels up to the challenges of a hard-gigging life. I say 'lightweight', and that is relative. Bear in mind that this is a tube amp, and as such is a hefty 41lbs, but, as the 'lightweight pine' moniker would suggest, it is on the lighter side for valve-driven, 1x12 combos. For example, the Marshall DSL 40C comes in around 48lbs, and the Laney Lionheart L20T-112 is about 53lbs.

When shifting that weight, a comfortable carry handle is important. Here, the 30th Anniversary version falls a little short for me. It has a faux leather handle, which looks more upmarket than the rubber one on the original, but is a little sharper around the edges and therefore less comfortable to use.

Just like the Hot Rod Deluxe IV, however, the tubes consist of three 12AX7s in the preamp, two 6L6s in the power amp.

The Power and Standby switches both operate with a satisfying clunk, and the chicken head controls all sport a healthy resistance, both of which give me confidence in their longevity.

I’ve always loved the oversized, jewel-like power light that sits on the top panel of the Hot Rod amplifiers. It not only looks cool in a retro sort of way, but leaves you in no doubt that the amp is definitely on.

Speaking of power, the IEC cable is molded to the amplifier. I don't think this is ideal. Personally, I always prefer to see separate IEC cables in gear designed for gigging, as loading in and out of venues can be tough on equipment, and things can break even in the hands of the most careful of users. So, the more easily replaceable high-wear items like cables are, the better.

However, as I touched upon, I have been using my own Hot Rod Deluxe live for years with the same molded IEC cable, and it is still going strong.

If you are going to use both channels when gigging, you will need a way to switch them, so Fender provides a sturdy metal footswitch that changes the amp's channels and activates the More Drive function on the Drive channel. Aesthetically, I would like to have seen the footswitch reflect the brown and black colors of the Anniversary model, but it is instead grey and black like the standard edition.

The appearance of the 30th Anniversary Hot Rod Deluxe is striking in a classy sort of way. This is completely subjective, of course, but I much prefer the Western stylings of the black, textured vinyl and the brown grill cloth compared to the understated, plain black and grey of the original, through the textured finish is slightly lost in the black of the material.

Usability

Usability rating: ★★★★½

The joy of the good ol’ tube amp is that, in general, they are fairly simple beasts. This holds true with the Hot Rod Deluxe, as it’s a case of plug in, tweak the four EQ controls to your liking, and go.

Switching between the clean and drive channels is facilitated by the Channel Select button, the Normal/Bright button adds more high-end, the More Drive button adds, well, more Drive to the Drive channel, and the amount of reverb is adjusted via a single Reverb control. So far, so self-explanatory.

Of the amp's two inputs, most of us are going to be using Input 1, while Input 2 is a low-gain input, primarily for the purpose of preventing the preamp from breaking up too early when using high-output pickups. While this is widely understood to be the usual function of multiple inputs on a tube amplifier, there’s nothing on the front panel to indicate this is the case.

There are some further naming conventions that, while they will make sense to more experienced users, may cause a little confusion in those buying their first gigging amp

Firstly, the effects loop is labelled Pre-amp Out and Power-amp In instead of the more ubiquitous Send and Return. The former is more descriptive of what is actually happening within the amp; however, it is something that I have seen cause confusion in players who are not au fait with those terms.

Secondly, the Drive and Master controls set the level of the Drive channel. Again, this will make sense to those who are familiar with how pre-amp gain and master controls work, but some will assume that the term ‘Master’ would set the overall level for both channels.

So there may be a small bit of learning for newer users; however, most will figure these things out with a little experimentation and a quick glance at the manual.

It’s also worth mentioning that these amps go to 12. Which is two louder than 10.

Sounds

Sounds rating: ★★★★☆

The Hot Rod Deluxe’s clean channel is renowned as a high-headroom, incredibly loud amplifier, perfect for showing off your pedalboards, and this holds true with the 30th Anniversary edition.

Standing around seven feet away, and using a Fender Telecaster, I was hitting roughly 103dB with the Volume control at three, and the channel didn’t break up until around seven.

So, volume and clean headroom remain the same, but there are some real changes when it comes to tone. The standard Hot Rod Deluxe is known for a mid-forward sound, with a tight bass that perhaps lacks a little life in the highs, but is great for showing off your carefully curated collection of pedals.

In the 30th Anniversary edition, the Celestion G12M-65 Creamback speaker results in a less mid-forward and more open sound, making the high end feel a little more lush.

By the time the clean channel starts to break up, it is way too loud for all but the biggest of stages, so it’s time to get some overdrive pedals out. In my case, a T-Rex Mudhoney II and RYRA Klon, supplemented with the Wampler Cory Wong Compressor, and an MXR Carbon Copy Delay.

To my taste, the 30th Anniversary version does an even better job of the pedal platform thing than the standard model, as, due to that more open nature, it allows extra detail to be heard.

Now, the drive channel. I'll be blunt here, it’s usable but is far from the highlight of the Hot Rod Deluxe IV as it can verge on bright and spikey with single-coil pickups, especially. On the plus side, the low end is tight, and you will be heard in a live mix.

The 30th Anniversary version, again being the same amp, suffers from this, too. Indeed, the change of speaker and its more open nature accentuates that spikey flavour that I don’t like in the Hot Rods Deluxe’s drive channel.

The range of the Drive control stays firmly in light overdrive territory, and the tone remains tight throughout the sweep. Kick on the More Drive mode, and it gives the channel a good boost, bringing it into heavy overdrive and stopping short of distortion, whilst retaining the same EQ and that tight low end.

Setting the drive to around six, leaving the More Drive function off, and boosting it with my RYRA Klon and T-Rex Mudhoney is where I am getting the most out of the drive channel. Using pedals like those helps smooth things out a little and placates that spikey nature, into what is a pretty rewarding, mid-forward drive.

When it comes to EQ, the Bass, Middle, and Treble all provide enough sweep to tweak your sound for a room without changing the core character of the amp, making it hard to dial ourselves out of a good tone. The Presence control adds some air, but is a lot more subtle in use.

For a little extra high-end spank, the Bright switch brings in some more cut at a frequency that can be a little jarring when playing on your own at volume, but is perfect for getting heard in a busy mix, as well as allowing articulations on chords to shine through.

Lastly, the reverb is courtesy of a real spring reverb tank. With only one control to adjust it, it is not the most versatile of things. I found myself longing for both a mix and decay control, as it is quite a warm-sounding verb set fairly long, which can get in the way of the guitar when used heavy-handedly.

However, get it in the sweet spot - for me, around four - and that warmth results in a lovely, natural-sounding ambience to build your tone around.

Verdict

Having gigged a Hot Rod Deluxe IV for a number of years, this 30th Anniversary version is an interesting thing to review. It’s exactly the same amp, but with an upgraded look and a change in speaker, presenting an opportunity to dive into the weeds of how a different speaker affects an amp's tone.

In this case, the Celestion G12M-65 Creamback in this limited edition of the amp results in a more open sound compared to the mid-range punch of the Celestion A-Type in the stock model. To my ears, this enhanced the liveliness of the Clean channel, whilst highlighting the spikey nature of the Drive channel.

Let’s be honest, most of us are not using a Hot Rod Deluxe for its drive sound. It’s famed as a pedal platform, and the speaker change here, in my opinion, enhances this function. If I did not already own one, I would happily pay a little extra and get the 30th Anniversary version above the stock model. In fact, as a result, I may well be changing the speaker in my own Hot Rod Deluxe IV.

If, however, you are someone who does use the drive channel of the Hot Rod Deluxe, or perhaps you are considering it for its mid-forward character, it would make more sense to stick with the stock model.

Either way, although it is not a cheap amp, it is on the lower end of what you might expect to spend when it comes to professional-grade gear. So, as a hard-working, gigging amplifier built to show off your pedals, it’s hard to go wrong with a Hot Rod Deluxe.

Guitar World verdict: The 30th Anniversary Hot Rod Deluxe sports a speaker change that enhances what the well-renowned amp was already good at - showing off those lovingly constructed pedalboards. It’s the same, loud, high headroom sound but with a more open, clean tone that boasts a little extra life. However, I would still avoid that drive channel.

Also try

Hands-on videos

Guitar World

Fender

What is it?

The Fender Hot Rod Deluxe is an amp that almost every guitarist will be familiar with. Famed as a high-headroom pedal platform, it is a common sight in venues all over the world, as well as within the rigs of both the serious hobbyist and the professional guitar player. This year, the Hot Rod Deluxe turns 30 years old and, given its impact, it deserves to be celebrated. So Fender has marked the occasion with a limited, 30th anniversary edition.

This version takes the current iteration (the Hot Rod Deluxe IV) and spruces it up a bit with what Fender calls a “Black Western” vinyl, and swaps out the Hot Rod Deluxe IV’s usual Celestion A-Type speaker for a Celestion G12M-65 Creamback.

Beyond that, it is the same 40-watt, mightily loud, 1x12 combo we all know and love. It boasts both a clean channel and a drive channel, with a Bright switch to bring in more highs, and a More Drive button to add, you guessed it, more overdrive to the drive channel.

Bass, Mid, Treble, and Presence controls handle EQ duties, while a real spring reverb tank introduces some ambience that is tweaked via a single Reverb knob. And then we also have an effects send and return, or as Fender calls it on this amp, Pre-amp Out and Power-amp In.

The Hot Rod Deluxe IV is an amp I personally own, and it has faithfully gotten me through hundreds of gigs over the last seven years, so I would happily recommend it as a gigging tube amplifier that is fairly priced for a professional bit of gear. If you are considering buying one, this limited edition 30th anniversary version will cost you around £200 more than the stock IV. Therefore, the question is, is it worth it?

Specs

• Launch price: $1299/£1269/€1489
• Type: Combo
• Origin: Mexico
• Output: 40 watt RMS
• Speaker: 12”, Celestion G12M-65 Creamback
• Channels: Clean, drive and More Drive mode
• Controls: Volume, Drive, Bass, Mid Treble, Master, Reverb, Presence, Bright/Normal, More Drive, Channel Select
• Connectivity: ¼” input, ¼” low gain input
• Footswitch: Included
• Weight: 41Lbs/18.59kg
• Dimensions: 23.5"x18.7"x10.4"/59.7x47.6x26.5cm
• Contact: Fender

Build quality

Build quality rating: ★★★★☆½

You don’t get to become a renowned gigging amplifier without a rock-solid build, and the 30th anniversary Hot Rod Deluxe follows on from the standard model with the same robust construction.

The lightweight pine chassis feels up to the challenges of a hard gigging life. This is still a tube amp, and as such is a hefty 18kg, but, as 'lightweight pine' would suggest, it is on the lighter side for valve-driven, 1x12 combos. For example, the Marshall DSL 40C comes in around 48lbs, and the Laney Lionheart L20T-112 is about 53lbs.

When shifting that weight, a comfortable carry handle is important. Here, the 30th anniversary version falls a little short. It has a faux leather handle, which looks more upmarket than the rubber one on the original, but is a little sharper around the edges and therefore less comfortable to use.

Just like the Hot Rod Deluxe IV, however, the tubes consist of three EL34’s in the pre-amp, two 6L6’s in the power amp.

The Power and Standby switches both operate with a satisfying clunk, and the chicken head controls all sport a healthy resistance, both of which give me confidence in their longevity.

I’ve always loved the oversized, jewel-like power light that sits on the top panel of the Hot Rod amplifiers. It not only looks cool in a retro sort of way, but leaves you in no doubt that the amp is definitely on.

Speaking of power, the IEC cable is moulded to the amplifier. Personally, I always prefer to see separate IEC cables in gear designed for gigging, as loading in and out of venues can be tough on equipment, and things can break even in the hands of the most careful of users. So, the more easily replaceable high-wear items like cables are, the better.

However, as I touched upon, I have been using my own Hot Rod Deluxe live for years with the same moulded IEC cable, and it is still going strong.

If you are going to use both channels when gigging, you will need a way to switch them, so Fender provides a sturdy metal footswitch that changes the amp's channels and activates the More Drive function on the Drive channel. Aesthetically, I would like to have seen the footswitch reflect the brown and black colors of the anniversary model, but it is instead grey and black like the standard edition.

The appearance of the 30th anniversary Hot Rod Deluxe is striking in a classy sort of way. This is completely subjective, of course, but I much prefer the Western stylings of the black, textured vinyl and the brown grill cloth compared to the understated, plain black and grey of the original, but that textured finish is slightly lost in the black of the material.

Usability

Usability rating: ★★★★☆½

The joy of the good ol’ tube amp is that, in general, they are fairly simple beasts. This holds true with the Hot Rod Deluxe, as it’s a case of plug in, tweak the four EQ controls to your liking, and go.

Switching between the clean and drive channels is facilitated by the Channel Select button, the Normal/Bright button adds more high-end, the More Drive button adds, well, more Drive to the Drive channel, and the amount of reverb is adjusted via a single Reverb control. So far, so self-explanatory.

Of the amp's two inputs, most of us are going to be using Input 1, while Input 2 is a low-gain input, primarily for the purpose of preventing the pre-amp from breaking up too early when using high-output pickups. While this is widely understood to be the usual function of multiple inputs on a valve amplifier, there’s nothing on the front panel to indicate this is the case.

There are some further naming conventions that, while they will make sense to more experienced users, may cause a little confusion in those buying their first gigging amp

Firstly, the effects loop is labelled Pre-amp Out and Power-amp In instead of the more ubiquitous Send and Return. The former is more descriptive of what is actually happening within the amp; however, it is something that I have seen cause confusion in players who are not au fait with those terms.

Secondly, the Drive and Master controls set the level of the Drive channel. Again, this will make sense to those who are familiar with how pre-amp gain and master controls work, but some will assume that the term ‘Master’ would set the overall level for both channels.

So there may be a small bit of learning for newer users; however, most will figure these things out with a little experimentation and a quick glance at the manual.

It’s also worth mentioning that these amps go to 12. Which is two louder than 10.

Sounds

Sounds rating: ★★★★☆

The Hot Rod Deluxe’s clean channel is renowned as a high-headroom, incredibly loud, pedal platform. And given that the 30th anniversary version is the same amp with a different speaker, this remains the case.

Standing around seven feet away, and using a Fender Telecaster, I was hitting roughly 103dB with the Volume control at three, and the channel didn’t break up until around seven.

So, volume and clean headroom remain the same, but there are some real changes when it comes to tone. The standard Hot Rod Deluxe is known for a mid-forward sound, with a tight bass that perhaps lacks a little life in the highs, but is great for showing off your carefully curated collection of pedals.

In the 30th Anniversary edition, the Celestion G12M-65 Creamback speaker results in a less mid-forward and more open sound, making the high end feel a little more lush.

By the time the clean channel starts to break up, it is way too loud for all but the biggest of stages, so it’s time to get some overdrive pedals out. In my case, a T-Rex Mudhoney II and RYRA Klon, supplemented with the Wampler Cory Wong Compressor, and an MXR Carbon Copy Delay.

To my taste, the 30th anniversary version does an even better job of the pedal platform thing than the standard model, as, due to that more open nature, it allows extra detail to be heard.

Now, the drive channel. Let’s be blunt here, it’s usable but is far from the highlight of the Hot Rod Deluxe IV as it bit bright and spikey, and therefore pretty hard to enjoy. On the plus side, the low end is tight, and you will be heard in a live mix.

The range of the Drive control stays firmly in light overdrive territory, and the tone remains tight throughout the sweep. Kick on the More Drive mode, and it gives the channel a good boost, bringing it into heavy overdrive and stopping short of distortion, whilst retaining the same EQ and that tight low end.

Setting the drive to around six, leaving the More Drive function off and boosting it with my RYRA Klon and T-Rex Mudhoney is where I am getting the most out of the drive channel. Using pedals like those helps smooth things out a little and placates that spikey nature, into what is a pretty rewarding, mid-forward drive.

The 30th anniversary version, again being the same amp, suffers from this, too. The change of speaker and its more open nature accentuates that spikey flavour that I don’t like in the Hot Rods Deluxe’s drive channel.

When it comes to EQ, the Bass, Middle, and Treble all provide enough sweep to tweak your sound for a room without changing the core character of the amp, making it hard to dial ourselves out of a good tone. The Presence control adds some air, but is a lot more subtle in use.

For a little extra high-end spank, the Bright switch brings in some more cut at a frequency that can be a little jarring when playing on your own at volume, but is perfect for getting heard in a busy mix, as well as allowing articulations on chords to shine through.

Lastly, the reverb is courtesy of a real spring reverb tank. With only one control to adjust it, it is not the most versatile of things. I found myself longing for both a mix and decay control, as it is quite a warm-sounding verb set fairly long, which can get in the way of the guitar when used heavy-handedly.

However, get it in the sweet spot - for me, around four - and that warmth results in a lovely, natural-sounding ambience to build your tone around.

Verdict

Having gigged a Hot Rod Deluxe IV for a number of years, this 30th Anniversary version is an interesting thing to review. It’s exactly the same amp, with an upgraded look and a change in speaker, presenting an opportunity to dive into the weeds of how a different speaker affects an amp's tone.

In this case, the Celestion G12M-65 Creamback in this limited edition of the amp results in a more open sound compared to the mid-range punch of the Celestion A-Type in the stock model. To my ears, this enhanced the liveliness of the Clean channel, whilst highlighting the spikey nature of the Drive channel.

Let’s be honest, most of us are not using a Hot Rod Deluxe for its drive sound. It’s famed as a pedal platform, and the speaker change here, in my opinion, enhances this function. If I did not already own one, I would happily pay a little extra and get the 30th anniversary version above the stock model. In fact, as a result, I may well be changing the speaker in my own Hot Rod Deluxe IV.

If, however, you are someone who does use the drive channel of the Hot Rod Deluxe, or perhaps you are considering it for its mid-forward character, it would make more sense to stick with the stock model.

Either way, although it is not a cheap amp, it is on the lower end of what you might expect to spend when it comes to professional-grade gear. So, as a hard-working, gigging amplifier built to show off your pedals, it’s hard to go wrong with a Hot Rod Deluxe.

Guitar World verdict: The 30th Anniversary Hot Rod Deluxe sports a speaker change that enhances what the well-renowned amp was already good at - showing off those lovingly constructed pedal boards. It’s the same, loud, high headroom sound but with a more open, clean tone that boasts a little extra life. However, I would still avoid that drive channel.

Also try

Hands-on videos

Fender

What is it?

When you're learning the guitar, the fewer barriers there are between thinking about playing and actually picking the thing up, the better. Back in my teaching days, I would always advise students to have a guitar sitting ready, plugged into a practice amp, and good to go whenever you find yourself with a few spare minutes. It’s the same for learners and accomplished players alike - the more convenient the act of practicing is, the more likely we are to actually do it.

There are a host of tools to help with this; some are great, some are, frankly, a waste of time. In my hands for review is the JBL BandBox Solo. This is a practice tool that should fall into the former of these categories as it has a list of useful features that, if they all work well, will make it a handy practice aide for those starting out on their guitar journey, as well as experienced players looking to level up their skills.

It is essentially a little guitar amp and Bluetooth speaker, with the ability to separate stems from a piece of music. By this, I mean breaking a song down and taking instruments out, leaving only what you want to hear. Great for isolating instruments for learning the parts, or removing them so you can play along with the song.

This, on its own, is nothing new. Peter Jackson’s “de-mixing” on Get Back is perhaps an example of the technology at its best, but apps like Moises and DAWs like Logic have been able to do stem separation for a while. Generally, however, these apps require the user to have the actual file to hand.

What makes JBL’s offering interesting is the ability to do this in real time over Bluetooth. Meaning, for example, you can load up a music streaming service on your mobile device, connect to the BandBox over Bluetooth, and it will separate stems for you as you stream.

That will perhaps be the most common use case, but any device that can connect to the JBL and transmit any audio over Bluetooth will be able to utilize its tech.

This live stem separation is the headline, but it’s the additional utilities that make it a fully fledged practice tool. These include a metronome, drum machine, looper, pinhole microphone for singers, USB recording capability, and a tuner.

To facilitate this, we have a quarter-inch input for a guitar or bass, an eighth-inch headphone output for silent practice, a 2.25” speaker when you want a little volume, plus Bluetooth, and USB-C connectivity. Furthermore, as well as the pinhole microphone, that quarter-inch input can also be used for a mic if you have the right connection type.

So, a potentially powerful ally in sharpening those chops.

Specs

• Launch price: $249 | £199 | €229
• Type: Practice amp and Bluetooth speaker
• Origin: China
• Output: 30W RMS
• Speaker: 1 x 2.25” full range
• Features: Bluetooth streaming, 8 block guitar rig, Stem AI stem separation, audio interface
• Connectivity: ¼” input, pinhole mic, USB-C, and Bluetooth connectivity
• Weight: 1lb 3oz/543g
• Dimensions: 8.3”x4.2”x3”/210x106x76mm
• Contact: JBL

Build quality

Build quality rating: ★★★★½

Considering its diminutive size, the BandBox Solo is a hefty little thing, with this particular example coming in at 543g. It’s a plastic construction, which means it doesn’t exactly have a premium feel, but the sides are thick, with protective rubber corners that round off what is a generally sturdy impression.

JBL is widely known for making speakers, and that experience is apparent here, particularly in the buttons and rotary knob that adorn the top panel. The rotary knob has a nice click to it as you rotate, and it also works as a button with a pleasing textured finish.

There are four other buttons here to turn the device on and off, pair Bluetooth, access the menu, and activate the Stem AI (stem separation). We’ll get into all their functions later, but for now, the point is they all feel solid under the fingers.

It’s got a nice, thick rubber carrying handle too. I don’t really know why, as the speaker is small enough that the handle feels a little superfluous. If anything, it’s easier just to wrap your hand around the chassis, but there’s no harm in having it.

The display consists of a white LED pixel screen that is integrated seamlessly into the top panel and is clear and easy to read.

It’s a relatively plain appearance when turned off, with just black and the odd splash of orange. But those integrated LED’s lend an element of modernity to an otherwise minimal aesthetic, making for a pretty sleek look when in use.

Usability

Usability rating: ★★★☆☆

To get the most out of the JBL BandBox Solo, you are going to want to download the JBL One app. Often, apps that rely on a Bluetooth connection can be a bit sticky - the Bluetooth in my car frustrates me at least twice a week - but the BandBox is problem-free in this regard.

The connection remained reliable and stable throughout testing, and the app succinctly takes you through the setup, making getting the speaker up and running a pleasingly straightforward process. Within two minutes of downloading the app, I am happily streaming music to the speaker via my phone.

With this done, let’s get straight to the main selling point of this bit of gear - the stem separation. This is highlighted in orange in the app, and after clicking it, I am taken to a menu which shows me three faders - one for guitar, one for vocal, and another labeled “Others”.

The operation is simple: turn the stem separation on and then tweak those faders to remove or isolate the guitar, vocal, or other instruments. Easy. It’s worth reiterating here that the BandBox is not doing this with a pre-uploaded file - it’s doing it almost in real time as I stream from Spotify.

I say almost in real time, as to facilitate this, the software introduces a slight offset of a few seconds to allow itself a chance to do that processing. So if you press play or pause on the mobile device you are using, there will be a little delay before that action is carried out.

However, the audio responds to the faders on the app immediately, which makes them feel smooth to use.

As for how well this all works, it’s not perfect, but it is useful. Focusing primarily on the guitar, I start by attempting to remove the guitar parts from Audioslave’s Show Me How To Live. It initially does a great job of leaving me with just bass, drums, and vocals. But, as the song plays, it’s clear that the software is prone to tripping up a bit and briefly reducing the other instruments every few bars.

It also sometimes takes a second to recognise new guitar parts as they come in and out. Solos, for example, will often briefly poke through before they are removed.

In a highly produced track, it tends to struggle more. Playing through Mr. Brightside, for example, and asking the BandBox Solo to remove both the vocal and guitar, the already highlighted issues were present, and additionally, at the climax of the song, it started periodically reducing cymbals and other aspects of the drums too.

When isolating individual instruments to play on their own, the BandBox does it well enough that if there is a buried guitar line that is tricky to hear, the isolation is helpful for figuring the part out.

It is a little compromised when doing this, in that it sounds like the audio is coming through a badly set noise gate, with the initial attack suppressed before being quickly faded in.

These issues are commonplace for stem separation tools. Moises, for example, also trips up in similar ways, but suffers from these problems marginally less than the JBL BandBox.

But again, we are not really comparing apples to apples here, as those apps generally need an uploaded file, whilst the BandBox Solo has the much harder task of doing this processing live. This is a worthwhile compromise, as nowadays, the majority of people are using streaming services and don’t actually own files to upload.

There are a couple of other things that stop the use of the BandBox from being an entirely smooth experience. First, there’s a lot more volume from the guitar input than there is from the Bluetooth input. Or at least that is the case with my Google Pixel 9 and the PJD Carey Standard I’m using for testing.

To get a good balance as I play along with songs, I’m running the guitar volume in the app a lot lower than the Bluetooth volume, or I’m going into the guitar preset options and reducing the volume there.

And there is also no master volume. This is a pretty big oversight, as it makes it tricky to turn both the guitar and Bluetooth audio up or down together while maintaining that balance that was awkward to set in the first place.

Aiding in supporting those practice sessions are the tuner and metronome, which both sport bright, easy-to-understand menus that are straightforward to use. Similarly, the drum machine works just like the metronome, but allows for adding a drum beat by simply selecting one of the 11 available from the menu situated below the tempo wheel.

The looper is surprisingly easy too. A big red button starts the loop, then is pushed again to end it. You can record your loop to a built-in metronome or drum machine (with a count-in), which will keep you in time.

As, obviously, I need my finger to push the button to start the loop, the metronome or drum machine is a necessity so as to avoid a gap at the beginning, as you transition your hands from the screen to the guitar.

Rounding off this feature-packed product are the built-in guitar rigs. There are 26 to choose from, which can be easily edited through the highly visual user interface.

Each preset consists of eight blocks, and these are tied to an effect type. For example, the amp block will always be an amp, but the user can define which amp it is, and tweak Drive, Bass, Mid, Treble, and Volume through large scrolling wheels that appear when the parameter is clicked.

What was a little strange about those wheels, however, is that scrolling down increases the parameter value and scrolling up decreases it. This, to my frustration, caught me out a number of times.

I’ll dig into how good the sounds are later, but for now, there is a surprisingly full complement of them, and they are easy to edit despite my frustration with the scrolling direction.

The top panel of the speaker can also be used to control the stem separation, select one of six user-defined guitar presets, and control volume. This is done through the LED screen and the Stem AI button, a menu button, and a large, clickable wheel.

Managing the Stem AI tech via the panel is a bit more laggy than on the app, as it can sometimes take a second for the audio to catch up. Also, the menu scrolls between instrument preset selection and one of either the instrument volume or Bluetooth volume, depending on what was last adjusted within the app.

This makes things a little awkward to do from the top panel. But given that streaming audio obviously requires a device of some sort, the app will always be to hand, so it’s best just to use it instead.

The last thing that is present on the top panel is a little pinhole microphone. This is great to have, but on something that is geared towards singer-guitarists, as JBL’s promo video would suggest, I would expect either an XLR or at least a second ¼” input for a microphone, as the pinhole mic obviously picks up a fair bit of guitar too. Not a problem in an acoustic setting, of course, but a little annoying in an electric one.

The guitar and vocal input can also be recorded via the USB connection, which is handy for analyzing your practice and recording quick demos.

Sounds

Sounds rating: ★★★★☆

Bearing in mind that the Bandbox is equipped with just a single 2.25” speaker and has an output of 30W RMS, it sports a decent amount of volume. It’s obviously not going to keep up with a drummer or cover music streaming duties for a busy house party, but it has more than enough volume to fulfil its remit as a solo practice tool.

Generally speaking, these types of devices make a compromise in bass response for the sake of portability, and this is the case here, but not as much as you might expect. Playing Franz Ferdinand's Take Me Out, that driving pulse on the low E is more present than it has any right to be on such a small unit.

It’s missing a bit of beef in the low mids, and the highs aren’t quite as defined as they would be on bigger devices, but for its size, it’s an impressive little thing.

The pitch shifting does exactly as it promises, and does it well throughout the whole of the ten semi-tone range (five up, five down). It shifts the key of the Bluetooth audio, but not the guitar, which I feel is the correct choice for a practice tool.

For example, at the time of writing this, I happen to have a gig that requires me to play Sweet Child O' Mine in C (one semitone down). Shifting the pitch of the song allowed me to practice along with it in the key I was to be playing it in come the gig, which is very handy.

The guitar sounds follow a similarly impressive vein, in that I would generally expect them to sound a little on the thin side on such a small speaker. While the Bandbox Solo is not going to compete with slightly bigger practice amps such as the Blackstar ID Core range or Boss Katana-Mini options, it packs an impressive amount of punch for something so tiny.

As already mentioned, we have an eight-block signal chain to play with. The blocks are pre-set to Gate, Compressor, Wah or Drive, Amp, Cab, Modulation, Echo, and Reverb.

There are two noise gates, one compressor, two wahs/one drive, eight guitar/one acoustic/two bass amplifiers, ten guitar/two bass cabs, nine modulations, five echoes, and one reverb.

Presets can’t be built from scratch, but there is the ability to tweak the factory options and then save them separately as your own presets. The factory presets consist of 22 guitar, 2 bass, and 2 acoustic. They range from Purple Rain-style dreamy cleans to all-out modern metal.

Personally, I am loving the Pop Clean preset, which utilizes a Fender-style amp with some lovely chorus, echo, and reverb. It is a complete joy to use along with some laid-back, lush chords.

The chorus adds a dreamy texture, while the echo and reverb bring some ambience that, when tweaked, can easily get into elongated shoegaze territory. And they do this without washing out the original guitar tone or sounding too separate from it. It’s a genuinely good ambient sound.

Another highlight is the High Gain Lead preset. This is, as the name suggests, a saturated, mid-forward tone with tons of sustain, great for ripping some shreddy solos. It’s initially a little dry, so I'm adding echo and reverb to create some space. And then an Echo Phase to help with some Van Halen-type sounds, which proves to be a lot of fun.

This preset uses a JCM 800 model and pushes it with a ‘Precision Drive’. This is the only drive on board, which strikes me as an odd limitation, as most would like to see some Blues Breaker-style or Tube Screamer-esque options here.

Perhaps the saving grace is that the amps range from Fender Clean to Marshall Crunch to Peavey Distortion, so there are plenty of drive tones to choose from within the amplifiers. The intention is obviously to use the Precision Drive to then push these amps further, which it does well. It pushes clean sounds into mid-focused crunchy leads, overdriven amps into sustaining distortion, and distorted amps into gloriously saturated heaven.

Guitar sounds are not the only thing on show here, as we also have scope to hook up a microphone if your mic has a ¼” connection or you use a converter. If you are short of these, however, the Bandbox includes a pinhole microphone on the top panel too.

The pinhole mic is fun to use, although a set of headphones is needed in order to avoid feedback. The sound is surprisingly full and comes with Reverb and Delay.

These effects are minimalistic in that each only has one meter to adjust the amount you want. Raising the level of the Delay increases the delay time and mix (feedback seems set to roughly seven repeats), and raising the Reverb increases the length and mix.

It’s fairly simple, but both wrap the vocal in a comfortable space without getting in the way of the original signal throughout the full sweep of the effect. Very usable, and a great practice tool, particularly if you are frequently required to sing using in-ear monitors.

Verdict

The JBL Bandbox Solo is an interesting bit of gear. The stem separation technology does not work perfectly; it’s not the best-sounding speaker you will ever hear, and it is not the best guitar practice amp either. But, despite not being the best option in these individual aspects at this price point, the Bandbox still does all of these things to a decent standard.

What is notable is it’s ability to separate stems from a Bluetooth audio source, rather than requiring an actual song file in the way that apps like Moises do.

And then, we have the mic input, metronome, drum machine, pitch shifter, recording capability, and more. It’s when we consider this package as a whole that the price begins to make sense, as all of these things together make the JBL Bandbox an enticing proposition for all who would regularly use these tools whilst putting in the practice hours at home.

Guitar World verdict: In a world where streaming is king and few people own the music they listen to, the JBL Bandbox Solo’s ability to conduct stem separation from a streamed Bluetooth source is incredibly useful. Combine that with decent guitar sounds, an ability to take a mic input plus a host of other practice utilities, and it all adds up to what will be, for many, an invaluable practice tool.

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What is it?

Texas bluesman and session legend par excellence David Grissom has a firm and long-standing bond with PRS. Legend has it that company founder Paul Reed Smith attended a gig where David was whipping up a storm and soon snagged him as a tone-advisor for the brand as well as a signature artist.

And, after the completion of his signature guitar in 2007, David set about creating an amplifier in conjunction with PRS head designer, Doug Sewell, tuned to the guitarist’s exacting tastes.

Following David’s penchant for preamp simplicity and power amp saturation, a number of high-quality guitar amplifiers bearing his initials have reached the market with details tweaked to achieve consistent tone in different wattage packages.

Conjuring the characteristics and peculiarities of David’s four favourite classic amps, a magic blend was concocted – the aim was to achieve the top-end of his tweed Deluxe, the midrange of his Hiwatt, and the low-end courtesy of both his JTM45 and AC30.

This single 12-inch Celestion Vintage 30-equipped 15-watt version is the first combo in the DGT lineage and, as such, received a great deal of attention in order to achieve a tight but full bottom-end. With its two EL84 power valves and a valve rectifier, power-stage saturation is clearly a key feature as is needed to achieve the gutsy tones favoured by David.

It certainly looks the part, too, clad in a blond Tolex covering with a black front-panel and salt-and-pepper basket-weave grille cloth. It cuts the dash of a vintage classic without steering too close to any particular brand’s aesthetics, and it’s a reasonably lightweight cabinet that’s definitely not a back-breaker.

Under the hood we find a printed circuit board construction, which is no bar to great tone. As ever, we recommend a reasonable amount of care with board-mounted valves and pots, although this type of build is quite standard at the price point and PRS does back it with a five-year guarantee.

Alongside the amp is a heavy-duty black three-way, LED-illuminated footswitch for boost, reverb and tremolo deployment via the included 5.3-metre five-pin MIDI-style cable.

The front-panel mini-switches modify the footswitching options, allowing the master volume and Bright switch to be instigated via the Boost switch.

Specs

• PRICE: $1,449/£1,449
• ORIGIN: Indonesia
• TYPE: All-valve single-channel combo
• VALVES: 2x EL84, 3x 12AX7, 1x 12AT7
• OUTPUT: 15W
• DIMENSIONS: 622 (w) x 267 (d) x 470mm (h)
• WEIGHT (kg/lb): 19.05/42
• CABINET: Plywood
• LOUDSPEAKER: 1x12” Celestion Vintage 30
• CHANNELS: 1
• CONTROLS: Volume, Boost switch, Treble, Mid, Bass, Bright switch, Master, Master switch, Reverb, Top Cut, Presence, Speed, Tremolo switch, Depth 
• FOOTSWITCH: 3-button included
• ADDITIONAL FEATURES: Switching configurability options. Bias terminals
• RANGE OPTIONS: Head-only version $1,199/£945
• CONTACT: PRS Guitars

Usability and sounds

Having had the pleasure of spending some time with the DGT 15 head, setting these controls felt like familiar ground. Perhaps the best way to appreciate how this amp wants to work is to switch the master volume out of the circuit – using its mini-toggle – and set the input gain as if it is the sole volume control.

This gives the output valves priority in terms of supplying saturation and harmonics. While this may be the reverse to how master volume amps are often used, it affords a more muscular and physical experience.

Using the non-master mode described above and with the usual six-string suspects lined up, we opt to begin with our Telecaster. Sounding immediately detailed yet gutsy, it’s a full-bodied tone with an inherent low-end that fills any gaps in the sound of single-coil guitars.

With the input gain set low we still find an exceptional amount of sustain, alongside the bell-like clarity. Switching to the Tele’s infamous bridge pickup, we get a gnarly early break-up with teeth.

Alongside Bass and Mid controls, we are blessed with four ways to modify the top-end: Treble, Top Cut, Presence and the Bright switch – providing the maximum flexibility to dial the sound to perfection.

It’s worth mentioning the chosen Celestion Vintage 30 12-inch speaker in this combo amp is capable of a little extra detail perhaps than the more traditional Greenback. This is a great match for the size of cabinet and amp output and it will compress nicely at higher levels, especially once the speaker has become ‘broken in’.

Time for our Les Paul Custom with Patent Applied For-style humbuckers, and as we push the input gain to halfway, we soon hit an appreciable seam of rich sustain and sizzling chords. With a push of the Boost footswitch, lead fluidity and controlled feedback are accessed, building on the same core tonality but this time with increased gain and sensitivity.

The default nature of the DGT 15 combo is raw, honest and unaffected. It is not about a pristine clean sound or a highly overdriven lead tone; this is very much a ‘set and forget’ platform, where further changes only need come from its three-button footswitch or your favourite pedals.

Utilising the guitar’s volume controls, it’s possible to achieve a huge amount of dynamic and tonal variation for rhythms or solos in the classic manner employed by Grissom and many other legendary blues-oriented players.

The onboard reverb is well tuned to provide a long and transparent halo, though it doesn’t sound particularly springy, despite its classic three-spring format.

Switching in the tremolo effect and we’re met with wobbulations of the smooth and vibey kind. It has a wide range from slow to fast and from mild to deep, something not all tremolo-equipped amps can achieve.

Verdict

Verdict: ★★★★½

While for every player there is an amplifier, some amplifiers please more people than others. It’s important to judge this one on its intended function as a bold, classic tone-machine aimed at vintage-appreciating, feel-based players. In this light, armed with a bunch of your favourite tone-bending pedals, this amp really is a people-pleaser.

Matching its tonality and gain to a variety of instruments and styles was effortless, but it’s at its best reproducing the classic sound palette of the ’60s and ’70s, albeit with a more extended and defined low-end and modern construction.

It’s a happy marriage of tone, power and portability and resides at the higher end of the market before reaching the realm of boutique pricing. But its tonal quality is a match for the more boutique offerings from smaller high-end manufacturers by virtue of the extensive research and development it has received.

Guitar World verdict: For those with classic tastes and an ear for the magic that power-section saturation brings, we’d say that you owe yourself a date with the DGT.

Hands-on videos

PRS Guitars

American Musical Supply

• “There’s more ‘Fender’ to Fiore and more ‘Gibson’ to the SE DGT… Inspiring guitars from inspiring players”: PRS Fiore HH and SE DGT Standard review
• This article first appeared in Guitarist. Subscribe and save.

When Fender announced the return of the ’62 Super Amp as part of its American Vintage series, tone-chasers took notice.

Often overshadowed by its tweed and black-panel siblings, the original brown-panel Super, produced briefly between 1960 and 1963, bridged the gap between the raw sag of the late-’50s tweeds and the glassy, high-headroom clarity of the later black-panel amplifiers.

Because production numbers were relatively low, authentic brown-panel Supers are rare and their tone has become almost mythical among collectors.

For decades, these Supers have been prized for their unique warm, woody, harmonically rich tone, commanding serious prices on the vintage market. In fact, the early ’60s brown-panel Supers remain some of the most sought-after amps ever made.

With a 40-watt 6L6 power section, a pair of 10-inch speakers and a unique Harmonic Tremolo circuit, the Super delivered a rich, warm clean sound that bloomed into sweet, chewy overdrive when cranked. The new ’62 Super Amp aims to deliver that brown-panel era experience once again. And the result is far more than a reissue; it’s a vivid resurrection of the brown-panel era, capturing the organic depth and expressive feel of early ’60s Fender tone.

Fender’s design team studied and replicated the original circuitry with remarkable precision, meticulously engineering the amp from the ground up. Working closely with Celestion, the team developed a new pair of 10-inch speakers voiced specifically for this amp, delivering the same punch, warmth and responsiveness that defined the original.

From its period-correct brown Tolex to its unmistakable sonic character, the new ’62 Super Amp offers an authentic brown-era experience for a new generation of players.

Senior product manager, Rick Heins, reveals how this classic was brought roaring back to life.

What inspired Fender to revisit the brown-panel-era Super Amp?

The ’62 Super has such an interesting place in Fender’s history. The brown-panel amps are one of those eras not many players have experienced. They’re rare, expensive, getting harder to find and almost unobtainable at this point. We’re always looking at vintage Fender amps that people still talk about as ‘the ones that got away’, and the Super kept popping up in those conversations.

I remember being in New York for work and wandering into a Guitar Center that had a vintage room. I picked up a guitar and plugged into what I think was a ’61 or ’62 Super. It just floored me – that throaty overdrive, the warmth, the Harmonic Tremolo.

It had such a unique voice. People literally started coming into the room asking what amp I was playing. That stuck with me. I thought, ‘If we ever expand the American Vintage line, this could be something really special.’

We’d also noticed on forums and in player discussions that the brown-panel amps, especially those with Harmonic Tremolo, were getting a lot of love and commanding serious prices. That told us there was real interest.

Between the sound, the scarcity and the story, it just felt like the right time to bring the Super back and reintroduce an era of Fender that a lot of players have never had the chance to hear or feel.

How long did the original Super run in the Fender line-up?

I want to say they started making it around 1960. And then I think probably there was some crossover, like in ’63 or ’64, when the black-panels started coming out, so there was some overhang between both.

But I would say the last ones were probably around ’63. So you’re talking like three years or so that it was around, might even be a little longer. I’ve seen ’60s, I’ve seen ’62s. I’m not sure I’ve ever seen any ’63s. They soon transitioned into the black-panel with a different circuit, so it wasn’t a long run.

Brown-panel amps fit in between the tweeds and the black-panels. What’s your take on the tonal differences?

It was an interesting time for Fender amp circuits. When Leo was working on the tweeds, people forget, the amps were designed to amplify clean tone, not distortion. Tweeds ended up distorted and guitarists loved that, but Leo was kind of unhappy with it.

So with the browns, he started working on the circuits to get them cleaner. They still had a bit of hair, still distorted a touch, but [were] more refined. That’s why he moved on to the black-panels later and those got cleaner again.

But the brown-panels have a sound that’s really hard to classify. Very warm and woody. When you play a Strat, especially on the neck pickup, through a brown-panel, there’s this organic, woody tone. Black-panels can be bright, which is great and what was intended, but they can lack some of that warmth in the midrange.

Browns have a punchiness, a sort of immediate feel. They don’t sag like tweeds. The power section feels more robust. Crank one and it’s a warm, fat overdrive. Not thin, not ‘paper tear’ distortion, but a fuller, fatter sound. That midrange and warmth sits perfectly in a mix, whether live or recording.

A lot of times, when you record a guitar, you end up chopping lows and highs to fit it with drums, bass and everything else. A brown-panel naturally sits in that sweet spot where you’re not fighting with the bass or cymbals. When you’re playing, it has a unique feel under your fingers, so very tactile.

Why are the original Supers considered hidden treasures and why are they so rare?

Well, there just weren’t as many made as the tweeds or black-panels. You don’t see them on the market often. I think it’s just one of those transitional amps. Leo was always tinkering, trying to make them cleaner.

There are a few amps from that era that are cool but don’t get their due, mostly because people haven’t played them. It’s hard to get excited about an amp if you’ve never heard it, right?

How closely does the new version follow the original circuit?

We bought an original in really good shape and spent a lot of time dialling it in. We tried to get it as close as possible to the sound of the original.

But there are things that you just can’t replicate – such as ageing a cabinet 60-plus years, original tubes like RCA – but aside from that, we went through a very rigorous process and compared it over and over again. Initially, it sounded good, but it just wasn’t close enough, so we’d send it back to R&D, tweak it and try again.

Some original components aren’t available any more, so we had to find ways to match the sound with modern tech. And I think we did really well. We compared it using the same speakers as the original and, to my ears, it’s very close. You can tell the difference if you’re listening for it, but it feels authentic.

Were there any changes that you had to make to the circuit?

No major changes. Everything was intentional. We did slow down the tremolo, though. The original tremolo is fast, even at its lowest setting it’s pretty quick, and at its fastest, you almost can’t hear it.

We figured most players today would want it slower, more gradual. Otherwise, everything’s the same. Same tube count, same Harmonic Tremolo design.

What features make the Harmonic Tremolo unique?

It’s phase-shifting, tube-based tremolo, so it’s different from bias tremolo or Opto units in ’60s Twins and Deluxes. It uses extra tubes to create this effect. It almost sounds like the pitch is shifting, similar to a Rotovibe or that Hendrix vibe – very subtle and musical.

Leo probably moved on from this design because the extra tubes needed to make it work cost money. He was also experimenting more with tube-driven reverb.

How did you recreate the speakers?

The original had Jensen Alnico speakers. Great clean tone, but they collapse when you crank it. In the early ’60s, guitarists played differently and really didn’t crank the amps past clean, so there was no issue with Alnicos.

For the reissue, we wanted something that handles clean and cranked tones and that retains warmth and woody character. We worked closely with Celestion to make a custom ceramic speaker, not based on originals but entirely unique.

We undertook A/B testing against other modern replacement speakers, even double-blind testing, to make sure we weren’t just choosing with our eyes. We got something that holds up under volume, sounds clean and warm, and is great for rock or country. It’s still unmistakably a Super, with just a touch of flavour difference.

When placed side by side with the original speakers, do they sound the same at moderate volume?

Close enough that you wouldn’t mistake one for the other. Alnicos push differently from ceramics, but it’s subtle. We’re comfortable saying it sounds like a Super.

Are there any other modern features aside from the tremolo tweak?

Not really. The rectifier is the same, the circuit’s the same. We’re using PCB instead of full hand-wiring, but critical tube sockets and areas are hand-wired. The footswitch and cover match the original. The goal was a true American Vintage feel without driving the price through the roof.

What did you use to voice the amp?

We used Strats, Teles, humbuckers – they all sound great. Crank it up and it gets fuller and fatter, really meaner, but it doesn’t collapse. Also the volume knob on the reissue is gradual, unlike some black-panels where volume jumps from zero to 50.

Did you encounter any challenges when replicating the warm woody tone or the sparkling clean tone?

Yes, balancing warmth and sparkle with modern components was tricky. You want that warm, woody tone, but you also need sparkle on top, especially when playing a Strat in position 4; you want that spanky, quacky sound.

Our R&D team knows these amps inside and out and wanted [the reissue] to sound right with a Strat, Tele or humbuckers. When you crank the volume it fattens up without falling apart. It’s got great overdrive that’s full, fat and musical. Midrange punch and warmth are the key signatures for this amp, but they also have a lot of presence so you won’t get lost in the mix.

Are there any other defining features of this new ’62 Super Amp?

Turn it up! That’s where it really sings. You’ll feel the difference from clean to fat overdrive. You can get usable sounds at low volumes, but it gets bigger as you turn up – really nice. These amps are fun to play and really special.

• Leo Fender’s favorite amp, recreated? Fender ’62 Super Amp review
• This article first appeared in Guitarist. Subscribe and save.

What is it?

AI is in everything these days, from your car and your fridge to your guitar amps and AI-powered guitar pedals. It’s quickly becoming two letters slapped onto pretty much anything to make it sound more enticing to consumers. The JBL BandBox Trio, launched alongside the smaller Solo mode, is yet another guitar product that’s leveraging the power of AI in order to offer musicians a better practice tool. And it's got a very intriguiging USP for an amp.

The Trio, and the smaller BandBox Solo model it's being launch alongside, can separate and isolate a song’s bass, guitar, drums and vocals in real-time. All from streamed audio. A potential game-changer for learning songs - but also part of the BandBox’s bigger picture.

I’m sure most of us have had mixed experiences with AI; sometimes it works great, other times the results are laughable. But AI has actually been in music creation and, in particular, music production for quite some time now, and stem separation is something that it’s actually quite good at.

I’ve had great success with AI tools to remove instruments from songs and plugins like Acon Digital’s Remix:Drums that separates drum sounds in real time and allows for individual control over all the elements. Just because something has those two dreaded letters on it, doesn’t mean it’s necessarily bad. Now I'm intrigued by what the BandBox might be able to deliver with this kind of technology for guitar players in combination with an amp.

Buzzwords aside, the JBL BandBox Trio is a mix between a smart practice amp and a PA speaker in a very similar vein to the Positive Grid Spark Edge, giving you four channels, microphone connectivity, and a companion phone app with which to access a myriad of useful practice tools like a pitch shifter, looper, and a metronome.

Outputting a hefty 135W RMS via a 1x 6.5-inch woofer and 2 x 25mm silk dome tweeters, the Trio boasts a frequency response of 50 Hz to 20 kHz, so it’ll sound great playing your favorite tracks at volume. A built-in battery allows you to play it on the go, with a charge time of around 3 hours and a playtime of up to 10 hours, depending on what you’re doing. You can also run it with a traditional IEC cable if you don’t fancy relying on a battery.

Specs

• Launch price: $599.95/£529/€599
• Type: Modeling guitar amp with real-time track stem separation
• Origin: Vietnam
• Output: 135W RMS
• Speaker: 1 x 6.5 inch woofer, 2 x 25 mm silk dome tweeter
• Channels: 4
• Controls: 4x encoders, 4x channel buttons, 1x Stem AI button, 1x master encoder,
• Connectivity: 1 x 1/4", 2 x XLR-1/4" combo, 1 x 1/8" (aux), 1 x 1/4", 1 x 1/8" (aux)
• Weight: 19.27lbs, 8.74kg
• Dimensions: 344 x 265 x 228 mm / 13.54” x 10.43” x 8.98”
• Contact: JBL

Build quality

Build quality rating: ★★★★★

Pulling the BandBox Trio out of the box, my initial thought is that it’s very attractive. It straddles the line between music gear and Bluetooth speaker in a subtle way, and the burnt orange accents on the JBL logo are really classy looking. The front grille is a corrugated mesh, and on the front four and bottom rear corners are curved rubber pads to ensure no sharp edges bash into you or anyone else during load-in.

There are rubber feet on the underside of the chassis, which help it to sit slightly tilted upwards, and they have a little bit of give to them and feel soft and smooth. It isn’t long before they’re absolutely covered in cat hair and dust from being on the floor, however. On the very underside of the BandBox Trio is the battery compartment, which can be unlocked by turning the built-in screw, revealing an orange interior.

The rubber handle is embossed with the word ‘BandBox’ and is a curiously squidgy rubber that flexes much more than you’d expect from a traditional guitar amp. It feels really comfortable and helps make the 8.7kg weight feel reasonably manageable, although I wouldn’t want to be carrying it huge distances, it would be fine to carry from a car to a gig or a busking spot.

The top panel is dominated by the LCD screen with five rotary encoders below. In the middle is a channel and mixer select menu, and a dedicated button for ‘stem AI’. To the right is a large master encoder and the power-on button. On the back, going from right to left, we have two combo-XLR inputs with switches for mic or line level sources, an instrument input, a Bluetooth button for connecting various devices, an aux and USB-C input, and then finally an output section with a 1/4-inch direct out and a 1/8-inch headphone output.

Usability

Usability rating: ★★★★☆

Plugging in the BandBox Trio, the light next to the power button starts pulsing immediately, which I presume means it’s charging the onboard battery. Pressing the power button, it comes on with the sound of deadened guitar strings being struck and a synth riser with some serious bass on it. The display shows each channel input alongside volume controls for each input, including an overall master volume.

I start by connecting my phone via Bluetooth to see how seamless the connectivity is, and I’m pleased to report it connects immediately after displaying a pin code I need to confirm, letting me know the pairing has worked with a very MIDI-sounding acoustic guitar triad. It’s the BandBox Trio’s way of letting me know that it’s not just a fancy Bluetooth speaker, but a proper guitar amp.

It’s always a good measure of a product to see how far you can get before you need to reach for the manual, so I grab my baritone guitar and plug straight into the instrument input to see what happens. After a second or so, the corresponding channel on the display lights up, and the volume knob becomes active. I do note that because of the way the inputs are located, the angled head of my guitar cable, which has a large Neutrik connector, won’t plug in with the cable naturally trailing down, and instead has to be turned at an almost right angle in order to get a full connection.

Pressing the channel 3 button, the mixer brings up a selection of guitar presets, with 22 different models, each with controls for drive, bass, mid, treble, and volume available to select. Turning the large encoder runs the gamut of sounds from compressed clean to industrial metal, so on face value, there’s plenty of flexibility. There are then two acoustic guitar sounds, and two bass guitar presets, with the final and 27th sound being a bypassed setting, allowing you to plug in an amp modeler or another line-level instrument.

Channels 1 and 2 have identical settings, with a built-in delay and reverb, as well as bass and treble EQ knobs with a volume control. Channel 4 has a control for playback, so you can automatically get your phone to play whatever was the last used app, which in my case is The Downbeat podcast. It also features Bass, Mid, and Treble knobs alongside a volume control.

Hitting the orange encircled ‘stem AI’ button brings up a new menu, with a button to adjust whether it’s on or off, with settings for drum volume, vocal volume, ‘others’, and a pitch shift option which goes from -5 to +5. I start by playing a song from my phone, going for Radiohead’s Paranoid Android as it’s quite a complex mix with lots going on, so hopefully a challenge for the onboard stem splitter…

It does well, but it’s not perfect. It’s great at removing the drums, because most of their information is transient rather than tonal, but it finds it hard to distinguish between melodic elements that occupy the same space. That means vocals, guitars, synths, and sometimes the bass can get taken out or occasionally pop back in when you’re not expecting. The same with elements further back in the mix, like backing vocals or additional percussion.

If you want to practice your guitar, however, it’s absolutely brilliant. Dialing the ‘other’ knob down, which removes melodic, non-vocal information, I can play along using the built-in amp models quickly and easily. It works great for a variety of tracks, so I try my hand at Turnstile’s The Real Thing and CCR’s Ramble Tamble to great effect. It’s immediately easy to see just how powerful stem splitting can be for the guitarist who wants to practice, especially as you can stream pretty much any song you like from your phone.

The quality isn’t good enough to record or play live with, in my opinion, unless you’re using a song with a very simple arrangement. For jamming along and practicing at home, players who are depping for other bands, or guitarists playing in cover bands, it is an invaluable tool for honing skills and learning songs quickly and easily. For drummers learning songs, it’s even more powerful, as the drum removal tool delivers fantastic results.

If you wanted to perform live with the Trio, I'd feel more comfortable doing it with a purpose-made backing track that I know isn't going to randomly output a huge burst of low end or occasionally reveal a backing vocal at random.

Another thing that’s not so great is the companion app. It’s not the slickest in action, and in particular, I find the guitar tuner is slow to react to my turning of the tuning machines, despite the very cool-looking interface. There’s a slight delay as well when using the app and the action happening on the Trio, for example, when I use the tap tempo on the metronome, it takes a while for the click to change. None of these are dealbreakers, of course, but in time it would be nice to see the app get some more love in order to be on the level of software like the Spark companion app.

Sounds

Sounds rating: ★★★★☆

Even from the start-up jingle that plays when you power it on, you can tell that the BandBox Trio has some serious emphasis on the low end. When playing my go-to bass test track, Lil Wayne’s A Milli, it’s room-shaking stuff as I start to crank the master volume up. For a relatively small speaker, it outputs a lot of volume.

For music playback, this is great, but I did notice straight away that there’s a lot of additional low-end in the onboard amp models because of this. It makes some of the default patches feel a little unnatural, as there’s so much energy in the bass and sub bass. I find I can easily dial this out with the EQ settings on the amp models; however, I do find it takes a bit of tweaking on a lot of the presets to remove this extra low-end heft.

The amp models are surprisingly good too, considering that JBL isn’t known for modeling amps. There are some really great tones here. The Brit Crunch preset does a fantastic Marshall-style tone, and I really enjoy the Feathered Blue preset, which is a low-gain model great for blues and country-style musings. They’re not all gold, of course, but considering JBL's relative newness to the field, it’s an impressive and comprehensive offering if you don’t already have a modeler to use.

It feels as though JBL has focused on getting the core sounds right rather than pumping up the numbers with hundreds of models, and it really shows in the quality of the tones on offer to guitarists. It's great to hear how reactive the amp models are to my volume knob, and once I dial back the bass on some settings, I can get some really nice sounds out of it.

When jamming along with some stem AI’d tracks, that extra low end actually really helps me feel the groove. The more 'hi-fi' feel of the streamed music, combined with the more regular guitar tones that I'm used to hearing out of a guitar amp, blends really nicely and easily into a cohesive whole.

Verdict

I’ll admit to being skeptical about yet another smart amp boasting AI technology, but the JBL BandBox Trio surprised me with its solid amp models and incredibly useful stem splitting technology. It’s got bags of volume for those who want to busk, and in its dual role as a PA speaker, it could definitely help you be the life of the party, blasting great music.

That said, I think for most guitarists, the BandBox Solo is a better option for home practice if you want stem splitting. Unless you’re a busking musician or you regularly jam at home with someone else, the Trio is a pretty hefty investment considering the amount of quality available in the field of practice and desktop guitar amps. The companion app also needs improvement if it wants to compete with others from Positive Grid et al.

Guitar World verdict: The JBL BandBox Trio delivers surprisingly good amp models and one of the best AI practice tools I’ve ever used in the stem splitting function. It’s an unexpected, but successful venture into the world of guitar amp simulation and very much the equal of the smart amp establishment. It’s a great product, but I feel that the use case will be limited for guitarists who aren't busking, most of whom would be better off with the smaller Solo model.

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Hands-on videos

Gear 4 Music

Sweetwater

NAMM 2026: Roland has introduced its latest battery-powered PA solution, with “class-leading tools” designed for gigging musicians and street performers alike.

Thanks in part to Ed Sheeran’s meteoric rise from busker to stadium filler – and subsequently launching his own street performer PAs – there has been a fresh emphasis put on the portable PA market in recent years. Roland, with the Cube Street Mini, is maintaining that momentum.

Its dinky, easy-to-carry size and battery-powered draw – via an onboard rechargeable battery with a seven-hour playtime – effortless setup, and “intuitive” control panel are the headline features.

It's been designed to handle multiple instruments, with an onboard dial for a more dedicated tonality via modes for acoustic guitars, keyboards, electric guitars, and vocals.

There are also instrument controls for Volume, Tone, Reverb/Chorus/Delay, and separate Volume, Tone, and Reverb/Echo dials for microphones specifically – plugged in via XLR or TRS – allowing singer-songwriter types a more personalized mix.

A built-in tuner and Bluetooth connectivity for streaming backing tracks are also handy additions, as Roland looks to meet the needs of both solo and duo performers.

Those specs would mean very little if the amp itself didn’t sound good, which is why Roland has opted for wide projection via a high-headroom amp that leverages two tweeters and a five-inch speaker.

Understanding that not all buskers are lucky enough to call Miami Beach their stomping grounds, it's built with strong, water-resistant material for performing, come rain or shine.

The fact it can be mounted atop a mic stand is a handy bonus, while the rugged CB-MBC1 carry case, meanwhile, is an optional extra.

“With its convenient size and onboard battery power, the Cube Street Mini provides a great-sounding, all-in-one PA wherever users want to perform or practice,” says Roland.

“It builds on the trusted Cube Street legacy, delivering exceptional sound quality and features in an ultra-compact PA for cafés, small-scale events, and personal studios.”

The Roland Cube Street Mini costs $199.99.

Check out Roland for more.

NAMM 2026: Fresh from unveiling new signature pickups with Seymour Duncan, Slash has added to his collection of signature Magnatone gear with the Lil’ Viper, a lightweight amp with a size-defying sound.

The top-hatted shredder left many aghast when he ditched Marshall for the lesser-known Magnatone brand in 2023 after being “blown away” by its tube amps, and the relationship has gone from strength to strength since, while his Marshalls remain part of his wider rig.

The newcomer, the Lil’ Viper, is small in size only. Following the digital modeler trend of getting big sounds out of small footprints, this is a compact 8-watt combo amp fueled by a 12AX7 preamp tube and a pair of NOS 6AQ5 power tubes.

That results in 8 watts of push-pull Class AB output, which comes hurtling out of a Magnatone Custom 8” ceramic magnet speaker. For added versatility, there’s a High/Low gain switch that gives players two distinct voicings for when they want to dial back and dig in, respectively.

At Slash’s request, a speaker-emulated 1/4” headphone output had also been airdropped in. It mutes the internal speaker when in use without any tonal compromise. And with just three controls, for Gain, Tone, and Master, it really cuts straight to the point.

Additionally, players will find a 1/8” line input for playing along with backing tracks, and it gets a Purple Python aesthetic, which oozes classic rock swagger, alongside a backlit Magnatone logo and gold-accented control panel hardware, and a Chevron on its grille.

“I’m not exaggerating when I say this is the most kick ass amp of its size I’ve ever heard,” Slash purrs. “It kicks the ass of amps three times its size.”

“Slash wanted a big-sounding backstage solution, so we worked together to create a big amp in a little box,” adds Magnatone President & CEO, Ted Kornblum. “Low Gain is a classic, slightly broken-up gain architecture. High gain is a modified type of saturation tone.

“While it may be the smallest amp in the Slash collection, the Lil’ Viper really delivers a surprisingly big sound that stands up proudly to its bigger brothers in the collection.”

The Magnatone Lil’ Viper is available exclusively in its delicious Purple Python garbs and is priced at $1,899. That's a lot of buck, but then again, it's supposed to have a lot of bite.

See Magnatone for more.

NAMM 2026: Vox is celebrating the 25th anniversary of its Valvetronix series of hybrid amp modelers by releasing its most advanced iterations yet: the VT20X and VT40X.

It’s the Brian May-backed firm’s answer to modeler combos like the Boss Katana and the Positive Grid Spark 2, and these two new creations, like their competitors, are designed to blend “the authentic feel of classic tube amps” with the flexibility of digital tonality.

At its heart is a combination of Vox’s “sophisticated new amp modeling technology” and a multi-stage tube preamp circuit, for traditional touch sensitivity and dynamic response.

As such, it aims to stand out from the dense pack by recreating the analog circuits of a selection of coveted tube amplifiers – from a Marshall JCM 800 and a Mesa/Boogie Dual Rectifier, to a Fender Tweed, and, of course, a Vox AC30 – at a circuit level rather than relying on snapshots, as Neural DSP’s TINA does.

Considering that nearly all of Reverb’s best-selling amps in recent years have been modelers, this selling point is what their success hinges on.

“This deep level of modeling allows musicians to adjust gain structure, switch between Class A and Class AB operation, and fine-tune the amplifier bias in real time,” says Vox. Thus, “producing subtle tonal shifts and responsive interaction that behave like genuine tube circuitry.”

That’s why its 12AX7 tube has been integrated further into the signal path than it was in its predecessors, enhancing its warmth and natural compression, and making it far easier to create edge-of-breakup guitar tones. The idea is for these amps to look and perform like old-school Vox amps, while having a host of different amp-replicating sounds to get your teeth into.

Each amplifier, Vox says, is housed in a tightly sealed cabinet featuring its proprietary bass-reflex design, built for extended low-frequency depth and projection, “ensuring the amps sound full, controlled, and present in a range of environments.”

Pair its in-built amp models with “classic effects inspired by iconic stompboxes,” including chorus, compression, flanger, and a variety of reverb flavors for what Vox hopes will be a one-stop-shop piece of gear.

Each model, distinguished by its output – 20W via an 8” speaker versus 40W through a 10” speaker – offers an in-built tuner, a USB port for direct connectivity, an aux input for external audio sources, like your phone, and a headphone port.

Its Classic Blue aesthetic and vintage-inspired blue grille cloth, meanwhile, pays homage to the first of the series, which arrived way back in 2021.

“With deeper tube integration, refined circuit-based modeling, expressive tonal flexibility, and practical player-focused features, the new VT20X and VT40X reimagine the hybrid amp experience for a new generation,” says Vox.

The VT20X is available for $279.79, while its bigger, louder brother rises to $399.99.

Check out Vox for more info.

For more from Vox, see Guitar World's review of its AC30X, AC15X, and AC4 Hand-Wired amps.

What is it?

Hard to believe, perhaps, but Bad Cat has already enjoyed a quarter of a century as one of the world’s foremost boutique guitar amp companies.

Its much-loved product line, comprising a lower-priced Player Series II and the premium Hand Wired series, is now augmented by both Lunchbox range and the Mod Shop series we’re looking at here – Bad Cat’s creative creche where designers and players tweak existing Bad Cat circuits into inspiring variations for small production runs.

To celebrate the opening of the Mod Shop comes the Black Cat 30 Mod Shop Edition fresh from the Costa Mesa, California, HQ.

Before his death earlier this year, amp-design legend Mark Sampson, who’s long been associated with the Bad Cat brand, took a Black Cat 20 from the Player Series II range of more affordable, hand-crafted (but not hand-wired) amps and Sampson-ised it. This is the result.

Construction-wise, we have a hand-built, two-channel amp housed in a solid birch ply cabinet, covered in high-quality Tolex with the traditionally illuminated Bad Cat faceplate logo.

Departing from the original 20-watt, two-EL84 layout, the modified version now has four EL84s that provide 30 watts of all-valve power through its custom 60-watt 12-inch Celestion Vintage 30 guitar speaker.

A quick word on the modified nature of the Celestion speaker. During his Matchless years, Mark Sampson discovered that the sound of the Celestion Vintage 30 could be moulded more to his tastes by manually removing the doping substance that is often applied to dampen excessive high-frequency overtones.

While this messy business originally brought disapproval from Celestion, the sales of the amps over time proved to be substantial enough to cause a rethink, and now Celestion custom-builds ‘undoped’ drivers specifically for Bad Cat.

In addition to the increased wattage derived by the additional pair of EL84 power valves, the tone-stack has been redesigned in the style of a Vox ’64 Top Boost.

In this circuit the treble knob progressively rejects bass and mids to reveal more treble, in contrast to the original version’s more orthodox additive-nature.

Finally, we find upgraded filtering has been deployed, we assume partly due to the increased demands of the additional output valves. Let’s find out what all this adds up to, sonically.

Specs

• PRICE: $2,499/£2,299
• ORIGIN: USA
• TYPE: All valve, 1x12 combo
• VALVES: 3x 12AX7, 4x EL84 power section
• OUTPUT: 30W RMS
• DIMENSIONS: 603 (w) x 263 (d) x 482mm (h)  
• WEIGHT (kg/lb): 22/48
• CABINET: Baltic birch ply
• LOUDSPEAKER: Celestion 1x12, 60W custom Vintage 30
• CHANNELS: 2
• CONTROLS: Gain, Volume (per Channel), Bass, Treble, Cut, Tremolo intensity and Speed, Reverb depth
• FOOTSWITCH: 2-button footswitch (supplied) changes channels and toggles tremolo function
• ADDITIONAL FEATURES: Buffered series effects loop, bias-modulated tremolo, studio-quality digital reverb, fixed level line out
• CONTACT: Bad Cat Amplifiers

Usability and sounds

Beginning with our beloved Strat we were immediately struck by how much body and depth this amp has. The clean channel’s gain ranges from crystal-clean Fender ‘silver-panel’ territory through to Vox-style, edge-of-break-up, all imbued with Bad Cat’s distinctive full-bodied character.

The tone controls, shared by both channels, have a powerful and highly usable range. It was certainly possible to tame the bottom-end considerably, pulling the bass control back to levels that might make other amps sound anaemic.

Alternatively, pushing the treble progressively reduces any excess flub in a way that suited our Les Paul, which already has bottom-end aplenty. Meanwhile, the treble-cut allowed for instant high-end taming, effective for your brighter-sounding electric guitars.

Switching to the lead channel, we’re greeted with a lively, responsive leap in the gain stakes. The amp has that undefinable expensive-sounding note separation, along with silky smooth transitions between clean and overdriven that boutique amps are known for. Indeed, the range of gain on tap begins with ‘clean with pushed mids’ sound into increasing midrange growl and high-end harmonics.

The guitar’s characteristics shine through at all settings, including full lead-channel gain, to the point at which it almost sounds like a clean signal is being subtly reproduced alongside the saturation.

Traditional-spec Patent Applied For-style pickups will likely push this amp into the kind of overdrive you might associate with classic rock and Americana, with all the sizzling harmonics and sustain you’d wish for.

The studio-quality digital onboard reverb is a standout here, sounding just as usable as a mild halo around lead notes through to a fully flooded surf sound at flat-out settings.

The drippy nature of this effect is every bit as evocative as many of the analogue spring reverb tanks found on other manufacturers’ models. This feature isn’t footswitchable, unfortunately; however, the channel-switching and tremolo functions are.

Now, the aforementioned valve-biased tremolo sounds absolutely glorious, either at subtle or extreme depths. We really appreciate the range of speeds, from mildly pulsing through to mesmerisingly rapid.

Unfortunately, we did find it possible to create quite a pop when switching between channels at higher levels of reverb, only in certain circumstances depending on the gain and master levels being switched between.

In comparison to the original Black Cat model with all its refined sparkle, this Mod Shop version now has a throatier midrange and a gutsier roar that pairs well with the increased wattage and headroom.

This is a bolder-sounding amp that can hold its own even under an SRV-style barrage, and if you found yourself getting lost on stage amid drums and keyboards, this amp will certainly reclaim the midrange territory for us gigging six-stringers.

Verdict

Verdict: ★★★★½

This bolder, louder version of the classic Black Cat amplifier retails for a couple of hundred dollars more than the original and is well below the cost of the Hand Wired series. For this outlay you get a tighter, louder and gutsier tone from an already stellar-sounding amp.

Some minor niggles to mention include a couple of the chassis screws, which were loose and hard to tighten upon arrival, and the cup washers beneath them were already biting through the Tolex – surely a handful of washers perhaps wouldn’t stretch the budget too wildly?

That said, all the chime-y, clean to edge-of-break-up sounds you’d expect from a Bad Cat are contained within this lil’ beauty alongside a gutsier, untamed roar and smoother high-end. These massaged sonic elements might be of particularly interest to the blues fraternity, where lower mids have room to grab attention.

Guitar World verdict: All in all, this initial Black Cat Mod Shop edition is a hugely desirable combo befitting of both Bad Cat and Mark Sampson’s legacy.

Hands-on videos

Bad Cat Amplification

Palen Music Center

John Nathan Cordy

• Best tube amps 2025: unlock incredible tone with our pick of the greatest tube amps you can buy right now
• This article first appeared in Guitarist. Subscribe and save.

EVH has expanded its guitar amp line with the 5150III Hypersonic 6L6 – a 1x12 combo that marks the start of a brave new era for the company.

On paper, the latest addition to the Hypersonic range leverages new digital modeling tech to channel Eddie Van Halen tube amp-style tones in a more player-friendly package.

It is, in essence, EVH’s first fully fledged digital amp, and continues a trend set by the company earlier this year, when its intentions towards entertaining the digital amp and modeler markets were made clear with the launch of Hypersonic FRFR cabs.

At the time of writing, it is the only digital amp EVH has on offer. For a company whose heritage and history is so closely tied to cranked tube amp heads and ear-crushing stacks, it’s a major evolution.

As EVH puts it, “This digital innovation honors Eddie Van Halen’s spirit of experimentation and boundary pushing creativity.”

What’s more, the process of digitizing Van Halen’s tone has long been a topic of conversation. Last year, for example, Fender’s Justin Norvell told Guitar World of the rigorous process the firm went through to create an EVH-approved amp model for the Tone Master Pro floor unit.

Now it appears that digital emulation has fed into the development of a dedicated digital combo, taking a similar approach to that of Fender’s Tone Master amps.

As such, it boasts the form factor of a usual 1x12” with three channels, two sets of EQ controls, independent channel noise gates, onboard reverb and an effects loop to boot, as well as a Celestion speaker.

“This represents the next evolution in EVH amplification, delivering Eddie's iconic tone through innovative digital technology," explains Jon Romanowski, VP of Product of EVH Guitars.

“The Hypersonic 6L6 1x12 breaks down the barriers that have kept players from accessing authentic EVH sound, making it more portable and versatile than ever before.

“Whether players are recording at home or performing on stage, this amp delivers that unmistakable EVH tone that made Eddie’s sound iconic.”

According to EVH, the Hypersonic offers “EVH tone, volume and dynamics virtually indistinguishable from the all-tube original”, thanks its use of “massive digital processing power” to channel a faithful EVH tone.

Given it’s a digital amp that also prioritises convenience and usability, there are some notable additions to the spec sheet. The rear panel has power scaling with five attenuated settings – from one watt all the way up to 50 – a balanced XLR line out with IRs, and a silent switch for recording.

There’s also a headphones jack, MIDI in, a USB-C for updates, and a cabinet sim switch for moving between IRs.

And, thanks to the fact it doesn’t actually have 6L6 tubes, this thing is a lot lighter than your regular ol’ EVH combo. Coming in at 39lbs, it’s around 40% lighter than the Iconic Series 5150III 50W combo (62lbs). That’s an impressive weight off the scales.

The 5150II Hypersonic 6L6 is available now in Black and Ivory finishes for $1,699.99.

Visit EVH for more.

Joe Bonamassa has announced the latest addition to his ever-growing catalog of signature guitar gear with the arrival of the Fuchs JB-ODS combo amp.

As the suffix of that product name implies, the 100 watt JB-ODS is inspired by one of the guitar world’s most mythical amps – the Dumble Overdrive Special – though was originally intended to be a one-off custom amp built for Bonamassa’s studio and small local club gigs.

“And we are live!” Bonamassa wrote on Facebook to unveil the JB-ODS. “The worst-kept secret in the amp world is now available.”

Bonamassa goes on to explain that the project first came about a year and a half ago, when he reached out to Andy Fuchs – renowned amp designer widely considered to be “one of the most respected modern-day disciples of Howard Dumble’s amps" – to build him a run-around combo.

As Bonamassa remembers, “I called Andy and said, ‘Can you build me an amp? I'll send you a Celestion speaker – can you build me a 100-watt combo so I can drag it around New York City?'

“He built me one of these ODS models,” he adds. “And to be honest with you, it blew me away.”

The JB-ODS was born out of Fuchs’ existing Overdrive Supreme model, which is a spiritual extension inspired by original Dumbles with its own Fuchs-developed tweaks. Here, those include onboard reverb – something most OG Dumbles don’t have – and Bonamassa’s custom JB-85 Celestion 12” speaker.

Other appointments include selectable mid-boost frequencies, two gain boosts, a three-position Brite switch, an effects loop and a DC fan under the hood, which keeps the aluminum chassis “cool all night”.

“It's very much like an ODS, in the sense that there's so many different sounds that you can kind of elicit from it,” Bonamassa explains in a demo video.

“And it's not $175,000, which is a big deal. Not everybody has $175,000 for an amplifier.”

That’s not to say it’s cheap, though – the Fuchs JB-ODS is available from Joe Bonamassa’s online store for $3,999.

When Fender unveiled the Blues Junior in 1995, few could have guessed it would become one of the company’s most enduring designs.

The 15-watt model launched as part of the Fender’s ‘Tweed Series’, alongside the Blues Deluxe, Blues DeVille and Pro Junior, and was conceived as a compact, affordable way for working players to experience true Fender valve tone.

With its EL84-powered circuit and simple controls, it quickly became the go-to amp for gigging guitarists who needed something portable yet versatile enough to handle blues, country, rock and more.

Now, with 30 years of continuous production and a devoted following, the Blues Junior has become a phenomenon. It is no longer just the ‘affordable little brother’ of the Fender amp family and is arguably Fender’s best-selling tube amplifier of all time, appearing on countless stages, in studios and bedrooms and carving out a unique place in the company’s history.

For some, the Blues Junior will have been – or will become – their first tube amp; for others, it’s a trusted partner they’ve carried from gig to gig for decades.

To celebrate, Fender has introduced the Blues Junior IV 30th Anniversary, dressed in Western-tooled vinyl, ’59 Bassman grille cloth, a leather handle and loaded with a Celestion Creamback.

It doesn’t reinvent the wheel and it doesn’t need to. Instead, it celebrates what has made the Blues Junior so successful: portability, affordability, versatility and that unmistakable Fender tone.

To reflect on the history, legacy and future of this modern classic, Guitarist sat down with Rick Heins, Fender’s senior product manager, for a deep dive into three decades of the Blues Junior.

Rick, take us back to the beginning of the process. What was Fender’s vision or mindset while the Blues Junior was being designed back in the mid-90s?

I wasn’t there for the very first version. I’ve only been at Fender for 21 years so the original design was Mike Lewis’s brainchild. Mike was an amazing player and mentor, and has his fingerprints all over Fender’s history, from the Custom Shop to Gretsch to ukuleles.

Back in the early ’90s, Fender was still kind of fresh out of the CBS years, when the tube amp line had been gutted. Mike saw that Fender’s history was in tube amps like the old Deluxes and Princetons. Those were the glory years and he wanted to capture the essence of that era but make something new that was affordable and more flexible, tone-wise.

As part of Fender’s Tweed Series, the idea was to bring tubes back to Fender amps and make them affordable and versatile. The Blues Junior had the Fat switch, so you could engage a little boost, make it break up sooner or use it as a kind of lead boost.

On the original Tweeds it was pretty much, turn the volume way up and then you get distortion. The whole concept with the Blues Junior was to give players classic Fender tone but also something that adapts to modern players.

So was affordability always part of the amp’s concept?

Yes. Mike really wanted tube amps to be affordable for gigging musicians. At that time, I think they may have been around $399 retail. He wasn’t trying to make them cheap; he just wanted working players to be able to afford them and for them to be road dogs that were gig-ready and reliable.

We still try to keep them affordable today. The Blues Junior has often been someone’s first step into the world of tube amps and we want to keep it that way.

EL84s were unusual for Fender at the time. Why those valves?

That’s a good question because Fender is known for 6L6 and 6V6 tubes. I think Mike loved the way EL84s sounded.

They have sparkle, touch sensitivity and a dynamic response that really rewards players who use their volume knob and pick attack. 15 watts is also a sweet spot: loud enough for clubs if your drummer isn’t crazy and quiet enough for recording.

There were also times when sourcing 6V6s or 6L6s was difficult. Tube shortages happen. I know even Marshall stopped using EL34s for a while because they couldn’t get them. So there may have been a practical reason, too. But the way Mike voiced it, even with EL84s, the Blues Junior still has Fender DNA. It’s got that clean-to-crunch character.

The Blues Junior has seen several updates since its debut. Can you walk us through the key changes leading up to current version IV?

The Blues Junior is like a Strat. You don’t mess with something great; you just refine it. Over the years we’ve made small but important tweaks. Early ones ran hot, so we added an adjustable bias so they wouldn’t burn through tubes as fast.

We worked on the reverb because with a smaller cabinet the pan is smaller, and players told us they wanted a more lush sound. We adjusted EQ here and there to bring out the best balance. There have been cosmetic changes, too, with different handles and small trim things. Sometimes they’re just subtle changes.

I oversaw the development of the version IV so it’s kind of my baby. Now it has improved reverb, it runs cooler, slight EQ tweaks. Nothing radical but enough to make it feel more dialled in.

How much of the amp’s evolution came from player feedback?

A lot, actually. It was the players that told us the early ones were running hot, so we added adjustable bias. They wanted more lush reverb, so we refined the circuit.

Even small cosmetic changes like handles and trim came from feedback. We listen closely because the Blues Junior is a player’s amp. It’s not meant to sit in a glass case. It’s meant to be used and players aren’t shy about telling you what they need from it.

Fender has released a lot of special runs over the years. Do any particular runs stand out?

I’ve been the guy doing those FSRs [Factory Special Runs] for the past 15 years, and we’ve done a ton of different colours, speakers, coverings. The one that stands out most is the Whiskey Barrel Junior we did about a decade ago.

We got old whiskey barrels from major distilleries, built cabinets from them, even added barrel bands, and then aged and patinated the amps so they looked amazing. That’s one of my big regrets, not keeping one, because now they’re really collectible.

We’ve also used lots of different speakers: Celestion Greenbacks, Vintage 30s, Creambacks; Jensens, both Alnico and ceramic; Eminence Cannabis Rex, Red, White & Blues and so on. The speaker is the easiest way to change an amp’s character.

Each one imparts its own flavour. Personally, I like Celestions for my style, which is why the Anniversary model has a [G12M-65] Creamback. But we’ve worked with all the big three: Celestion, Jensen, Eminence.

There’s a huge modding scene around the Blues Junior. What’s your take on that?

Diplomatically, I’d say people are always chasing tone. They think mods will get them closer to the sound in their head. I’ve played modded Juniors and they can be cool, but personally I’ve never needed to mod mine. I can always get what I need by adjusting knobs and my playing and with pedals.

That said, I understand why people do it and more power to them. The only downside is you’re out of warranty the moment you start swapping parts, and safety is always a concern. But the fact that there’s such a big modding culture shows how much people love the amp.

What made this the right time to release a commemorative edition?

Well, 30 years is a long time for any amp! And the Blues Junior is probably the most-bought Fender tube amp of all time – and that includes the vintage ones. So it deserves to be celebrated. They’re ubiquitous. They’re everywhere.

For this edition, we didn’t touch the circuit. The changes are about appointments: Western-tooled black vinyl, ’59 Bassman grille cloth, a leather handle, a commemorative badge and, of course, the Celestion Creamback. That speaker really elevates the amp and sounds really good.

If you’re running pedals or playing dynamically, it gives you great articulation and headroom. I’ve been playing one at home with both guitar and pedal steel, and it just sounds fantastic. We’re only making them until the end of the year and they come with a certificate of authenticity. They’ll be collectible down the line, no doubt.

Where do you think the Blues Junior sits in Fender’s amp history?

I’d put it right alongside any of the classic Fender amps. I think it earned that right. It’s been around longer than some of those vintage production runs. They’re in clubs, backlines, studios – you see them everywhere.

It’s also a great pedal platform amp. With pedals being so popular now, the Blues Junior gives you options: run it clean, run it dirty, let the pedals do the gain or crank the amp. It’s flexible, portable and still has that Fender DNA. It’s got the cleans, the reverb – it’s the classic ‘American’ tone.

Why do you think the Blues Junior has endured for so long?

I think because it strikes a balance. It’s affordable but not cheap, portable but not underpowered, simple but not limiting. It’s a grab-and-go amp that still sounds like Fender.

If you’re a pedal player, it’s a great platform. If you’re a plug-straight-in player, it responds to your touch. It doesn’t pretend to be something it isn’t. It just does its job really well. That’s why you still see them everywhere.

• This article first appeared in Guitarist. Subscribe and save.

What is it?

Since its birth in 1995, the Fender Blues Junior has matured into the small valve combo to judge all others by. It found its niche as a cost-effective, all-tube, spring-reverb-equipped combo amp with the authentic Fender sound in a throw-and-go, pub-gig-sized format.

The amp’s inception serendipitously coincided with the winds of change blowing through guitar music at that time, away from the clinical and processed tones of the prior decade towards a looser, more organic flavour as heard in the US grunge movement and the UK’s Brit-rock scene. These sounds were well suited to the amp’s comfortable range of classic clean to ‘edge of break-up’ tones.

Judging by its popularity alone, it’s clear that the 15-watt 1x12 package found a niche in the amp world by balancing the factors of cost, loudness and portability without forgoing the famous clean tone that made the Fender sound the stuff of legend.

Critics over the product’s lifespan have occasionally made mention of sonic shortcomings, such as the potential to sound boxy and the ability to display some overly assertive high-end.

While it may be harsh to criticise an entry-level combo of this size for indeed being a small guitar amp, this latest version aims to improve the preamp circuit for fullness, and offers a premium Celestion A-type Creamback speaker, improving the performance within the existing cabinet.

This diminutive standard-bearer has enjoyed four revisions and numerous special editions over its 30 years with some circuit improvements, numerous speaker models and a variety of cosmetic flourishes.

So this particular celebratory and limited-edition amp is based on the mark IV incarnation (see spec list below), and Fender has clearly built what it believes to be its best-in-class Blues Junior.

The valve line-up has remained constant since its inception with its trio of 12AX7s and the pair of EL84s. The use of this British output valve, also used to power the classic AC30, is often thought to impart a softer, chime-y quality and could contribute towards a rich midrange tonality.

Along with the Fat push-switch, the polished chrome top-panel features Reverb, Master, Middle, Bass, Treble and Volume controls, all topped with black plastic chickenhead knobs to complete the vintage styling.

The vinyl bling of the patterned faux-leather covering – somewhat evoking the tooled leather of cowboy boots, perhaps, or other such country and western attire – is augmented by the stylish vintage leather handle. It’s certainly eye-catching!

Some construction details – such as the somewhat hidden position of the footswitch socket and a trailing loop of reverb cable in the rear recess – might require a modicum of care on gigs, though, so as to not unduly stress the components.

Specs

• PRICE: $1,049/£959/€989
• ORIGIN: Mexico
• TYPE: All-valve portable combo
• VALVES: 3x 12AX7, 2x EL84
• OUTPUT: 15W
• DIMENSIONS: 457 (w) x 249 (d) x 406mm (h)
• WEIGHT (kg/lb): 14/31
• CABINET: Particle board w/ ‘Black Western’ textured vinyl covering
• LOUDSPEAKER: Celestion G12M-65 Creamback 12”
• CHANNELS: 1
• CONTROLS: Reverb, Master, Middle, Bass, Treble, Fat switch and Volume
• FOOTSWITCH: 1-button footswitch included for Fat boost
• CONTACT: Fender

Usability and sounds

In a leap of faith we embarked, Junior and pedals in-hand, to play a smallish gig where the amp immediately received compliments in soundcheck for its rich tone.

The improved midrange response from the circuit and the speaker improvements impart a greater depth to vintage-output Stratocaster pickups than one might expect, adding up to a great playing response for fluid solos. The Fat circuit further opened up the hallowed gates of sustain.

This amp seems most comfortable operating around the edge of break-up, a tone some lesser amps can struggle with. At high levels of gain the amp’s response will loosen (think Neil Young as opposed to Angus), so depending on your needs this could be just the ticket.

It’s fair to say there are some sounds that may inevitably fall outside of its comfort zone, and it’s unlikely to be replacing anyone’s 5150 for tight and chunky distortion.

That said, all good designs should fulfil a particular requirement and our small test-gig likely represents the kind of scenario it was conceived for.

Switching to our traditional twin-humbucker guitar, the increased mids and power provided an opportunity to visit the EQ section for some tailoring. A little bass and gain reduction tightened up the response nicely, though deployment of the Fat switch might bring fewer benefits to guitars with higher output levels.

Dialling in the controls you notice a wide range of usable bass, which provides plenty of depth, even at higher settings. Experienced Blues Junior players will no doubt notice that the Treble and Middle controls deliver an appreciably softer top-end on this Anniversary edition than on previous models, which is again thanks to the preamp circuit refinements Fender has made.

A recommended setup tip is to place the master volume at a higher level than you might expect (this thing actually goes to 12!) and balance the channel volume and the guitar’s volume control in order to get the most responsive dynamics possible from the amp.

This approach allows the EL84 power valves to contribute more of their harmonic overtones, rather than depending on the preamp gain alone for your saturation needs.

Particularly enjoyable is the improved smoothness of the reverb sound, especially in terms of dwell and response, and while perhaps not being the drippiest of ’verbs, it certainly sounded every bit the authentic springy Fender tone.

The reverb’s position in the circuit has moved from its previously noisy location after the master volume, to a quieter location for a welcome improvement to signal-to-noise ratio.

In accordance with Fender’s reputation for producing pedal-friendly hosts, this amp presents no exception. It really shines when fed by a quality overdrive pedal, although with its relatively modest headroom and power-handling, it may be prudent when using gain pedals to select types that have less bottom-end so as to not overly tax the amp with energy-sapping low frequencies.

Verdict

Verdict: ★★★★½

Fender has marked this 30th anniversary of the Blues Junior with a player-pleasing set of improvements that really do make an appreciable difference to the quality of tone on offer.

The modifications made to both the preamp and reverb circuits, in addition to the upgraded speaker, have brought out a richer, more responsive presentation from the amp, putting some inspiring air under your soloing wings, so to speak.

The Fat switch offers the kind of mild boost one might normally expect to be provided by a light overdrive pedal or coloured boost, for instance – potentially saving you from carrying an additional pedal. And the reverb now shines clearly, with the improvement to the noise floor and its smoother-sounding top-end.

Guitar World verdict: No matter what your personal preferences and tastes may be, it’s hard to deny how impressively this amp punches above its weight in terms of bold, authoritative tube tone. Its balance of practicality with great tone underscores its reputation as the standard-bearer against which to judge all small combo amps. May it enjoy many more anniversaries to come!

Hands-on videos

Guitarist

Fender

PMTVUK

• Best Fender amps 2025: famous tube combos to digital headphone amps

What is it?

Launched in 2021 as an affordable alternative to the EVH 5150III amplifiers famously used by metal bands like Gojira, Anthrax and Limp Bizkit, the Iconic series was very much engineered with the high gain player in mind.

It was co-designed by legendary amp wizard James Brown, who worked closely with Eddie Van Halen on the original 5150 released in 1992, as well as later Peavey models including the Triple XXX and the Joe Satriani JSX.

This 1x10 combo amp is the smallest in the range, coming with just a single 6L6 power tube, as well as two ECC83 tubes in its multi-stage hybrid preamp section.

Given how smaller single speaker amps can often lack low-end punch, a special internal plywood baffling was chosen to increase the bass response and ensure it can chug well beyond expectation, which will be one of the main areas of focus in this review.

Specs

• Price: $679 / £579 / €588
• Type: Combo
• Origin: Indonesia
• Output: 15 watts
• Speaker: 1x10
• Channels: Two
• Controls: Gain, Overdrive Mode, Burn Mode, Three-Band EQ, Volume, Reverb, Resonance, Presence
• Connectivity: Audio in, speaker emulated out, effects loop, parallel speaker outputs
• Footswitch: Included
• Weight: 38.2 lbs / 17.3kg
• Dimensions: 500mm x 470mm x 260mm (WxHxD)
• Contact: EVH Gear

Build quality

Build quality rating: ★★★★★

Now let’s be clear, though this 15W combo is technically advertised as a practice amp, it can churn out some serious sonic damage and is capable of keeping up with metal drummers at rehearsal.

For medium to larger gigs, you will need to mic the amp up, but in smaller spaces, it will be certainly be loud enough to hold its own with the rest of the band.

Robust in build and minimalist in aesthetics thanks to a black and silver color scheme, it’s the kind of amp that looks like its been built to last, though naturally a single 6L6 power tube will need more frequent replacing than two.

Usability

Usability rating: ★★★★☆

On closer inspection, this is a very feature-rich amp. There are two channels and each has an additional mode – you can choose a straight clean or an overdriven one, and similarly the second channel has a ‘Burn’ mode with extra heat and low-end.

Though there’s a shared three-band EQ, every channel has its own gain and volume control, and you can also fine-tune your sound using the resonance and presence chicken-head dials, located right next to the reverb control.

On the back, there’s an effects loop, an aux input, an emulated speaker output and a quarter-power switch that’s perfect for bringing things down to bedroom levels. So while it doesn’t look like particularly forward-thinking, there’s a lot going on inside here.

Sounds

Sounds rating: ★★★★☆

For this test, I used a 2006 Gibson Les Paul 1958 V.O.S. reissue, going into a Crazy Tube Circuits Gus G Speed Demon overdrive and MXR EVH Phase 90, with more Van Halen flavors coming from the Boss SDE-3 dual digital delay in the effects loop.

Given the metal lineage behind this design, many of us wouldn’t expect a particularly great clean tone, but this Iconic combo performs better than most in this area. Click on the overdrive button and the Green channel turns into a classic rock workhorse, perfect for everyone’s favorite AC/DC and Led Zeppelin riffs.

Shifting onto the Red channel, there’s seemingly no end to the amount of gain on tap – especially with the ‘Burn’ mode activated, which takes things way beyond Eddie Van Halen’s tones and into the modern metal universe, covering all bases from Machine Head and Slipknot to Cattle Decapitation and Spiritbox.

Given the speaker size, this amp sounds best with the bass near full and treble kept low, but its quite astonishing how loud and multi-dimensional it sounds, even if you are only running it at one quarter of its 15W power.

Verdict

There are, however, just a couple of areas where the amp falls short. The reverb isn’t particularly inspiring and you may very well prefer to run your own pedal in the effects loop. No biggie.

And there are some features from its 40W bigger brother that the manufacturers chose to remove – notably the noise gate and the switchable boost.

In the grand scheme of things, however, these are very minor points and it’s worth remembering that at this price point you’re already getting a lot for your money, from the low-power mode and extra channel voicings to the aux-in and speaker emulated out.

Guitar World verdict: If you’re a metal player looking for an amp that can handle everything from bedroom practice and rehearsal to smaller gigs and even recording, this Iconic combo will tick a lot of boxes and is very much worthy of the legacy behind its name.

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• More of the best tube amps under $1,000

What is it?

It takes a brave soul to take on Boss in the modeling amp arms race, and an even braver one to do so explicitly. After all, the Japanese firm’s Katana range – now on its third iteration, following a mass overhaul last year – is undoubtedly the market’s biggest player, and has comfortably cemented itself as the amp to beat in the near-decade since its release.

Blackstar, however, is one of those very brave souls, and clearly isn’t afraid of the Katana, having launched the ID:X – a modeling amp that its maker admirably and obviously states has been designed to go “head-to-head” with the market leader.

Dubbed “a bold step forward in modern amp design”, the ID:X – available in 50 and 100 watt iterations – is Blackstar’s stake for conquering the modeling amp space, building on the beloved Blackstar ID range and elevating it to all-new heights thanks to newly engineered tech and some proprietary features.

For a cursory overview, these include Blackstar’s CabRig functionality, a companion Architect app, the firm’s Infinite Shape Feature (ISF) control, tube response options, wattage-scaling, loads of presets, expansive connectivity and its new ‘In The Room’ tech.

Of course, it’s not just Boss that Blackstar will be tussling with here. Positive Grid’s Spark and Fender’s Mustang, both equally popular modeling amp alternatives, also have some deep roots in the game, and so it seems the ID:X has its work cut out.

The ambition is clear. Blackstar sees the ID:X as the amp to take the Katana crown, and it’s called in the big guns to do it.

Specs

• Launch price: $349.99/£292.99/€349.99
• Type: Modeling combo amp
• Origin: China
• Output: 50 Watts RMS
• Speaker: 1x12", Blackstar Anthem 50
• Channels: Three
• Controls: Amp voice, gain, volume, bass, middle, treble, Infinite Shape Feature (ISF), master volume, 2x multi-function effects knobs, power scaling (1W, 10W, 50W), valve response (EL84/EL34/6L6)
• Connectivity: Inputs, outputs, headphone-out, effects loop emulated out etc.
• Footswitch: FS-12 and FS-18 compatible, not included
• Weight: 18.84 lbs/9kgs
• Dimensions: 470 x 409 x 221 mm
• Contact: Blackstar

Build quality

Build quality rating: ★★★★★

Anyone who’s played a Blackstar amp knows they’re built to an impeccable standard, and we’re not surprised to see that top-notch quality carried through here to what has now become its premier modeling amp range. Like the ID:Core to come before it, the ID:X has been put together pretty flawlessly as far as we’re concerned.

In terms of sheer presence, the sturdy but lightweight combo flaunts a faux leather design, with a firm carry handle (which might soften up in time) for easy maneuverability. Taking this from one corner of the bedroom to another certainly doesn’t feel like a risky – or cumbersome – move, and I found myself easily carting this around my flat in order to play wherever I felt comfortable. Something I don’t do with my more static amps.

The control panel has been put together with surgical efficiency in mind, with no wasted space or overcrowding. Impressively –– given the amount of effects buttons, parameters, features and control knobs that Blackstar has managed to cram in such a finite space –– it doesn’t really feel like too much, and actually feels mostly intuitive. Worthy of merit, given there’s also a screen present – something the Boss Katana lacks.

If I'm being honest, it kinda looks and feels like a Katana, with a similar construction, weight and design. Of course, everything under the hood means it’s anything but a Katana, but from a build perspective, it feels familiar and sturdy. The open-back design reveals the Blackstar Anthem 50 speaker, which is adjacent to a row of connectivity ins and outs, and is a huge plus: the extra openness to allow the speaker to breathe works wonders for the tone.

Usability

Usability rating: ★★★★½

For the amp itself, perhaps the biggest compliment that can be given is the fact Blackstar has done a tremendous job with organizing the control panel, and has managed to fit in everything you could ever really need in a way that doesn’t feel overcrowded or intimidating. It is the classic ID:Core experience, but better.

Whereas the Katana is something of a control knob spam, the ID:X feels a tad more refined, cleverly utilizing push pots, a screen, some buttons and a streamlined EQ section for what is ultimately a more inviting design and user experience.

The Voice knob makes it easy to switch between any of the six amp types (Clean Warm, Clean Bright, Crunch, Super Crunch, OD 1, OD 2), which can be dialed-in using Gain, Volume, Bass, Middle and Treble controls. There’s also Blackstar’s ISF control – which purportedly moves between British and American amp tones – and a Master output.

I’m particularly impressed with everything that’s been worked-in around those controls, though. The way the effects are laid out is especially clever, with simple buttons to trigger Pre FX, Mods, Delays and Reverbs, and two smaller knobs to alter parameters and move between specific effects. This is so much better than the ‘one-size-fits-all’ approach of the previous ID amps, and a huge step up in terms of usability.

Ultimately, it’s a really nice use of space, and – when paired with a small screen – something I found to be immensely usable. It’s also nice to see the Power and Response buttons – which change between 1W, 10W and 50W, and EL84, EL34 and 6L6 tube voices – on the top of the panel, rather than on the rear of the amp, making them inherently more accessible and thus practical.

Presets can also be accessed thanks to the three Channel buttons and the Bank button, which work together to help bring to life up to 12 separate onboard presets.

And then there’s Blackstar’s Architect software – a companion app for Mac or PC that offers in-depth tonal editing, preset tweaking and bumps up the total number of accessible presets to 99. It also taps into the firm’s tone-sharing community for exploring user-generated patches.

I’ve been brought around to the idea of using apps with my guitar gear after falling in love with the Positive Grid SPARK and Neural DSP Nano Cortex, so using a desktop platform that feels spiritually similar to Line 6's HX Edit feels like an effortless extension.

A smartphone app would be nice at some point, though, especially since the Katana and the Spark can both be operated on the fly using an iPhone. Even if this materialized in the form of a tone-only editing app that forgoes some of the Architect’s more complex features, it would make casual deep-editing vastly more accessible.

There are a few other shortcomings, too. There’s no stereo functionality, despite the implementation of the CabRig tech. It seems to be a strange oversight, especially since older ID models offered stereo effects loops. Heck, even the ID:Core V4 offered “Super Wide Stereo”. A missed opportunity, it seems.

Sounds

Sounds rating: ★★★★½

At the end of the day, an amp is only as good as the tones it offers. It can have all the bells and whistles in the world, but if it doesn’t sound good – or if it doesn’t inspire you to plug in, play and explore new sounds – it’s a dud. Not that it was ever in any doubt, but the Blackstar ID:X sounds pretty darn good indeed.

The firm has been on a notable roll over the past few years, with the ID:Core V4 receiving rave reviews and its St James range of lightweight tube amps – which bowled me over with how good it was when I played a last-minute gig with one – offering some seriously great tones and feel.

The ID:X is a continuation of that, with a bunch of practical presets, six solid amp models and a load of top-rate effects to boot. I have no qualms with any of the reverbs, delays or modulations – of which there is a healthy variety – and was particularly impressed with the Pre-FX.

Thankfully, some sought-after, classic overdrive pedal gems are included in the list – the Klon-inspired K Drive, Marshall Bluesbreaker-based Blue Drive and the TS Drive, which is inspired by the Ibanez Tube Screamer circuit – as well as some more out-there additions. I was less convinced by the more high-gain effects on tap – the fuzzes in particular – but this is usually a sticking point for most modeling firms.

With all that said, the cleans were pretty flawless, as were the edge-of-breakup tones, and I found the ID:X to be a great pedalboard platform for my current rig.

Does the Blackstar have the edge over the HX-powered effects of the Line 6 Catalyst, or the Boss Tone Studio of the Katana? Hard to say without a direct A/B test, and the competition is fierce, but the early signs are promising.

I also found the ISF control – something I’ve admittedly been skeptical about in the past – to be an effective tone-tweaking addition, though I wouldn’t deem it a dealbreaker. I’d recommend finding a middle-ground that suits your tonal preferences and leaving it there: that’s exactly what I ended up doing.

Similarly, the Response mode options are a nice touch, but for many players it might be unnecessary. I’m very much from a 6L6 school of thought, so apart from the sake of review purposes, I rarely branched out to the other options. Not to say they don’t sound effective, though, they do, and I certainly won’t hold it against the ID:X for going above and beyond to expand the scope of available tones.

But hey, the option is there and it's effective: if you wanted to hop from a Marshall-esque, British-sounding EL34-style amp to a Fender-inspired, US-inclined 6L6, those tones are all on offer here. Throw in the litany of effects – further expanded by the Architect software – and you’ve got a generous bunch of very usable sounds.

Verdict

A Katana killer? A Catalyst clipper? As is the case with all guitar gear, the answer to that will be entirely subjective and down to player preferences, but one thing is abundantly clear: the ID:X is a commendable rival to the more established high-end modeling amps.

From a design perspective, the overhauled control panel is subtle but effective and lends itself to a genuinely intuitive and inspiring playing experience. The tones are up to scratch, the extended features are impressive – especially CabRig – and it’s well positioned as an at-home amp that can cater to bedroom practice, recording and small gigs.

In the end, the discourse surrounding whether the ID:X can take the Katana’s crown seems redundant. It is, in its own right, an excellent and competitively priced modeling amp that will no doubt be the right tool for many players.

Guitar World verdict: The Katana killer? The jury's still out, but one thing is for sure: this is a really solid modeling amp with some great tones and even better extended features. The competition is steep, but Blackstar has done enough to muscle its way to the table alongside the Boss Katana, Line 6 Catalyst and Fender Mustang lineups.

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What is it?

The Peavey Decade Too is an interesting thing to release in 2025. Harking back to the practice amps of the eighties that purveyed long past their initial release, it largely shuns 45 years of progression and stays faithful to what the original Decade practice amp was, albeit with a few additions.

The instigator behind this is the one and only Josh Homme, declaring the Peavey Decade as the “secret weapon” behind his recorded tone (see video below), leading to some internet hysteria and skyrocketing prices for the discontinued Peavey Decade. However, even with this in mind, is there a place for such an old-fashioned amp alongside some much more capable, feature-rich and affordable practice amps out there now?

Specs

• Launch price: $399/£299/€329 (1 x 8" Extension Cabinet $199/£199/€229)
• Type: Combo practice amp with optional extension cab
• Origin: China
• Output: 10W
• Speaker: 8" combo and 8" extension cab
• Channels: Normal, Saturation
• Controls: 3-band eq, Top and Bass Boost, Pre and Post gain
• Connectivity: 1/4 inch input, effects loop, balanced 1/4 inch out, balanced XLR DI out
• Footswitch: Sold separately
• Weight: 5.4kg/12lb
• Dimensions: 15.7x26x16.1cm/6"x10"x6.3"
• Contact: Peavey

Build quality

Build quality rating: ★★★★☆

We’ll have to keep that context in mind when it comes to the sounds, but the build is solid regardless. The Decade Too's open-backed, wooden construction feels sturdy, and with metal braces at the corners by way of reinforcement, this thing will surely be long-lived.

The simple array of controls all feel capable of taking some punishment, and the amp itself is reassuringly heavy at 12lbs, particularly considering the generally lightweight nature of solid-state amplifiers . When I say heavy, I mean it’s heavy for its diminutive size. It’s still a very portable piece of gear, with a small 8” speaker that you can chuck in the back of any car.

The only slight concern with this test model are the switches that produce an audible pop under operation. It's not too loud a pop, and often this issue can be resolved with some repeated presses to dissipate static, however, this did not seem to help here.

Moving on to the 1 x 8" extension cab, it’s much the same thing, minus the controls. The extra feature here is a frame that allows the cab to tilt. It’s quite an imposing, industrial-looking solution that some may find a little obnoxious, especially given how other cabs utilise a couple of low-profile legs to do the same job.

Having said that, the mechanism does work well, and the benefit of the design is that we are afforded the luxury of tilting the cab in whichever way we like, unlimited by the length, shape, and play of the aforementioned legs. It also allows for the stacking of the combo on top of the extension cab, even while tilted. In another plus, it's also completely removable - a good option if that look does offend you.

Usability

Usability rating: ★★★★★

Modern practice amps have come a long way and sport a large number of features, some easy to use, some not so much. Without those extra bells and whistles, practice amps of the '80s and '90s were simple beasts, and the Peavey Decade Too is no different.

Guitar goes in, volume is controlled via a pre- and post-gain, there's a 3-band EQ to tweak the tone, and new for the Decade Too, Bass and Top switches to boost the bass and top end, plus a Saturation (overdrive) switch. Whilst that is a fair amount on the front panel, it is all well laid out and mostly self-explanatory.

Some may not be used to the pre/post gain setup, but that is easy enough to understand once you know how it works. And even if you don’t, a little messing around will quickly get you there.

The original Peavey Decade had two inputs - a Normal for clean sounds and a Saturation for overdrive. This new version puts this on a switch on the front panel, and can also be controlled via a footswitch - an appreciated improvement.

Around the back of the unit, we have an output for the extension cab, an effects loop, pre-amp out, and a 1/4" unbalanced and XLR transformer balanced direct out, all clearly labeled. Also living here is a phase switch for keeping the extension cab and combo in phase.

Setting up that extension cab is also straightforward, as it’s literally plug and go. Which sums up the operation of the product as a whole - there are some extra features, but no menus or anything complicated, just good old-fashioned, well-labeled knobs and switches.

Sounds

Sounds rating: ★★★★☆

Judged as a normal practice amp, the Peavey Decade Too sounds like most solid-state practice amps of the affordable ilk from the '80s and '90s, often typified by a thin and wiry tone that we have mostly moved on from in modern equivalents. The Decade, however, was a good example of one thanks to Peavey's proprietary TransTube technology, which has been carried on into the Decade Too.

Many contemporary practice amps now have all sorts of digital wizardry and speaker setups that allow them to get closer to the sounds of bigger and more expensive gear in a way that is impressively versatile. Not to mention the onboard effects, and many of these offerings from the likes of Boss, Blackstar, and Yamaha are just as affordable as the current iteration of the Decade; therefore, it can't compete in this context.

The Peavey, however, is not meant for this. Josh Homme liked it for that ‘wiry’ tone, and used it to cut through a mix along with other guitar amps, so the fact that the Decade Too, accurately recreates the lo-fi sound of practice amps from yesteryear is entirely the point.

The clean sound is quite boxy in the low end, and the Bass switch did not help with this, as it muddied things up a bit. I found the best way to use the clean was to lean into the bright nature of a tiny solid-state amp, as the high end is surprisingly nice with the High control taming it a little. The Top switch renders the sound quite a painful one in the room, but in a way that could cut nicely in a studio mix.

Contrary to this, the Bass switch is useful when the amp is working in its Saturation mode. The overdrive here is thin, so the bass boost helps round it out when used with a set of single-coil pickups, without losing too much of that cut. For even more of that piercing cut, bring in the top boost, and you'll have a sound that will sit forward in any mix, particularly effective with humbuckers.

Tune a guitar to C standard, punch in the Saturation switch, turn the preamp gain to full, and suddenly, it all starts to make a lot of sense. Doing this and blasting through some Queens Of The Stone Age riffs on my PRS S2 Custom 24 is endless fun, as every note punches through with clarity thanks to that wiry nature.

The TransTube-powered saturation sounds massive in a lo-fi way within this context, with the 3-band EQ proving fairly powerful. I found myself leaving them mostly in the middle and using the treble to cut out some fizz whilst leaving the top boost switch in to retain that clarity.

All of this can be effectively replicated through the D.I output on the back of the amp. In Peavey's words, this is a "full range old-school transformer balanced design, that's great for DAWs and IRs". My experience recording our demo of the amplifier is in line with this. Using PreSonus Studio One and adding a cab from Helix Native, I got a purposefully cutting tone from the D.I so that it can be blended nicely with the darker sound we had set up on the microphone.

A surprising discovery is just how loud the thing is. More than enough to encourage complaints from the neighbours on its own, and with the cab plugged in, the Peavey Decade Too could easily keep up with a drummer in a rehearsal room.

It's not a sound that can compete in a modern context, but the Decade Too does what it sets out to do - recreate the original Peavey Decade, with some extra tone-shaping features. As a recording utility to help a part cut, a way to get you closer to the QOTSA sound, it's mission is accomplished.

Verdict

If you are looking for a practice amp, to, you know, practice on - don’t buy the Peavey Decade Too. There are better options for this use, that are, in some cases, more affordable to boot.

Still, even with this in mind, I couldn’t help but have fun with this little box and its surprisingly loud extension cab. Nostalgia is a powerful thing, and it took me back to my first Stagg amplifier and the old Peavey Decades I would go on to use in university guitar tutorial rooms.

All the things that make the sound of those amplifiers unpleasant in the room add up to make it cut in a mix, which seems to be why Josh Homme took to it as his secret weapon.

Because of Josh Hommes' reverence for the original Decade, those originals are currently getting listed between $300-$400 at the time of writing. At the end of the day, despite the dated technology, things are worth what people are willing to pay for them, which makes the Decade Too an interesting proposition if you are in the market for an effective tool to get closer to an aspect of that massive Queens of the Stone Age sound.

Guitar World Verdict: What the Peavey Decade Too does is recreate the sound of an old style of practice amp, warts and all, but with some handy extra features for further tonal sculpting. If you're a Josh Homme fan or would like a quirky studio tool to add some cut to your mixes, the Peavey Decade Too is worth a look.

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What is it?

The Mooer SD10i is a compact, portable modeling amp boasting 10W of power, two 2” speakers and a rechargeable battery. On board, you’ve got 52 amp models and 49 effects ensuring that you can cover a really wide range of musical styles, plus as an integrated tuner, 80 second looper and drum machine.

There are a few select controls on the top of the amp allowing you to instantly plug in and play, but the majority of its parameters are controlled via the Mooer iAmp app which can be downloaded for free on your smartphone or tablet.

The amp has a USB-C slot which can be used for charging, audio playback and direct recording, making it a potential tool for practice, performance and home recording.

The market isn’t short of this type of practice amp, so what sets this apart? Mooer call it an ‘intelligent’ amp; when using the looper, it can automatically synchronise your loops with the built-in drum machine.

It’s also worth mentioning the price point at which it sits. You can get cheaper portable amps out there, but if the features and sounds deliver here, there's potential for excellent value for money.

Specs

• Price: $179/£122/€139
• Type: Modeling combo amp
• Origin: China
• Output: 10 Watts RMS
• Speaker: 2 x 2"
• Channels: 52 amp types, 10 banks, 4 presets within each bank
• Controls: Amp select, instrument volume, audio volume
• Connectivity: Jack input, headphone output, USB-C, Bluetooth
• Footswitch: Mooer F4 sold separately
• Weight: 1.95kg, 4lbs 5oz
• Dimensions: 233x115x140mm
• Finish options: Red, White, Black (as reviewed)
• Contact: Mooer Audio

Build quality

Build quality rating: ★★★★★

Mooer is known for being a budget brand, so you might expect the build quality to reflect that, however, it really doesn’t. It’s put together really well and the controls on the top provide a reassuring amount of resistance when you turn them.

The on/off toggle switch is also nice and solid and gives a healthy ‘click’ when moved into position.

Having reviewed and spent time with a number of similar practice amps, I can safely say that the build quality of this one is up there with the more premium (and more expensive) brands.

Usability

Usability rating: ★★★★½

Having just a few controls on the top of the unit makes it really easy to use. There’s a dial that lets you switch between different amp types; you’ve got a few varieties of clean, drive, crunch and distortion.

There’s no gain control on the amp, so this is the only way to can control the amount of drive you’ve got without using the app. There’s then a knob for instrument volume and then Bluetooth volume, plus a preset button that scrolls through four different presets.

I have previously used a Mooer app with one of its Prime modeling pedals, so I thought it might be the same app - it isn't. I downloaded the new one, but then had to wait a little while for the firmware to update. It’s all part and parcel of using digital gear, but if you’re prone to having an ‘old man yells at cloud’ moment now and again - as I am - then it’s something to consider.

When using the amp with the app, there’s so much you can do in terms of crafting your sound. You’ve got a clear map of your signal flow with slots for overdrive, amp, dynamics (ie compression), modulation, delay and reverb. Simply tap on the icon to switch it on or off, and tap underneath to browse the different effect or amp styles within that category.

When you’re on this page within the app, your base sound is one of four slots within one of ten banks. This is where the preset button comes into use. You can scroll between four predetermined sounds using just that button. You do however need to use the app to go up to the next bank. You can alter any of the sounds, or start from scratch and save them within a slot.

You’ve got a lot of options in terms of shaping your sound, but they’re not endless. With 52 amp types and 49 effects, you’ve got enough to cater for any style of music, but not hundreds, so you won’t get lost in a sea of possibilities.

It’s really easy to shape any specific tone you’re chasing, but there’s also then a library of presets to choose from, organised in categories such as pop, blues, rock and heavy. You can even create an account and access a ton of user-created sounds too.

The intelligent looping works well. When you press record to start the loop, you get a four beat count-in and then it starts, allowing you to get your hands on the fretboard. Then, if you don’t quite start your next loop exactly in time, or if you hit the overdub button a little too late, the software will nudge it slightly so it loops in time.

I did make a quick demo using the amp as a direct recording interface. It was incredibly easy to do – literally, just plug in and play. The sound was just as good as it was coming out of the speaker too, so I’d have no hesitation using this to make quick demos.

Sounds

Sounds rating: ★★★★☆

Having played through a number of small, portable amps, I’d have to say that the quality of sounds from this amp are on the better side. The clean sounds have character to them; they’re not sterile, or DI-sounding, they actually sound like they’re coming out of a ‘proper’ amp; they’re fairly tube-like.

There are plenty of great-sounding lower gain tones too, all with different tonal characteristics other than how much distortion is applied. Now, the JCM800 setting doesn’t sound exactly like a real 800, nor the AC30 etc but they’re close enough to give beginners who might not be familiar with the real thing an idea of what these amps are all about.

Many of the sounds respond well to picking dynamics. I tried the amp out with my two favourite testing guitars - a Jazzmaster and an SG. The tones would clean up with a lighter attack and break up more with a heavier one. It’s not quite as detailed or nuanced as it is with a tube amp, but for something of this size, it’s pretty impressive.

The effects are impressive too; everything’s clearly labelled so you know what you’re getting. The modulations and delays are lovely and smooth-sounding, but I’d like to be able to do a little more in terms of the reverb sounds; having a few more popular choices like shimmer or octave would certainly augment an already decent selection.

I particularly liked the fuzz effects; it’s easy to control and you can dial in enough so there’s some real hair around the notes, but not so much that the notes become inaudible.

A lot of the ready-made preset slots are also appealing. Quite often, they’re soaked in effects on multi-fx and modeling amps, but it seems like care has gone into most of the presets being used as everyday tones here, though of course you can alter them to become wilder and more experimental. Some of the higher gain settings do sound quite samey though, especially once you’ve scrolled through a few of them.

The biggest pitfall of the amp is its physical size, or to be more accurate, the size of its speakers. When you crank the volume, the speakers start to give out, adding unwanted distortion and just generally sounding like they can’t handle it. It’s more noticeable on distorted tones, but overall the amp isn’t suited to loud scenarios.

It’s a shame, as with it being portable you might think you’d be able to use it for busking, but I’d be worried about not getting good enough sound quality at those volumes. It is however perfect for home use and even jamming with other guitarists.

Verdict

The Mooer SD10i is a fantastic little modeling amp and pairs with an intuitive, easy to use app. As long as you don’t mind tweaking the majority of your sounds using your phone or tablet, it’s completely painless dialling in a wide array of tones.

When the volume is kept to bedroom levels, the sound quality is good and tones are excellent too. Push it too far though and you start hearing the sonic limitations imposed by the small speakers.

You do have lots of great tones to choose from though. If you’re a beginner looking for a bedroom amp, then this can cover any style of playing you can throw at it; jazz, pop, metal, country – everything! More experienced players might like it as a home-friendly alternative to a big tube amp too. It doubling up as a recording interface also makes it extremely handy for those wanting to track ideas at home.

Guitar World verdict: The Mooer SD10i is a solid little amp that can provide an array of excellent tones suitable for any style of music. While you won't get tons of volume out of it, it's perfect for home use and has some excellent features on board that make it an invaluable practice and writing tool.

Also try

Hands-on videos

Mooer Audio

Perfecto De Castro

Leon Todd

• "An astounding number of features and a lot of bang for your buck, but is it too good to be true?": Mooer GS1000 multi-effects and amp profiling pedal review

What is it?

As creator of some of the most recognisable sounds in guitar history – etched onto vinyl by legends as diverse as Hank Marvin and Brian May and many, many more – Vox has created a sonic fingerprint that can be heard across countless musical genres.

In the ’90s the brand was adopted by indie bands and the grunge movement alike for its signature chime and bloom, and has subsequently found a home in Nashville, providing that much sought-after ‘edge of break-up’ sound heard in modern country and Americana styles.

It would be fair to surmise that the specific overtones and frequencies these amps produce have proved to be uniquely appealing to the human ear ever since their inception in the late ’50s.

In common with guitar amp standard-bearers such as Marshall and Fender, consistently producing its recognisable tone throughout decades of shifting technology, fashions and economic environments has proved no mean feat.

Just like the aforementioned brands, Vox has had moments of variability, shall we say, so it’s great to see the company now producing this impressive fleet of hand-wired AC classics to get us back to the authentic jangle.

According to Vox, meticulous research and development went into specifics such as the output transformer, rectification and cabinet construction to yield the distinctive sag and bloom of the early versions. Let’s find out if these modern incarnations can summon up the magic of the originals.

AC30X Hand-Wired

We begin our investigations with the classic model. Something about the form factor of this amp just feels right: large enough for club gigs but with car-boot portability. The copper-red top with oxblood diamond grille cloth evokes the cosmetics unique to the Vox brand, referencing the original colours from what may be considered its golden era.

The Top Boost channel one would expect from this model is in evidence, augmented by some great additions to widen its sonic offering. We now have a high-quality spring reverb unit to add dwell and space to the sound, in addition to a bypassable integrated effects loop with switchable level-matching, located on the rear panel.

The valve line-up is taken from the early ’60s AC30 incarnation when ECC83 preamp valves replaced the EF86 pentode, which had been the cause of reliability issues for the company in the late ’50s.

The ECC83 valves used in the preamps of this range impart a direct, energetic upper midrange, in comparison to the deeper and more refined sound of the discontinued EF86. A pair of 12-inch Celestion Alnico Blue speakers has been selected for their ability to pump out the appropriate chunk and chime and sit beside additional speaker output jacks.

AC15X Hand-Wired

In its single-speaker equipped cabinet, the AC15X offers a very appealing size and wattage combination, perfect for recording, rehearsal and smaller gigs.

The two-channel layout has the same reverb and effects loop features shared with the other Hand-Wired models; however, we also have a Boost switch alongside the Bright switch, providing a kick to the lower-gained Normal channel. A single 12-inch Celestion Alnico Blue speaker complements its compact stature.

AC4 Hand-Wired

The baby of the family is this single-channel, Celestion Greenback-equipped unit that is designed to offer a more personally voiced output level, perfect for home use.

We still enjoy the updated features of footswitchable spring reverb and bypassable effects loop together with a stripped-down control layout of dual High/Low inputs, Volume, Treble, Bass, alongside Reverb and Master level control.

This unit is a semi-sealed design with a vented panel across the rear that should provide a little more focus to the sound, if at the expense of some three-dimensional sound projection. Let’s take a listen…

Specs

VOX AC30X Hand-Wired

• PRICE: $2,499/£2,199
• ORIGIN: Designed in UK, built in Vietnam
• TYPE: All-valve dual-channel combo with spring reverb
• VALVES: 4x ECC83/12AX7, 1x ECC81/12AT7, 4x EL84, 1x GZ34 (rectifier)
• OUTPUT: 30W
• DIMENSIONS: 705 (w) x 263 (h) x 567mm (d)
• WEIGHT (kg/lb): 32/70
• CABINET: Plywood
• LOUDSPEAKER: 2x 12” 8ohms Celestion Alnico Blue 
• CHANNELS: 2
• CONTROLS: Normal Channel: Volume, Bright switch; Top Boost Channel: Volume, Treble, Bass; Reverb: Tone and Level; Master: Tone Cut, Volume (master)
• FOOTSWITCH: For reverb (included)
• ADDITIONAL FEATURES: Effects loop, speaker output
• OPTIONS: None
• RANGE OPTIONS: The AC30 Custom costs £979 with Celestion G12M Greenbacks and £1,599 with Alnico Blues

VOX AC15X Hand-Wired

• PRICE: $1,699/£1,599
• ORIGIN: Designed in UK,
  built in Vietnam
• TYPE: All-valve dual-channel combo with spring reverb
• VALVES: 4x ECC83/12AX7, 1x ECC81/12AT7, 2x EL84, 1x GZ34 (rectifier)
• OUTPUT: 15W
• DIMENSIONS: 610 (w) x 260 (h) x 550mm (d)
• WEIGHT (kg/lb): 22.8/50
• CABINET: Plywood
• LOUDSPEAKER: 1x 12” 16ohms Celestion Alnico Blue
• CHANNELS: 2
• CONTROLS: Normal Channel: Volume, Bright switch, Boost switch; Top Boost Channel: Volume, Treble, Bass; Reverb: Tone and Level; Master: Tone Cut, Volume (master)
• FOOTSWITCH: For reverb (included)
• ADDITIONAL FEATURES: Effects loop, speaker output
• OPTIONS: None
• RANGE OPTIONS: The AC15 Custom (with Greenbacks) costs £679. It’s also available as the AC15 Custom Twin with dual Greenbacks at £789

VOX AC4 Hand-Wired

• PRICE: $1,099/£929
• ORIGIN: Designed in UK,
  built in Vietnam
• TYPE: All-valve single-channel combo with spring reverb
• VALVES: 2x ECC83/12AX7, 1x EL84
• OUTPUT: 4W
• DIMENSIONS: 405 (w) x 260 (h) x 450mm (d)
• WEIGHT (kg/lb): 13.5/29
• CABINET: Plywood
• LOUDSPEAKER: 1x 12” 16ohms Celestion G12M Greenback 
• CHANNELS: 1
• CONTROLS: Volume, Treble, Bass, Reverb Level, Volume (master)
• FOOTSWITCH: For reverb (included)
• ADDITIONAL FEATURES: Effects loop, speaker output
• OPTIONS: None
• RANGE OPTIONS: The fourth amp in the Hand-Wired line-up is the AC10 (£1,179)
• CONTACT: Vox

Usability and sounds

Having experienced the majestic tone of classic ’60s AC30s and also some later, perhaps slightly less wondrous incarnations, it will be very interesting to hear how close Vox has been able to get to its own hallmark sound. In contrast to the sparkle of Fender and the crunch of Marshall, players go to Vox for the classic ‘chime’.

It’s a simple description for a set of complex phenomena that result in an enveloping halo of warmth and high-end sparkle without brashness or harshness.

Eagerly plugging in a Strat with medium-output, vintage-style single coils to the Top Boost channel of the AC30X, a recognisable bloom and sparkle greets our ears. Subtle degrees of dynamic gain are produced by balancing the channel volume with the master volume – a hallmark of the model that is very much in evidence on all three models.

Opening up the master volume unleashes the EL84’s characteristic firepower; it’s a lively response that gives way to beautiful note bloom and glorious harmonic feedback at high levels.

The bold power and headroom of this 30-watt flagship are a real wonder to behold at full volume where the amp begins to become one with the guitar as a single, singing voice.

The footswitchable reverb certainly earns its place on these amps with a lengthy dwell and subdued tonality, delivering an unobtrusive yet glorious ambience well suited to the AC character.

The unique ability to offset the Treble control with the Tone Cut control on the 30- and 15-watt models opens up a rich world of top-end tailoring, too. A nudge of the Tone Cut control and our Telecaster’s bridge pickup was singing beautifully, fully devoid of that dreaded ice-pick tone, while our ES-335-style guitar regained some wonderful clarity with a lower Tone Cut setting.

Warmth and body are synonymous with this circuit, and Vox has managed to reproduce the glorious AC30 midrange here in all its majesty across all three models.

Obviously, the four-watt 1x12 speaker model will not produce the physical experience of air movement, but it’s perfectly scaled down to impart all the desired chime and bloom.

The core tone of all three amps delivers that magic air around the notes that not only sounds sublime but yields an effortless touch response that you’ll have to prise yourself away from.

Verdict

Verdict: ★★★★★

While boutique amp makers have built a variety of amplifiers inspired by or based on the Vox circuit – widening the palette in a variety of ways with a plethora of expanded features – Vox itself has managed to reformulate its own unique DNA with this handsome family of Hand‑Wired amplifiers.

The addition of spring reverb and effects loop, expanding the possibilities for delay and modulation effects, is well implemented without any impediment to the core sound. The design and build quality is impressive, and the efforts Vox R&D has put into replicating the power section performance of the originals, with less interference, has paid off sonically.

The retail price is significant in comparison to that of the more modest Custom models in the Vox catalogue, but these amps are still significantly cheaper than well-known US boutique offerings.

Guitar World verdict: Every bit of that legendary sound is ready and waiting to be coaxed out of these amps, and the actual playing experience will surely have you grinning, ear to ear. Our only issue is deciding which size is just right.

Hands-on videos

Guitarist

Vox

• “If you seek complete Vox-style satisfaction without shortcomings or compromises, the Era 30 comprehensively delivers on all fronts”: Bad Cat Era 30 review
• This article first appeared in Guitarist. Subscribe and save.

Blackstar has unveiled its answer to the Boss Katana and Positive Grid Spark with the ID:X – a new series of modeling amps that the firm believes will usher in a new generation of guitar amps.

Though relatively diverse, the modeling amp sphere is largely seen to be controlled by two major players, because while the Fender Mustang and Line 6 Catalyst are serious contenders in the market, it is the Katana and Spark ranges that consistently get drawn into the conversation for best modeling amp out there.

Blackstar, who has launched its own efforts to make a dent in the market in the past, is now determined to tip the scales in its favor, launching a next generation ID amp that, in the firm’s own words, will go “head-to-head with the current market leader”.

Now, it doesn’t specify which market leader it’s eyeing up, but as mentioned, the Katana seems like a safe bet. As such, the ID:X will inevitably be held up against Boss’ flagship guitar amp – and, since it’s been launched in 50 and 100 watt formats, there are plenty of comparisons to make.

At a glance, the ID:X offers six amp ‘Voices’ – the same as the Katana – and provides a generous control panel that offers a three-band EQ (where Bass and Treble double as Resonance and Presence parameters) as well as Gain and Master output knobs.

There’s also Blackstar’s prized Infinite Shape Feature (ISF) control, which lets players fan between ‘British’ and ‘American’ amp sounds, and a section for onboard effects – Modulation, Delay, Reverb and Pre-FX among them.

What’s also neat is that the ID:X lets players cycle between a number of onboard effects and tweak them ad hoc thanks to additional effect control parameters, while a Response section moves the amp between EL34, EL84 and 6L6 tube response tones.

Other appointments include a Power mode for reduced wattage (like the Katana) and buttons for recalling selected presets. These patches – 99 of them can be created and stored – can be kept track of thanks to the discreet OLED display screen atop the panel.

To make it a true Blackstar amp, though, the ID:X is fitted with some firm-only features, such as its IR-based CabRig function for speaker and mic simulation, and – perhaps the real kicker – newly developed In The Room tech.

In essence, In The Room is designed to perform exactly as you’d expect, and creates “the experience of standing next to an amp while you play, rather than the most studio focussed tones of traditionally captured IRs”. Those various tube amp response modes play into the In The Room function.

A bevy of connectivity options – USB-C, headphone out, line out, MIDI and XLR jacks for the 100W ID:X – also make the cut.

And, like the Katana range, this could be just the start for a potentially burgeoning ID:X range. Could we see other combos, heads and cabs enter the family at some point? We wouldn’t bet against it.

“ID:X goes head-to-head with the current market leader delivering a streamlined user experience with unmatched sound quality and versatility,” Blackstar says. “Designed for players who want the sound and response of a pro rig without the weight or complexity, ID:X represents a bold step forward in modern amp design.

“Combining hands-on control with studio-quality tone and next-level flexibility, it’s the all-in-one solution today’s guitarists have been waiting for.

The ID:X 50 and ID:X 100 are available now for $349.99 and $449.99, respectively.

Head over to Blackstar for more info.

Since launching three decades ago, Fender’s 15-watt Blues Junior combo amp has charmed a diverse range of players with its versatile tones and portable workhorse format, and has become one the most popular grab-and-go gigging guitar amps ever made

Now, to celebrate its 30th anniversary, it’s been re-released as a celebratory special edition model – and it boasts some choice upgrades.

Fender’s tube amp has consistently punched above its weight over the last 30 years, with a streamlined and diminutive package proving to be anything but when cranked.

As its name attests, it has predominantly become a staple tool for gigging blues guitar players, but its travel-friendliness and its ability to reinvent itself with a well-picked pedalboard means it’s up there with the Twins and Bassmans when ranking the American firm’s most revered amplifiers.

The revamped anniversary model arrives with modified preamp circuitry, which Fender’s tone gurus have reconfigured for “increased fullness”, and an updated, extra-smooth spring reverb. The amp, as ever, crams a lot into a small package.

“The modified preamp circuitry offers greater tonal definition and clarity, even when pushing the amp into overdrive,” says Fender. “Your tone remains articulate no matter how hard you push it.”

The single-channel combo finds a three-band EQ mingling with dials for Reverb and Volume, while a Fat Switch brings the girth when thicker tones are a must. It is given some aesthetic pizzaz in the form of black chicken head dials, which sit atop a chrome panel, and there’s a leather handle to boot.

Beneath its slick and embossed commemorative Black Western covering and vintage grille cloth, which is lifted from a Fender Bassman, lies a Celestion G12M-65 Creamback speaker. Expect “warm cleans and midrange growl when cranked” for an amp built to sing with and without overdrive.

Tube fiends will find two EL84 power tubes and three 12AX7 preamp tubes warming the combo’s heart, and it has a total impedance of 8 ohms.

“The Blues Junior IV 30th Anniversary is a special edition of one of Fender's highest demand tube amplifiers,” adds Senior Product Manager Rick Heins. “Part of the iconic Hot Rod series, it delivers classic tube tones with modern flexibility, known for its powerful sound and small design, and for being a reliable favorite among performing musicians.”

The Fender Blues Junior IV 30th Anniversary is out. It costs $1,049.

Visit Fender to get a closer look.

A “hidden treasure from the early 1960s” that bridged a vital gap between two eras of Fender amps has been revived, with the Big F announcing the brown-paneled, dual-personality ’62 Super.

Arriving as part of Fender’s American Vintage line of retro-ist guitar amps, the small-but-punchy combo is a blast from the past, with no notable modern tweaks or features. This very much is an ode to the OG Super, which was the first of the Fender brown-panel models.

During the ’50s, Fender’s tweed amps were renowned for their raw tones, while black-panel designs from the mid-’60s were all about clean sparkle and then some. The brown-paneled ’62 Super, by comparison, struck something of a tonal balance between the two.

“An incredibly warm and woody sound” is promised when this reissue is played clean, while the amp is also said to be capable of “sweet overdrive” when cranked. Not only that, Fender promises “phenomenal tone at any volume”.

Presented as a combo amp with two 10”Celestion Custom Design speakers beneath its aged wheat grille cloth, it serves 40 watts of power at 4 ohms. It is driven by six 12AX7 preamp tubes, two 6L6 output tubes, and a single 5AR4 rectifier tube.

Plug into the Normal channel and find streamlined controls for Volume, Treble, and Bass via vintage-style brown radio knobs. The Vibrato channel adds dials for the Speed and Intensity of the amp’s built-in phase-shifting harmonic tremolo effect. There’s also a master Presence control.

The Harmonic Tremolo was something of a USP for Fender’s brown-panel amps, although not all models were bestowed with it. The guitar signal is split into high and low frequencies, with two signals modulating at different volume rates for a trippy (and certainly very ’60s) flavor.

Unlike traditional tremolo, it modulates the harmonic content of what is played simultaneously, offering a more complex and musical tremolo effect.

The ’62 Super also comes with a footswitch for jumping between the two channels on the fly. Assembled in the USA, its housing is made from solid pine, which is said to inject more resonance into the mix.

The Fender ‘62 Super amp will be available in September this year for $2,499.99.

See Fender for more details.

For some, the contemporary amp landscape is split into two categories – you’re either a keeper of the tube amp faith or an advocate for digital tech and amp modelers. But it needn’t be so black and white, and Supro is the latest to make the case for that.

The Airwave is an all-new tube-powered combo amp with Two Notes’ acclaimed cab sim technology built in, which stars alongside a slew of analog effects on a portable amp that leaves no stone unturned.

Supro has carved made its name with gourmet, all-tube tones, with the Delegate and Ambassador Custom combos to the supercharged Tyler Bryant Black Magick three examples of how they’ve shone with their air-pushing builds. Now Supro is embracing impulse responses, harnessing modern versatility for the best of both worlds.

Arriving in a studio and back-friendly 25W, 1x12 format, the Airwave’s suite of analog effects includes Boost, Drive, Tremolo, and Reverb. They sit alongside a three-band EQ and a Master Volume that sets the level of the signal sent to the amp’s Class-A 6V6 output, making for a fairly comprehensive suite of tone-shaping tools.

But it’s when such knob-fiddling is finished and players turn towards the cabinet sounds that the Airwave reveals its trump card. Its speaker sim tech packs 12 onboard presets featuring both Supro and third-party speaker combinations alike, giving you options on how you want to present the amp's tube-driven tones.

Presets include an emulation of Led Zeppelin I’s modded 1959 Supro Coronado, an original Valco-era Oahu 1×10, and Phil X’s own custom Super 108.

The choice is all yours. Make the most of the Airwave's Celestion-made BD12 speaker, or tap into an array of amp emulations. Switching between simulations is easy. Turn the six-way rotary switch on the front panel of the amp; the 1x8 combo is the smallest, then we rise through the ranks of 1x10, 1x12, 2x12, and 1x15 models.

Each cab sim has been captured in “meticulous detail with a selection of eight different microphones”.

Taking the tech’s tonal possibilities further, Supro’s custom Group A / Group B illuminated touch switch empowers players to switch between vintage and modern takes of those cabs so there’s always a sound to suit the song.

The microphones used for the cab sims, their position, the EQ, reverb, and room emulation are all tweakable, and stereo twin-tracking effects are also on tap via Supro's accompanying phone/computer software.

“Our vision for the Airwave was to bring together the analog elements that have defined the Supro sound since the 1950s with a state-of-the-art cabinet emulation, allowing guitar players to perform and record without having to rely on physical microphones to capture the sound of their amp,” says David Koltai, CTO at Bond Audio, who owns Supro.

“This hybrid approach of integrating a software controllable stereo DI with an onboard guitar speaker that can be muted creates a best-of-all-worlds solution for both live performance and studio recording.”

The Supro Airwave is available now for $1,499.

Head to Supro for more.

What is it?

A huge trend in the last few years has been the continued development of portable mini-amps. The Harley Benton JAMster joins the likes of the Boss Katana Mini X, Positive Grid Spark GO, and Blackstar FLY 3, in offering affordable, compact electric guitar amp, designed with both home practice and life on the road in mind. But there's a difference: Harley Benton's offering –– while forgoing modeling and effects –– comes in at under $40. Powered either via mains or batteries, it’s very easily transported and can be used absolutely anywhere.

Boasting 10W of power, a 5-inch speaker (plus a tweeter for full-range music playback) and clean and overdrive modes, it’s ideal for players who want a compact practice amp that can tackle different styles of music. What really sets it apart, particularly at this price point though is its Bluetooth compatibility. Stream music from your phone or tablet and jam along, or use it as a portable sound system.

For those who prefer (or possibly require) to do things more old-school, there is also an 1/8-inch (3.5mm) aux input as well as a headphones output.

Specs

• Price: $35/£33/€39
• Type: Solid state combo
• Origin: China
• Output: 10 Watts RMS
• Speaker: Custom voiced 5”, plus tweeter
• Channels: 2
• Controls: Volume, Tone, Gain, Channel button, Bluetooth button
• Connectivity: Guitar input, aux input, headphone output, bluetooth
• Footswitch: N/A
• Weight: 950g/2.1lbs
• Dimensions: 245 x 123 x 152 mm
• Contact: Harley Benton

Build quality

Build quality rating: ★★★★

Out of the box, it looks and feels like it’s built well. Although it feels durable for everyday use, the amp is made with a plastic casing, so I’d be wary of throwing it in the back of a car without any sort of protection, and the buttons don’t feel incredibly sturdy. There is a nice bit of resistance to the knobs on the top of the amp though which makes dialing in your tone easy.

For those looking to use this at home, I can’t foresee any issues. However, if you’re planning on taking it out on the road – maybe as a warm-up amp backstage, busking, or maybe traveling then it would definitely be worth investing in some sort of padded carry case for it - even if replacing it is likely to be as cost effective.

Usability

Usability rating: ★★★★½

The top of the amp sports a very simple three knob layout – volume, tone and gain. There’s then a button for clean/overdrive and a Bluetooth connection button.

It’s really easy to dial in your specific sound – beginners don’t have much to get lost with, which is nice. When on the overdrive setting, you do have to balance the volume with the gain a little though. So, if you’ve got a low gain setting at the right volume and you increase the gain, it does slightly increase the volume as well. Not a criticism as such, but worth mentioning.

Pairing with the Bluetooth was also easy - you press the button to place the amp in pairing mode then connect from your device. At this point, the volume for the audio you're streaming into the JAMster is controlled by your device's volume buttons.

The Harley Benton JAMster comes with a power supply included - again, at this price, that’s incredible value. It’s worth noting however, that the review model came with a European plug.

Sounds

Sounds rating: ★★★★

As I delve into what the amp sounds like, it’s worth once again reminding ourselves of the price here. It’s a budget amp, and in all honesty, that is reflected in some of the tones. It’s not bad, by any means, but you’ll hardly be trading in your tube amps for one.

It serves a purpose - that is, it’s a small practice amp that can be powered by batteries. The clean channel sounds a little like a basic DI - there isn’t much character to it, but if you like the sound of your guitar, then that should come through fairly well.

The overdriven channel sounds fine - again, it’s nothing special but it serves its purpose well and is an improvement on the waspy micro-amps of yore. What I did really like though was how much range there is in the gain.

You can add just a touch of overdrive and get a satisfying blues sound, drive it into crunchy, classic rock territory, or even metal. There’s a surprising amount of gain on tap, so you can really cover quite a bit of ground here.

The overall tonality of the JAMster is quite dark. I first plugged a Fender Telecaster into the amp – normally a fairly bright sounding guitar, and I found that I was dialling the tone knob up to max to get it to my liking. I tried my SG through it too and, with tone up full, would still have liked more top end.

When pushed, the amp can throw out a good bit of volume; more than enough for bedroom practice. You might even get away with busking with it, provided you’re putting any vocals or acoustic guitars through another amp.

Verdict

All in all, this is a fantastic amp for the price. If you’re looking for an affordable solution to portable practice without paying for loads of bells and whistles, then this will do the job. The Bluetooth connection is a really useful addition that means the JAMster can serve double-duty as your guitar amp on-the-go as well as a Bluetooth speaker for listening to music - or both at the same time!

The sound quality might not be the most exciting, but it's just fine for its intended purpose, and while there are practice amps out there that sound better, you will have to spend more cash.

The JAMster's versatility should also be praised. The gain has lots of range, plus you’ve got a dedicated clean channel. If you're intending on using this 'untethered' for long periods of time, rechargeable batteries would be a very sound investment, but if you're going to play through it in situations where there's mains power, it's a very convenient solution.

Guitar World verdict: If you’re seeking a cheap, compact practice amp with Bluetooth connectivity and the option to run on batteries as well as mains then the Harley Benton JAMster has you covered. The tones are solid, if a little unremarkable at times. For the price, it’s pretty much unbeatable.

Also try

Hands-on videos

Harley Benton

• Best desktop guitar amps

Revv Amps has unveiled a new signature combo amp for modern blues guitar hero Joey Landreth, putting a fresh spin on its acclaimed D25 combo.

The D25 Joey Landreth Edition 1x12 Combo Amplifier takes inspiration from Revv’s original D25 – first released in Spring 2023 – which is part of its series of 'Dynamis' guitar amps that the guitarist has helped voice and tweak over the years.

Building on those foundations, Landreth’s amp offers a custom aesthetic and voicing, and has a Celestion Creamback 75 speaker as its beating heart.

The flagship clean/crunch amp boasted “touch-sensitive all-tube tone” and modern features tuned for contemporary gigging musicians, and now Landreth’s special brew is “designed to solve problems and remove the barrier between you and your music”.

Simplicity and organic tonalities are key here. The amp’s single channel is capable of cleaning up and being pushed to an almost overdrive-like edge of breakup, and is always ready to serve as an ideal pedalboard platform.

To that end, there’s an effects loop loaded in alongside a “pristine” digital reverb. Landreth's signature Jackson Audio Golden Boy Mini overdrive, a stompbox the collab hypes up as the “most versatile and transparent overdrive ever made”, feels primed for a spot in a D25-bolstered signal chain.

Controls for the amp – which is powered by two 12AX7 and two 6V6 tubes – include Level, Treble, Middle, Bass, and Volume, while a switchable gain boost also features.

Speaking of switching capabilities, players can choose 25-watt performance for jams, practices, and small gigs, or 5-watt playing to keep the neighbors sweet.

That can be taken a step further thanks to the inclusion of a Two notes Torpedo-embedded mono XLR with Impulse Responses. As for the aesthetics, golden vintage is the name of the game, while a teal pilot light is a thoughtful touch.

The relationship between Revv Amps and Landreth predates the guitarist's celebrated solo LP, Whiskey, which was crafted with the help of a few of the amp firm’s models. The Generator 740 won that particular battle: “It was the right sound for the record,” Landreth says. “I think it cut 90% of the guitar tracks.”

He switched to a Dynamis amp for the road and was crucial in critiquing its weight, leading to the D20 and D25, two far lighter models. Feedback continued over the years, and so a signature amp always felt inevitable.

“What you see here is the culmination of those conversations,” Landreth details. “I'm super stoked about this collaboration.”

“The speaker's ability to produce nuanced brightness ensures that every note is articulate and clear while maintaining a rich, full-bodied warmth that enhances Landerth's expressive guitar work,” Revv states.

“The D25 Joey Landreth Edition empowers you to focus on your music on stage, in the studio, and at home.”

Revv’s D25 Joey Landreth Edition is available now for $1,899.

Visit Revv Amps for more details.

What is it?

Bringing big tones in an itty bitty package, the Blackstar Fly 3 has been a go-to mini practice amp for over ten years now. Back in 2014, it proved that mini amps didn’t have to sound like bees hosting a rave in a Pringles tube, setting a new standard for just how good tiny amps could be.

That was a long time ago though, and the landscape has changed massively since then. The arrival of Positive Grid’s smart amps, the explosion of popularity in headphone amps for guitar, and offerings from Boss, Orange, and Fender in the desktop guitar amp genre have made practicing a completely different frontier from what it was ten years ago. So, does the Fly 3 still have what it takes? Let's find out...

The Fly 3 is a simple affair, giving you a single 3-inch speaker to deliver its sounds. You get four knobs to tweak your tones, with separate levels for gain and volume, as well as an ‘ISF’ EQ knob, and a time control for the built in delay. It has two channels for clean and overdriven tones, and a tiny knob that sets the mix of delay signal.

In terms of connectivity, it’s again pretty simple, with a single 1/4-inch input for your guitar, plus an auxiliary 1/8-inch input for your phone or another line in, and a 1/8-inch output for the emulated out or headphones. There’s also an extension speaker socket for pairing it up with a matching cab sold separately, which looks similar to the ethernet port you’d find on a router.

Specs

• Launch price: $79/£69/€75
• Type: Combo
• Origin: China
• Output: 3W
• Speaker: 3”
• Channels: 2
• Controls: Gain, Volume, EQ, Delay, Delay Level
• Connectivity: 1/4-inch input, 1/8-inch line input, 1/8-inch line out/headphones
• Footswitch: N/A
• Weight: 1.98lbs/0.8kg
• Dimensions: 170 x 126 x 102mm
• Contact: Blackstar

Build quality

Build quality rating: ★★★★☆

The Fly 3 comes in four colors, so I opted for the most fun-looking one in my opinion, Surf Green. It’s certainly a striking looking chassis and found many admirers amongst my friends and colleagues. It’s also available in Vintage White, Royal Blue, and if you’re a fan of things more muted, good old classic Black.

Sans batteries it’s very lightweight versus my Spark Mini, and much more sprightly versus the positively heavyweight Katana Mini X. Despite its carry-friendly heft, it doesn’t feel flimsy in the slightest, with the hard plastic exterior feeling well up to being chucked in a backpack and taken on the go.

I really love the classic chickenhead type knobs which add a nice sense of dexterity when you’re moving the controls as well as looking great. The small delay level knob could potentially be a bit fiddly for some, but I didn’t find any major issues with it. The front grille is made out of a lightweight metal, and feels as though it will do a good job of protecting the small speaker within.

Usability

Usability rating: ★★★★☆

As far as actually using the Fly 3, it’s one of the simplest amplifiers I’ve ever encountered. There’s no app or modeling trickery here, just plug in, turn up your volume and gain, and off you go. EQ is handled by the single ISF knob, which is great for beginners or those who like simplicity, but might be off putting for others with more experience or who prefer tweaking their own EQs.

Having separate gain and volume knobs gives you a lot of control over your tones, allowing you to get nicely distorted sounds at lower levels which is great for practice. Channel switching is handled by a button press, and you’ve got separate controls for the delay level and time control.

It can be powered by 6 AA batteries or a 6.5V DC power supply, neither of which are annoyingly not included in the package. This meant that when I got my amp, I had to take an extra trip to the shop as none of my myriad power supplies were compatible with it, and I only had four AA batteries in the house.

Sounds

Sounds rating: ★★★★☆

Plugging in a Gretsch semi hollow guitar into it to begin my testing, I started on the clean channel with the volume and gain at the halfway point, and the ISF knob set at its lowest point to emulate the sound of an American amp.

It’s very a pristine clean at these settings when picking softly, but when I started to dig in there’s some breakup that occurs. It’s not the most pleasant sounding with that scooped American tone, but if you dial the ISF knob to the midway point you start to get a lot more girth which helps fills out the sound some.

It sounds great with clean-picked chords, and once you start adding in some of the tape delay emulation, that really helps negate some of the harshness of the breakup. Here, it sounded superb with bluesy double stops and pentatonic licks for some Rockabilly tones, and once I cranked the tape delay time and level, it went straight into ambient territory.

Dialling up the gain gets you into classic rock territory, and here the breakup sounded much more invigorating, pairing nicely with power chords and lead licks. Adding in some more of the tape delay really helps elevate the sound again, making it more lively and inspiring to play along with versus the purely dry signal.

Switching to channel two delivered a lot more gain, plenty to get some metalcore riffs going. Again, it’s a little harsh sounding on certain settings, but playing with the ISF knob can get you a really full sound that will handle modern metal with ease. I was soon playing staccato breakdowns and 0-8-5 metal riffs a la Trivium and Killswitch Engage. While it won’t trouble the dirt channel of my Orange tube amp for harmonic richness, for practicing at home I’d have no qualms using it for heavier stuff.

Dialing in that tape delay yielded some excellent results with shred leads, helping tame that slight harshness in the high end and allowing extended bends to soar and legato to sound well-defined. The tape delay is really versatile too thanks to the two knob controls, so you can let it wash over your sound or just add a touch of slapback to bring it to the forefront.

I pretty much always found myself leaning towards the mid point on the ISF knob in all my testing, finding the far left position to thin and the far right position too muddy. In that middle section between 10 and 2 o'clock, it felt just right to me, giving you the fullness in the mids but with plenty of bite in the treble.

Final verdict

It’s really quite hard to beat the Blackstar Fly 3 when it comes to value for money. Coming in well below the $/£100 point, it absolutely delivers on its premise of teeny tiny practice amp on a budget, giving you plenty of options when it comes to sounds. Running the gamut from pristine clean to modern metal, it’s an incredibly capable amp for jamming alongside at home.

It does get a little harsh on mid-gain tones when you don’t have the delay engaged, but all it takes is a little tweaking of the knobs to help iron this out. It’s also not an overtly bassy amp as you’d expect with the size, but it can definitely fill a room with sound if you want to crank it a bit when everyone’s out of the house.

Guitar World verdict: Overall, it’s hard to fault the Fly 3 as a home practice solution on the cheap. It can give you pristine cleans, crunchy classic rock, slapback slathered blues licks, and even modern metal, thanks to its twin-channel design. It won’t trouble your regular amp when it comes to tone, but for sitting at your desk or in your living room and jamming out your favorite licks or new song ideas, it’s a brilliant companion.

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Hands-on videos

What is it?

Cliff Cooper, Orange’s first CEO, founded the company back in 1968 during the beat combo heyday of British music, creating one of a select handful of history-making British tube amplifier brands.

Orange had no issue marking itself out with a slew of oversized, colourful cabinets and even a trendy London store called, naturally, the Orange store. Business boomed and soon the brand had expanded to include both a record label and an artist management company.

Ownership and production issues from 1978 to 1998 led to only a few products being manufactured with various partners including Gibson. However, since the millennium Orange has managed to rebuild its market position, retaining the esoteric sound and styling that has set the brand apart since its inception.

Today’s market for guitar amps can perhaps be split into two general categories: powerful heads and cabs for professional touring musicians, and smaller units for smaller gigs, practice and domestic use. The new O Tone 40 attempts to bridge this gap, being loud enough for band use but portable enough for a one-hand carry.

This is achieved by combining A/B Class solid-state topology with a sealed-back cabinet, housing the custom-designed ‘Voice of the World’ speaker. While such a small combo would often feature an open back, allowing for pedal and cable cartage, that isn’t possible with the O Tone’s sealed cabinet, and so extra luggage will likely be necessary.

That said, this is a traditional design feature of Orange amps that produces the punchy sound many users know and love. The extra depth of this cabinet combined with the clean gain brings the Roland Cube amps to mind for their clean power and portability.

The clean single-channel structure of this amp would certainly suit players who have their pedal game dialled in to perfection and who may regard amps as anywhere from a device to make their pedals louder to a necessary inconvenience. In response, Orange wisely designed this to be small, light and loud.

This amp leaves the character of the sound wide open for whichever guitars and pedals are appropriate for the application. A line output is provided to feed a power amp or recording device perhaps, but it’s worth noting that this isn’t a speaker emulation or an impulse response signal.

Usability and sounds

We thought a suitable test for this amp would be an old-fashioned jam session with a drummer and bass player in our studio’s live room. A wide array of the usual suspects, pedal-wise, were rigged up, anticipating the potential for some extensive tone flavouring.

Beginning with the straight-up natural sound of the amp, we were greeted to a much larger soundstage than expected from its small form. This combo could be a contender for the loudest, smallest amp we’ve used and it had more than enough horsepower to hold its own against our loud rhythm section. The depth of sound emanating from the single 12-inch speaker was impressive.

Responsiveness to touch on the strings is a huge contributor to the enjoyment of playing electric guitar. Powerful notes may cause the amp to sag, resulting in a form of compression that feels sympathetic to the player.

It’s a beautiful thing – and thankfully we can feel a certain amount of that familiar response here. What usually accompanies this compression effect, certainly in most valve amplifiers, is saturation. This would come in the form of glassy excitement courtesy of electrons screaming through metal grids inside glass bottles.

With solid-state design, we don’t have an overdrive facility built-in, but there are many reasons why it may be preferable for an amp not to distort.

Indeed for the jazz, country and folk fraternities, the lack of hairy sizzle would be quite desirable, and with the O Tone’s addition of reverb and tremolo this amp may make a very good partner for the cleaner-sounding guitarist.

It’s a great-sounding digital reverb, too, tuned very much to our taste with a classic drip of presence and a good amount of dwell. The tremolo effect performed its throbbing duties in the expected way; however, its top speed is perhaps a little less than dizzying.

There’s plenty of tone-shaping potential available via a three-band tone stack comprising the usual bass, middle, treble. These controls, due to the circuit design, offer more effective range than passive EQ, as found in traditional valve amplifiers like Fender and Marshall, for example.

There’s a solidity and boldness, too, resulting from the A/B Class power amp combined with the custom driver and cabinet, and we were able to achieve a slinkier tone by rolling off some bass and increasing the treble, contributing to a more Fender-y tone.

Conversely, bringing up the mid control and reducing the top and bottom achieves a more Marshall-like frequency profile, overdrive pedal permitting.

Kicking in a subtle amount of valve-style overdrive provides a base layer of colour and personality and begins to illustrate where you can take the amp.

We were even able to produce the sizzling saturation Orange is known for by the addition of a certain rodent-themed distortion pedal, with the amp staying tight and punchy despite some punishing gain.

The effects loop is usually the most suitable place to connect some final reverb and delay, and we were soon swimming through a sea of modulated reverb.

Verdict

Guitar World verdict: The balance of power and convenience here is ideal for the rehearsing/gigging guitar player, and the onboard reverb and tremolo have you covered for a wide range of clean sounds, extended further by the effects loop.

Of course, where you take the amp is down to you and your pedalboard, but the O Tone supports that potential diversity, offering bags of power and punch in a tiny and very portable package.

Specs

Launch price: $399/£329
Origin: China
Type: Solid-state combo
Output: 40W
Controls: Reverb, Tremolo Depth, Tremolo Speed, Bass, Middle, Treble, Gain
Channels: 1
Cabinet: MDF
Speaker: 12" 'Voice of the World'
Footswitch: For tremolo only (not included)
Additional features: 1/8”jack playback input, 1/4” headphone output, effects loop, 1/4” line output
Dimensions: 440 (w) x 395 (h) x 230mm (d)
Weight (kg/lb): 11.5/25.9
Contact: Orange Amps

Hands-on videos

Orange Amps

Andertons

GuitarGuitar

GAK

• Orange Baby 100 Series review

What is it?

The Fender Bassman is one of only a handful of historic amplifiers that have shaped the sound of the electric guitar as we know and love it. Since its release in 1952, the unmistakable throaty authority of the tweed 4x10 combo amp has had top players including such luminaries as Michael Bloomfield, Buddy Guy, Paul McCartney, Stevie Ray Vaughan and Eric Clapton enthralled.

The amp was so ubiquitous that Marshall used its two-channel, four-input design as a jumping off point for other classic amps in our hypothetical historic handful, starting with the JTM45.

Ken Bran leaned heavily into the Bassman’s circuit, albeit with UK valves and a UK-voiced tone stack, achieving a more aggressive midrange than Leo Fender would have ever allowed to leave the Fullerton factory. However, there are other things in heaven and on earth that Leo Fender may never have dreamed of, and perhaps the technological possibility of a fully digital Bassman may be one of them.

Fender has set a high bar here to produce a perfect replication of the original Bassman with modern enhancements. To that end, behold a beautifully lacquered tweed cabinet made of lightweight solid pine, loaded with a handsome set of grey-blue enamelled Alnico Jensen speakers, all topped off with a familiar chrome faceplate.

Visually, this amp is every bit as believable and authentic looking as its valve counterpart, save for the digital goodies on the back panel. Pick it up, however, and it’s a very different story: it’s so light you’d think they forgot the speakers. Lightweight is a very nice by-product of a valve-less, D2- design, not least for the ageing rockers among us. But that’s all well and good only if it sings!

Usability and sounds

Firing up in standby mode, the corresponding jewel light changes colour from amber to green to indicate the amp is ‘warmed up’ (read: booted up) and we begin plugged into the Normal channel’s low-gain input with all the tone controls in the mid position. This neutral start point helps us establish what the cab and speakers are delivering.

Sat beside this new model here in our testing room we have a genuine vintage tweed Bassman as reference. We’re immediately impressed by the Tone Master’s valve-like top-end shimmer with a Strat. The ability to dial in a dose of spring reverb is a welcome feature never before afforded to this amp model. It’s a great-sounding emulation of a spring, though we noted that it didn’t perhaps extend to the fully wet drip some valve-driven reverbs exhibit.

Overall, tonally, the Tone Master has more brightness available than the original, which sounds darker and woolier with matched settings. That said, we actually enjoyed the slightly more articulate top-end available from the Tone Master.

While the vintage Bassman power stage starts to sag and saturate subtly at volumes over 3, the Tone Master still pumps out bold power, albeit with a valve-like compression that begs for a few heavy-duty Stevie Ray Vaughan riffs.

A big advantage of the digital version is the ability to juggle the output power against the gain control to achieve your desired blend of saturation at any volume level. Further tailoring of the output by way of the back-panel mounted Vintage-Tight switch brings a touch of focus and definition, more useful at higher volumes.

The original Bassman is known for getting along with all types of guitars and pedals, and this modern counterpart is a chip off the old block. It’s gratifying to learn that the ability to jumper the two channels together via a patch cable has been replicated here, allowing for all the tone-blending capability that brings.

The smooth character of the overdrive available belies its digital architecture and would surely outwit many valve purists in a blind test. The integration of an effects loop is a great addition to this amp, allowing for a connection to your time-based effects.

The Bright channel’s normal gain input reveals the extra potential of the Bassman to saturate in all kinds of pleasing ways, and this new model does exactly that. It’s a kind of classic overdrive mostly heard on the ’60s and ’70s recordings of the American blues greats, a softer midrange roar without the more pointed mids of the UK amps.

We had a chance to use this amp on stage for a theatre gig and it was immediately loved by the sound technician who got a great front-of-house sound by simply plugging his XLR lead into the cab IR output, sparing time for mic’ing up and the sound-spill that inevitably brings.

A difference in response between the Class D power and a valve power section could be marginally felt, though not particularly heard. The spread of the four speakers provided a gratifying dispersal of sound that filled just the right amount of stage.

Verdict

In many ways, this amp is far more versatile than its valve counterpart and we found it had much wider tonal versatility, too, especially thanks to the reverb that surely every original Bassman owner would put on their wishlist.

Digital power has come a long way, and certainly at lower volumes this amp can behave just as you might expect a tube amp to. It may be argued that it doesn’t collapse under sound pressure exactly like valves, but this isn’t perhaps an amp that will be run on 11 in any case. The authentic pine and tweed cabinet, meanwhile, is certainly everything it should be, with its broad sound dispersal.

It’s worth noting that for an extra $600/£640 (and an extra 9.54kg!) Fender’s all-valve version is available, but you won’t have access to the cab IRs, reverb or power scaling we find on the Tone Master.

Guitar World verdict: Fender has produced a fantastic‑sounding, lightweight amp for stage, studio and home that brings the Bassman tone into the digital age. What’s more, the package is largely indiscernible from its mid-century forebear: this amp combines vintage sound and looks with digital features and convenience.

Specs

PRICE: $1,499/£1,429 (inc cover)
ORIGIN: China
TYPE: Digital combo amplifier
VALVES: None
OUTPUT: 45W (Class D) with power-scaling down to 0.5W
DIMENSIONS: 235 (w) x 269 (d) x 569mm (h)
WEIGHT (kg/lb): 14.5/32
CABINET: Lightweight solid pine w/ lacquered tweed covering
LOUDSPEAKER: 4x 10” Jensen P-10R Alnico speakers
CHANNELS: Normal and Bright channels, each with dual inputs
CONTROLS: Normal Volume, Bright Volume, Treble, Bass, Middle, Presence, Reverb
FOOTSWITCH: 2-button footswitch included
ADDITIONAL FEATURES: Effects loop, Vintage/Tight switch, line output w/ level control, 3-way IR cabinet simulation, 6-way power attenuation switch, USB port for firmware updates
OPTIONS: None
RANGE OPTIONS: The Tone Master range includes: Princeton Reverb (£829), Deluxe Reverb (£999), Deluxe Reverb Blonde (£1,059), Twin Reverb (£1,129), Twin Reverb Blonde (£1,309) and Super Reverb (£1,459)
CONTACT: Fender

Hands-on videos

Guitarist

Fender

Brett Kingman

• Fender Tone Master Princeton Reverb review

What is it?

Part of Harley Benton's desktop amplifier range, this acoustic model boasts 30W of power, a 5” speaker, 1” tweeter, Bluetooth connectivity and onboard reverb. It’s been designed for electro-acoustic guitars, ukuleles and vocal microphones but it can also be used as a monitor for unpowered amp modeler units like the Helix, Quad Cortex or Kemper.

There are quite a lot of compact, desktop-style amps out there, so what sets this apart? Firstly, it’s got a combined XLR/jack input allowing you to easily plug in either an instrument or microphone. Also, to get Bluetooth at this price point is pretty good, and you’re getting quite a bit more power than you do with many other desktop amps anywhere near this price point.

Specs

Price: $68/£66/€79
Type: Solid-state acoustic combo
Origin: China
Output: 30W RMS
Speaker: 5" speaker & 1" tweeter
Channels: 1
Controls: Guitar/mic volume, bass, treble, effect level, master volume, EQ switch
Connectivity: Mic/jack input, aux input, headphone output, Bluetooth
Weight: 3.1kg/6.8lbs
Dimensions: 320 mm x 200 mm x 160 mm
Contact: Thomann

Build quality

Build quality rating: ★★★½

Build quality rating: ★★★½

The build quality is fine here; nothing exceptional, but let’s remember we’re dealing with a fairly budget amp. The faux-leather handle and metal parts either side of it are a nice touch. It’s fairly neutral in terms of aesthetic too, so it won’t look out of place in a living space.

The only potential weakness in terms of the physical build is where the power supply plugs in. There’s no recess for it – it just plugs flat into the back of the unit. One big knock to that could do some serious damage, but that’s only if we’re being picky.

What’s nice and not particularly common at this price point is that it comes shipped with its own power supply. If you’re in the UK or US though it’s worth bearing in mind that it’s a European plug, so you’ll need an adapter (EU to UK or US, not like the ones you take on holiday).

I did notice a few grounding issues when using it with an electro-acoustic guitar – there was a slight hum that was more noticeable as the volume was increased. This could be to do with the plug adapter I was using, so not necessarily a problem with the amp itself, but again, worth considering for those in the UK.

Usability

Usability rating: ★★★★½

The TableAmp V2 Bluetooth is super easy to use, and it’s lightweight. With only five knobs on the control panel, it’s hard to get lost – you’ve got guitar/mic volume, then bass and treble controls, the reverb level, then a master volume.

It soon becomes apparent that the volume increments don’t seem to be linear – same with the reverb. If you very slowly increase the volume, it doesn’t get gradually louder; it’s like you get to a certain point then it increases. There are quite a few of these increments though so it’s easy enough to get to the volume you want, but it just took me by surprise a little.

The Bluetooth is really easy to pair with any device, and there’s a handy switch on the back that lets you switch from microphone or instrument input so you get the right sensitivity levels.

Sounds

Sounds rating: ★★★★☆

With an electro-acoustic guitar, it sounds good; you’re not getting superb clarity or a broad, rich frequency range - you get the sound of your guitar’s pickup amplified. When set flat, the amp is fairly dark sounding, but you can of course dial in more treble and reduce the bass using the controls, if you don’t have them on your instrument’s preamp. As mentioned, I did get some ground interference, but I’m putting this down to external factors.

With desktop amps, you might wonder what the point is with an acoustic guitar – an instrument that is already fairly loud on its own. With 30W, you can pump out a fair bit of volume. With both the instrument and master volumes pushed, it does start to distort as you might expect, but before it gets to that point, it’s considerably louder than just the guitar on its own. If you’re playing in small, quiet bars or cafes, you’ll manage fine with this amp.

I tried the amp with a trusty SM58 too and was pleasantly surprised. It’s loud and clear, so whether you need it to speak or sing through it, you’ll be heard. Again, there’s enough volume on tap to justify getting a mic out and plugged in. The reverb also works nicely with vocals - better so than it does with guitar for me personally.

Connecting via Bluetooth to listen to music, the TableAmp performs well. There’s plenty of bass there, without it getting muddy, and the top end remains clear too. This paired with the slick look of the amp reaffirms it as a great multi-functional piece of gear that can sit comfortably in any chic living space.

Lastly, I tried the amp out as a de facto FRFR speaker. Setting the EQ flat, I plugged an electric guitar into a Kemper Profiler and then went out of that into the Harley Benton TableAmp V2 Bluetooth amp. Depending on the profiles and IRs you’ve got set up, you might want to dial your sound in on the EQ, but it actually works really well for this purpose.

Verdict

If I found myself in possession of the Harley Benton TableAmp V2 Bluetooth for the long run, I’d likely use it most for music playback and as a monitor for the Kemper. It’s a great size for it to sit neatly next to a modeler, but it’s still big enough to get proper tones out of at bedroom levels.

I do think that for many players, this won’t be quite loud enough to gig with seriously, and might not be a necessity at home. However, if you don’t need a great deal of volume and you’re looking to keep costs down, then this could be a fantastic option both for instrumentalists and vocalists. If there was an option to run it on batteries, I’d bet that it would be really popular with buskers – perhaps there's scope for a future model there.

Guitar World verdict: The Harley Benton TableAmp V2 Bluetooth compact but fairly loud desktop amp. If you need to give your electro-acoustic guitar or ukulele a boost in volume, then it's fantastic. The combined XLR/jack input means it’s just as quick to plug in a microphone so it works for singers too. The sound quality is pretty good, but in terms of value for money, this thing really punches above its weight!

• Best FRFR speakers: transparent tone for multi-effects and amp modelers

NAMM 2025: British tone-smiths Orange Amps have announced the O Tone 40, a brand-new solid-state combo it reckons is a “legendary amp in the making”.

Rocking a single channel – described as a “distinctive clean,” – the 40-watt Class A/B combo amp comes loaded with integrated tremolo and reverb effects, a buffered effects loop, and “plenty of punchy volume,” for a no-nonsense build that takes no prisoners.

Tonally, despite the solid-state circuit, it vies for a ‘60s vintage warmth and is designed to work with pedalboards and overdrive pedals in particular, standing as a “small venue workhorse,” for gigging guitarists.

The amp has a bias-wobbled, single-ended JFET tremolo circuit, which it says provides “huge depth and breadth,” from the tweakable effect. Expect “everything from grand sweeps to a staccato sonic character via insistent, whirling helicopter patterns,” and it’s footswitchable, too.

Its other effect models itself on a classic spring reverb, though no actual spring lurks within. Instead, a digital reverb module has been incorporated for “warm spaciousness, subtle shimmers, and ethereal trails,” which all sounds quite lovely on paper.

As is increasingly common on these smaller combos, a fully buffered, low-impedance effects loop makes it easy to saddle up the clean channel with a raft of effects. And then there’s a 12” Voice of the World speaker.

Finally, a direct output facilitates studio riffing and live performance sans mic’ing the bad boy up.

“It’s kind of like a blank canvas,” summarises amp designer Ade Emsley of its suitability to be a pedalboard's best friend. “And it's ludicrously loud for its size.”

The Orange O Tone 40 is out now, priced at $399, and is available in a choice of Orange or Black housings.

Visit Orange for more.

Already at NAMM 2025, Orange has launched its new Baby range of rack-mountable amps, having launched a small-but-mighty signature combo amp for Orianthi.

What is it?

As one of the UK’s leading amplifier brands, the often rather eccentric Orange company has made an historic name for itself with its attention grabbing aesthetics and tonal stylings.

The original Orange heads were oversized behemoths along with matching 4x12s and in combination were renowned for walloping bottom-end and almost fuzz-like saturation.

However, the days of concert stages draped in backline are some way behind us. Indeed, the climate for travelling musicians has never been more inclement due a storm of transportation costs and border bureaucracy making the notion of touring internationally with a full Orange stack an unlikely proposition for many.

A simple solution is offered here in the form of three powerful, portable, ‘throw-and-go’, solid-state stage amplifiers, collectively named the Baby 100 Series: Gain Baby, Tour Baby and Dual Baby.

This purposeful range of slim chassis-mounted amps takes over –– in application, at least –– where the similarly compact Terror range left off, but instead taking a solid-state route into high-wattage country.

The ability to tour in large venues with just a guitar, a Baby 100 and perhaps a small pedalboard, whilst spec’ing a standard guitar speaker cabinet at each venue, could be a game-changer for those using planes, trains and automobiles.

Let’s see if Orange’s new offerings hit their target…

Specs

Launch price: $599/£459/€599
Type: Compact solid-state guitar amp head
Origin: China
Output: 100 watts (8 ohms), 70 watts (16ohms)
Channels: Two
Controls: Input, 2x speaker outputs, balanced XLR line-out, buffered effects loop
Connectivity: Inputs, outputs, headphone-out, effects loop emulated out etc.
Footswitch: Not included
Weight: 10.35 Lbs / 4.7 kgs
Dimensions: 300x80x195mm
Contact: Orange Amplification

Build quality/Usability

Presented in Orange-monogrammed gig bags, each the size of a small pizza, all three Baby amps are constructed from the same robust, enamel-painted, steel chassis with the classic orange, black and white livery.

The units have side vents and sit on four rubber feet which can either stand on an amp or be rack mounted. Internal construction and wiring is neat and robust with separate circuit boards for the preamp and power amp sections.

Weighing-in at just over 10lbs (4.7KG) each, the Baby amps feel reassuringly sturdy while remaining lightweight, particularly when compared to the 100-watters of yore. The bags feel like they're built to last too, although this test stops short of drop-testing the amps while in their padded bag.

Orange has spared us the pain of working out what the controls do from the pictorial labelling of yesteryear, which will likely be met with approval during quick band changeovers.

The range, comprising the Tour Baby, Gain Baby and Dual Baby, all feature clean/dirty channel foot-switching, buffered effects-loops, the same 100-watt class A/B power section, two speaker outputs supplying 8 or 16 ohm to our speaker cabinets and a balanced line-out for external cab-sim processing.

If you choose to take the line-out to a cab-simulator or impulse response unit, you'll be glad to hear that the Baby's DI output and effects loop offer exits for your signal that can be used without having to hook-up a speaker load. Handy for recording, silent stages and more.

To provide the gain, all three models have single-ended JFET preamp stages in place of valves, achieving the whole gamut of gain from icy clean to full-scale blitzkrieg. However, for all their similarities our triplets have distinct personalities which may have specific appeal to certain player’s tastes.

Sounds

Orange Dual Baby 100

This model makes the most of its dedicated dual-channel design by offering more gain range for channel A, which in this case is not simply a clean channel but a full-range channel capable of crystal clean to full saturation.

The inclusion of middle, presence and thump controls allow for quite radical shaping. Indeed a pleasing Fender-ish clean tone can be approximated by dipping the mids and boosting the presence. Inserting reverb into the effects loop added the finishing touch, conjuring the kind of sound that can soak up minutes, perhaps hours.

Increasing the gain control reveals the raw gritty character that this amp excels in. It has the ability to sound quite punky and abrasive, unlike the more refined classic rock standard tone we know and love from Marshall et al.

It’s worth noting that the Dual Baby doesn’t have a compression control unlike the other two models. It’s an evenly-voiced clean channel that can happily receive inputs from active and passive pickups in addition to all manner of pedals.

Channel B brings the heat with the standard six controls (gain, volume, presence, bass, middle, and treble) augmented by a tight switch. This channel roars with even a gentle twist of the gain knob, the fingerprint of Orange’s sizzling-saturation is here in heaps.

Even a vintage output Stratocaster can be pumped up to hellacious levels with the gain and tone-shaping power available here. With a half-dose of gain there’s a splendid brightness to the top end that becomes progressively softer with increasing levels.

The amount of gain at full clip is impressive in its intensity, however should that become too cloudy or lacking definition, the tight switch comes to the rescue with increased focus and presence. This tight switch may be thought of as a vintage/modern switch due to the way it focuses more energy into the upper frequencies when in Tight mode.

The Dual Baby is distinguished by its ability to switch between two saturate-able channels, with more clean potential in the case of channel A and more smooth saturation on-hand from channel B.

Orange Tour Baby 100

The Tour Baby stands apart from the Dual Baby by the inclusion of a dedicated clean channel, this time with a compression control allowing for a good squeezing of the dynamics. A compressed clean tone can be a go-to for metal players, slide players and country pickers alike seeking a more ‘produced’ guitar sound.

This inspired me to dust off the modulated delay which sounded pristine through the effects loop. Perfect for that posh-rig sound heard on Donn Henley’s The Boys Of Summer for instance.

Gain pedals seem to present no issue for the amp, making it possible to introduce a world of harmonic colour (in addition to Orange). Remember to adjust the compressor’s level control to accommodate any additional gain you are inserting into the input.

Over on the Dirty channel, the six standard controls are joined by an additional footswitchable level control which will most often function as a solo volume boost. This iteration of the series omits the tight switch, restricting the voice of the channel to the more classic growl.

Of course, with the eq being as powerful as it is, it can still be dialled in to achieve classic tone descriptors such as ‘scooped’, ‘creamy’, “warm’ and a perennial favourite: ‘brown’.

Orange Gain Baby 100

Finally, there’s the Gain Baby, which is home to the same clean channel with compressor as found in the Tour Baby. However the dirty channel is where this model differs from the Tour Baby by incorporating the tight switch already seen on the Dual Baby.

With tight engaged, the mid backed-off a little and lots of gain and presence, I achieved a righteous modern metal tone from a humbucker-equipped Explorer. The sound was ripping yet tight, with little to no sag in response to the most fiery picking this reviewer could muster.

The combination of a compressed clean sound with a super-saturated dirty tone capped off with a foot-switchable level boost, may likely make the Gain Baby a very strong proposition to modern metal players.

Verdict

The tone these amps produce is classic Orange, with all the top-end presence and low-end grind that you’d hope for. The Class A/B power section has a responsiveness that is inviting and familiar to seasoned valve amp users, requiring little-to-no time to get used to. Any of these models would be excellent company on a gig where great tone, portability and plenty of stage volume are the requirements, however only time will tell if the three variations on the theme will each find a specific fan base.

It’s possible blues, punk and rock players may gravitate towards the Dual Baby, whilst the Gain Baby should have the metal fraternity enamoured by its cleans and screams. Perhaps out of the bunch, the Tour Baby, which shares almost identical controls to the Gain Baby with the omission of the dirty channel’s tight switch, could be seen as the more adaptable, all-rounder model.

Guitar World verdict: Here, Orange has distilled its distinctive tone and styling into a no-faff, highly practical gig solution for modern use. The sound is as impressive as expected and I can imagine them becoming perennial darlings of travelling bands and sound hire companies alike with good justification.

Hands-on videos

Orange Amplification

Andertons

• Best guitar amps

Almost every internet forum discussion of classic late-’60s and ’70s-era recordings where an artist vaguely cites using a “Fender Champ” will result in some belligerent blowhard insisting that it was a tweed Champ.

Sometimes this is correct, but more often than not the Fender amp in question was more likely a black-panel/silver-panel Champ or Vibro-Champ from the mid-’60s onwards.

The main reason is pretty simple: black-panel and silver-panel Champ family amps were commonplace new products during those eras. Studios bought them because they were inexpensive, highly useful, reliable tools, and guitarists picked them up for backstage warmups or hotel practice.

The other reason is that, while a tweed Champ can sound pretty damn good, it’s mainly ideal for raunchy overdrive tones with honking mids, albeit also with sloppy-sounding bass and noticeable rectifier sag.

The later black-panel and silver-panel Champ AA764/AB764 circuit delivers a much wider range of useful tones with increased clean headroom, tighter response and bass that retains definition and punch even when the amp is pushed to its full extremes of overdrive.

In short, Champ and Vibro-Champ amps produced during the mid-’60s onwards are simply better-sounding and more tonally versatile tools, especially for studio recording.

The black-panel Champ produced from 1964 through 1967 is essentially identical to the silver-panel version offered from 1968 until 1982, with only a few minor component changes and a switch in transformer brand/model that frankly doesn’t make a significant difference in the amp’s overall character.

It features a dead-simple set of controls (Volume, Treble and Bass), high- and low-level inputs, a 4-ohm 8-inch speaker (usually an Oxford 8EV, but sometimes a Jensen speaker was used), and 5Y3 rectifier, 6V6 power and 12AX7 preamp tubes. The Vibro Champ adds an awesome-sounding bias vary tremolo circuit driven by an additional 12AX7 and featuring Speed and Intensity controls.

Many players consider it their favorite in-amp tremolo effect thanks to its deep, rich “helicopters over Hanoi” pulsations. Fender also offered the Bronco amp from very late 1967 until 1980, which was identical to the Vibro-Champ with the exception of its name painted in red.

These Champ/Vibro-Champ/Bronco amps deliver classic Fender black-panel clean tones ideal for country or really any time you want pristine clean tones with percussive snap, sparkly high-end and round, bouncy bass. The tone fattens up as the amp is pushed into overdrive, and fully cranked up it pumps out deliciously gritty crunch.

These amps pair very well with pedals, and thanks to their small size, they’re also very fun to experiment with in the studio by placing them in unusual environments like closets, cardboard boxes or metal garbage cans.

These tube amps also work well with external speaker cabinets, but be absolutely certain to use only a 4-ohm cab as extended use of an 8- or 16-ohm cab runs the risk of blowing up the transformer.

Black-panel and silver-panel Champ and Vibro-Champ amps have been used on way too many recordings to list here. Perhaps the most famous example is Funk #49, where Joe Walsh used only a Telecaster plugged into a black-panel Vibro-Champ. Other more recent Champ fans include Jim Campilongo, Mike McCready, Derek Trucks and Jack White.

What is it?

Very few artists can combine guitar-slinging bravado and searing blues chops more authentically than Tyler Bryant.

As a young guitarist forging a kickass path in a crowded field for bluesy rock ’n’ roll, Bryant has proven he’s head and shoulders above many of his six-string peers. So much so that Supro has bestowed him with a signature amplifier christened the Supro Black Magick Reverb TB, which, in a nutshell, is a high-power version of Supro’s flagship Black Magick Reverb 1x12 combo.

Bryant has been smitten with the tone of Supro’s 25-watt Black Magick Reverb combo amps, having taken them out on tour, but he eventually concluded that he needed “bigger bass response, more headroom and increased output power.”

Enter the 35-watt Black Magick Reverb TB, which soundly addresses each issue.

Usability and sounds

Supro customarily exhibits a classy look for its amps, and the BMR TB combo firmly embraces that aesthetic. Adorned in a Black Scandia tolex with cream stripe siding and black piping, silver-speckled and black grille cloth and a heavy-duty, vinyl “dog-bone” handle, the amp looks vintage cool from top to bottom.

Below the top control panel, the BMR TB presents a hardwearing aluminum chassis outfitted with a chunky, custom-made Supro output transformer and a tidy arrangement of components and tubes. Instead of the unusual 6973 tubes employed by the flagship BMR, the BMR TB arrives with a matched pair of Sovtek 5881/6L6WGC power tubes to deliver a more powerful 35 watts of Class A power.

The BMR TB shares the same topology as the original combo with independent Volume 1 and 2 controls, a shared two-band EQ (Bass & Treble), tube-driven spring reverb and tremolo, Master Volume and channel input jacks (In 1+2 and In 2).

Channel 1 (In 1+2) highlights a new “bright cap” modification that adds a noticeably smooth top-end sparkle to Volume 1 and the ability to blend in Volume 2 or not.

Conversely, Channel 2 (In 2) retains the original Black Magick preamp circuit controlled solely by Volume 2. The amp’s voice comes courtesy of a custom Supro BD12 – a high-power, oversized ceramic speaker made by Celestion.

Players like myself who have played the OG Black Magick Reverb combo have quietly wished it had more oomph. So it’s a relief that Bryant offered this useful feedback, ultimately leading to his signature amp that sounds bigger and better.

Is it louder and fuller? Yes and yes. A minor criticism of mine has been that Supro combos tend to sound boxy and here, the BMR TB pushes the right amount of air to fill a room with clarity and definition and can handily compete with a stick-heavy drummer.

The “bright cap” modification on Channel 1’s volume is the real star of the show when tapped from the “1+2” input, adding top-end brilliance when blended with Volume 2’s volume, which simulates the “jumped channel” effect of a 4-input Marshall with a firm crunch.

You’ll find, like me, that the BMR TB is a muscular-sounding combo – whether you opt for dialing in punchy cleans or thickened overdrive as you crank the volumes to their limits.

The BD12 speaker solidly articulates its mid-heavy voice; however, I found running the BMR TB through other cabinet and speaker choices a more rewarding tonal experience, thanks to its 16-ohm, 8-ohm and 4-ohm output options.

Also, I wish the control panel orientation faces you rather than appearing upside down as you stand above it, but this is a minor quibble.

The onboard 3-spring tube-driven reverb is quite good but does have a lingering decay even at moderate levels. Despite that, the bias-modulated tube tremolo sounds hypnotic and gorgeous, and its speed range is double the rate of the original BMR.

Verdict

The Black Magick Reverb TB is one of Supro’s finest combo offerings thus far; with increased headroom and output power, a more usable tonal range with its “bright cap” modification that adds sparkle to its mid-focused voice and tube-saturated drive with tinging warmth.

Guitar World verdict: As a pedal platform, the amp becomes even more capable and versatile, but I’m sure many players will just want to open it up by cranking its dual volumes toward overdriven glory.

Specs

Launch price: $1,699
Type: Tube combo
Origin: China
Output: 35 Watts RMS
Speaker: 1x 12" Supro BD12
Channels: Two
Controls: Volume 1, Volume 2, Treble, Bass, Reverb, Speed, Depth, Master
Connectivity: 2x 1/4" inputs, 1x 16-ohm, 2x 8-ohm, 2x 4-ohm speaker outputs, TRS Double Footswitch input
Footswitch: SF2 Supro Dual Footswitch (Sold Separately)
Weight: 49lbs / 22.2kg
Dimensions (WxHxD): 520 x 476 x 222 mm
Contact: Supro

Hands-on videos

Supro

Supro w/Tyler Bryant

Jack Fossett

• Supro Delta King 12 review

Orianthi has had quite the career so far. She's played with Michael Jackson and Alice Cooper, survived the rigors of the pop industry, and recently collaborated with Joe Bonamassa as she made a return to her blues-y roots.

In the summer, Orianthi also sent her signature amp, the recently unveiled Orange Oriverb, into production – and it turns out the 2x12 combo, which is also available in a miniature, portable format, carries a little bit of Alexander Dumble’s spirit in its sonic DNA.

Speaking of her new signature amp in the latest issue of Guitarist, Orianthi says she worked closely with Orange’s Pat Foley over “a couple of years” to perfect its recipe.

“We went back and forth to dial it in. People think, ‘Oh, it’s just another Rockerverb combo, but it’s white.’ But we’ve changed a lot of things, from the speakers to the tubes to the reverb and the distortion,” she explains. “You can really push it like a vintage amp.”

When further asked whether the Oriverb was modeled on the various vintage creations she’s played in the past, Orianthi then revealed the combo’s Dumble connection.

“I had the honor of sitting with Alexander Dumble long ago when he was alive,” she reveals. “I went to his home, plugged into all his amps, and he let me play the first amp that he ever made. I never forgot the sound of that amp.”

That first-ever Dumble’s tone was mixed into a wider melting pot of rock and blues guitar favorites to ensure that the Oriverb was not just a repainted Rockerverb, as the naysayers protest.

“It’s got a bit of [the] Dumble sound mixed with an old Marshall and a Fender Twin,” she says. “It’s got a sound that cuts through and has high-end when you bring up the mids and the treble. But, ultimately, it’s warm-sounding and well-rounded.”

The amp unites a pair of British-made Celestion Neo Creamback speakers and EL34 valves, with a striking-yet-still subtle embossed pattern covering its white Tolex finish.

At the time of its release, Orianthia had said her objective for the amp was to create something that could “amplify the personality” of the player, drawing on the “guts and clarity” of her preferred Rockerverb MKIII.

The Dumble connection, though, is significant. Kenny Wayne Shepherd is one of countless players to have championed the amp builder's creations – he owns 11 custom-built Dumbles – but recently warned players about just how good they are, saying: “They are so transparent that, if you’re not a very refined player, it’s going to expose all of your flaws in your playing.”

Head to Magazines Direct to pick up the latest issue of Guitarist, which also includes chats with Steve Hill and Billy Morrison.

In related news, Orianthi has announced she will temporarily join Alice Cooper for a run of dates, filling in for her successor Nita Strauss.

What is it?

From hand-wired vintage-style showpieces to modern high-gain amp juggernauts, Blackstar is the kind of company that can do it all and do it well.

But perhaps the one thing it should be applauded for more than anything else is bringing boutique tube amp sounds to just about any kind of guitar player out there – marrying tone, durability and affordability better than arguably any other guitar amp brand to emerge over the last two decades.

Specs

Launch price: $649 / £599 / €719
Type: Tube combo
Origin: China
Output: 10 Watts RMS
Speaker: 1x 12" Celestion Seventy 80
Channels: One
Controls: Gain, Tone, Reverb, Master, Boost
Connectivity: Emulated/headphone out, series effects loop with level switch, three speaker outs
Footswitch: Included (boost)
Weight: 32.4lbs / 14.7kg
Dimensions (WxHxD): 473 x 421 x 251 mm
Contact: Blackstar Amplification

Build quality

Build quality rating: ★★★★☆

This latest combo amp is the British-voiced sibling of the TV-10 A, and naturally uses an EL34 power tube in place of the 6L6 found on the other model, though beyond that, the specs are pretty much the same.

As for first impressions, it definitely seems like Blackstar has been upping its game – not that there was anything particularly wrong with the look of its earlier small combo amps – but there’s definitely more of a classy aesthetic to its latest innovations.

This combo comes in an olive finish with gold piping, plus a salt and pepper grill cloth, which means it’s incredibly inviting to play.

Usability

Usability rating: ★★★★★

Right off the bat, that sense of sophistication spills over into how it sounds, with our Custom Shop Masterbuilt Stratocaster going straight in and all controls set to noon.

With only four dials, it’s very user-friendly, covering almost everything you could possibly want for practising, rehearsing and smaller gigs.

In fact, it’s deceptively full and loud for a 10-watt combo, thanks to the combination of the clever circuitry and the Celestion Seventy 80 1x12 speaker.

It comes as little surprise that the digital reverb emulates a classic spring tank very nicely indeed, and at the back you’ll also find a series effects loop if you want to use your own ambiance.

There’s a foot-switchable boost to give you that all-important lift for solos to cut through, though players who depend on a fully customizable second channel will need something more feature-rich.

Sounds

Sounds rating: ★★★★☆

With the gain set low, you’re in vintage JTM45 territory, and what you hear is very musical and warm – ideal for a woody blues that allows the instrument in your hands to shine.

It’s a sound that will inspire almost every kind of player, with a perfect balance of dynamic range and natural compression to help the notes ring.

Turn it up a bit more and you’ll recognize a familiar Plexi crunch that will suit all your favourite Cream and Led Zeppelin classics with no need for extra pedals, especially if you’re using a humbucker-equipped guitar like my own 1969 Gibson Les Paul Custom.

Beyond that, the TV-10 B can deliver a harder rock sound that goes a little further than the early Marshalls that inspired it, though still avoids anything too modern-leaning.

There is only one Tone dial, and of course in an ideal world you’d have a three-band EQ, but it’s worth remembering this is an amp with old-school roots – that very notion of simplicity is quite possibly the key selling point. The TV-10 B also functions well as a pedal platform amp.

We stacked an Ibanez TS808HW Tube Screamer with a Boss Blues Driver and a Ceriatone Centura with minimal noise or fuzz.

Higher gain players will be the ones most affected by the lack of three-band EQ, meaning they’ll probably need a bass control on their pedal of choice in order to tighten things up, and modulations like the MXR Phase 90, Pedal Pawn Gypsy Vibe and Dawner Prince Starla Tremolo can really intensify the sparkle and shimmer when engaged, tapping into more esoteric and ethereal musical realms.

Verdict

Clearly there’s a lot to like here, though the emulated/headphone output for recording or running direct through a PA is a bit hit-and-miss – it may come in handy for some users but doesn’t seem to carry the same kind of sonic weight as hearing the amp traditionally. It feels like more of an afterthought than an integral feature.

Perhaps that’s because this nostalgic combo isn’t necessarily trying to be cutting edge, it’s more of a plug-in-and-play kind of design that specializes in vintage romance, which it brings in abundance. Could this be the most impressive tube amp under $700? For simpler needs, we definitely think it’s up there.

Guitar World verdict: The TV-10 B is both loud and proud while also being compact and classy. The direct out could be better, but what it truly excels at is simplicity – breathtaking sounds with just four knobs. For many of us, that’s all you can ask for.

Also try

Hands-on videos

Blackstar

Sweetwater

Andertons

• Blackstar ID:Core V4 Stereo 10, Stereo 20 and Stereo 40 review

Peavey’s tweed-style tube amps remain one of the best-kept secrets in guitar tone – and today you can get $100 off the Peavey Classic 20 over at Sweetwater.

The Classic Series was first launched back in the 1970s and, at the time, the name was more of a nod to its Fender-style inspiration than its own status. However, some 50 years down the line, Peavey’s tweed-style combos have become well-respected among players, in their own right – and genuinely deserving of the ‘classic’ moniker.

The Classic 20 is the latest take on the perennial tweed formula, offering a faithful all-tube circuit, with three 12AX7 preamp tubes and two power amp EL84 tubes in a 20-watt 112 combo. Speaker duties are taken care of by Peavey’s Sheffield 1230+ 12-inch speaker.

Guitar World’s amp guru Chris Gill cast his eyes and ears over it back in March of this year and dubbed it “a highly attractive and affordable working class amp with an impressive variety of useful additional features.”

Tone-wise you can expect those sparlking vintage cleans, but you might be surprised by just how much gain is on tap when you crank the Pre knob on channel 2.

There’s a three-band EQ that is shared across the channels, so that limits your tonal variety somewhat, but if you just want a super-solid clean tone that you can crank into crunch and distortion territory, then it’s a great choice.

Elsewhere, there’s plenty of evidence of the clever little touches that have won players hearts and minds since the Classic’s launch. For instance, there’s a pilot light, indicating the health of the tubes, a footswitchable boost, and a digital reverb.

Other modern touches come in the form of a choice of 1-/5-/20-watt power settings via the built-in attenuator, USB and XLR outputs, a headphone output and both Ground Lift and speaker defeat switches.

Add in an included footswitch and the amp already offers features that bunch well above its usual $1,000 price tag – so that $100 off at Sweetwater is looking pretty convincing for a gig-ready do-it-all combo that will do the job at home and on the stage.

Shop more Black Friday deals

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• Waves: Plugins just $19.99

Peavey Invective .112 combo: What is it?

Amp-modeling apps, pedals and processors may offer guitarists compelling alternatives to a traditional tube guitar amp, but as long as products like the Peavey Invective .112 that offer distinctive tonal character and versatile features continue to be developed, traditional guitar amps will never be obsolete.

This latest addition to the Peavey Invective line sits nicely in between the full-size Invective .120 and mini Invective .MH guitar amp heads, adding a 1x12 combo to the lineup.

Like the Invective .MH, the Invective .112 is a 20-watt amp driven by a pair of EL84 power tubes and three 12AX7 preamp tubes.

However, it is much more than a combo version of the MH thanks to the clean channel’s expanded EQ control section that includes a separate midrange knob in addition to low and high, the front panel’s Gate threshold control and a built-in reverb effect, plus a Celestion Vintage 30 12-inch speaker housed in a ported open-back premium birch and poplar cabinet.

These additional features are well worth the additional $400 investment above the MH head’s price.

The Invective .112 features two fully independent channels (Clean and Lead) each with their own separate Low, Mid and High EQ controls. The Clean channel also has a Gain (volume) knob, while the Lead channel provides Pre Gain, Post Gain and Gate Threshold knobs and push-switches for engaging Boost, Tight and Gate functions.

A Master section offers Presence, Resonance and Reverb controls for both channels. A pair of output Tube Status Indication (TSI) LEDs located below the standby switch allow players to monitor power tube faults.

Rear panel features consist of a 20-/5-/1-watt power output selector switch, 16-/8-ohm speaker impedance toggle, speaker enable/defeat switch (with built-in dummy load to prevent damage when the speaker is bypassed), 1/8-inch headphone jack, Mic Simulated Direct Interface (MSDI) via the XLR or USB jacks, a Ground Lift switch, mono ¼-inch effect send and return jacks, individual ¼-inch footswitch jacks for channel select/Tight and reverb/Boost + Gate functions.

A single Peavey multi-purpose two-button footswitch controller is included, but you’ll need to buy a second footswitch controller if you want to control all of the footswitch functions at once.

Peavey Invective .112 combo: Specs

Launch price: $1,199/£1,019
Type: Tube combo
Origin: China
Output: 20 Watts RMS (switchable to 5W/1W)
Speaker: 12", Celestion Vintage 30
Tubes: 3 x 12AX7/ECC83 (preamp),
Channels: 2
Controls: Presence, Master, Reverb; (Lead channel) Post Gain, High, Mid, Low, Pre Gain, Gate/Threshold, Boost switch, Tight switch, Gate switch, Channel switch; (Clean channel) High, Mid, Low, Gain
Connectivity: 1/4" input, MSDI (Mic Simulated Direct Interface) XLR output, 1/8" headphones output, effects loop, footswitch input, 1/4" speaker output (8, 16 ohms), mic-simulated USB output,
Footswitch: Yes
Weight: 17kg
Contact: Peavey

Peavey Invective .112 combo: Usability and sounds

Perhaps the most appealing feature of the Invective .112 is how well it delivers big amp tones and performance in a compact all-in-one package that weighs less than 40 pounds. The Clean channel remains crystal clear up until just below 5 on the Gain when using PAF-style humbuckers, and above that it transitions to subtle, chunky overdrive with just a hint of grit.

This channel’s attack is instantaneous and may sound a little stiff to players used to tube rectifier sag, but it’s perfect for modern guitarists who prefer more precise dynamics that pair well with pedal effects. This channel also provides attractive ambient textures with the built-in reverb effect dialed in.

The Lead channel summons similar super-saturated high-gain tones as the full-size Invective .120 head developed with help from the discriminating ears of Misha Mansoor.

This is full-on modern metal distortion with super-deep bass that is enhanced by the awesome Resonance control, which can be employed in conjunction with the Tight function to dial absolutely huge-sounding yet articulately defined bottom-end. The Presence control similarly provides versatile shaping of treble frequencies for added sizzle or sparkle.

The Boost function provides a slight amount of extra midrange emphasis in addition to increasing the output by a few decibels. Being able to dial in the threshold for the Gate function is worth the price of the upgrade from the MH head alone.

The amp’s MSDI feature is highly useful for live performance applications, providing natural-sounding tones directly to a mixing console. It also works well for direct recording applications, particularly when paired with good IR cabinet/room emulation.

Peavey Invective .112 combo: Verdict

Like the MH head, the Invective .112 combo goes above and beyond in providing a well thought-out and comprehensive configuration of gig-worthy, pro features like independent EQ for each channel, numerous footswitchable functions and excellent DI capabilities.

It does have its own distinct sonic personality that you’ll want to try before you buy, but that’s a major bonus in a world where so many amp models are designed to provide the “same old” classic sounds.

Peavey Invective .112 combo : Hands-on videos

Peavey

Sweetwater and Misha Mansoor

• Peavey Invective MH head review

What is it?

One of the UK’s leading legacy amp brands, Laney has been synonymous with Black Sabbath’s Tony Iommi during his era-spanning reign.

Not content trading simply on its heritage, however, Laney continues to evolve its amplifier line with the Lionheart range of powerful yet dynamic valve amps, which were initially released for the company’s 40th anniversary in 2007.

These models became firm favorites for elite players including John 5 and Glenn Hughes. Now, the Foundry Series seeks to distill the responsive tone of the valve models into a solid-state combo amp. As cork-sniffing valve enthusiasts, we’re looking forward to testing the website’s claim: “We’ve made it feel like you’re playing a tube amp.”

To bring innovation to its lineage, Laney launched a research and development branch, and since 2019 the Black Country Customs team has been devising innovative products such as The Difference Engine delay pedal and its LoudPedal ’board-format amps. Here, our Super60 on review has been designed and engineered in the UK and constructed in China.

This attractive yet subdued-looking amp, in its blue, fawn, and silver livery, nods towards a mid-century Supro aesthetic but with an extra depth to the cabinet, which we’re hoping will be tonally beneficial due to the open-back design. It’s surprisingly light, weighing in at 11.5kg (25.4lb), so you’ll be able to get it up the rehearsal room stairs without breaking a sweat.

The silver faceplate houses the retro mini chickenhead controls. A single input sits alongside the first source of fun: the footswitchable boost. This can push either channel into an additional level of gain, effectively giving you four channels for the price of two.

Channel 1, the clean channel, comprises a single volume and Bright switch, whereas the lead channel (Channel 2) has gain and level controls, and a Bright/Off/Dark toggle.

The master tone section features bass, middle, and treble, plus a master tone control to quickly steer the amp’s ‘bass to treble’ ratio to match different guitars and playing venues.

The effects stage has reverb, taken from the design of Laney’s Secret Path pedal, and a chorus from the Spiral Array, as used by Andy Timmons no less. Channel, boost, reverb, and mod effects can all be switched via the rear sockets, although no footswitch is included.

Alongside are the wattage sector switch (which toggles between the full 60 watts and a bedroom-friendly one watt) and a speaker-muting headphone mini-jack for full stealth mode.

There’s also an external audio in jack for the busker with backing tracks, and, impressively, an IR-based speaker emulated XLR output for recording with 1x12 or 4x12 emulation options.

Specs

Launch price: $549/£349
Type: Solid-state combo
Origin: China
Output: 60 Watts RMS
Speaker: 12", HH Acoustics HH1260
Channels: 2
Controls: Boost w/on/off switch, Ch1 Clean Volume w/Bright switch, Ch1/Ch2 toggle switch, Lead Gain, Lead Volume, Bright/Dark switch, Bass, Middle, Treble, Tone, Reverb, Tremolo/Chorus switch, Effects Rate and Depth
Connectivity: 1/4" input, Balanced XLR IR-recording output, headphones output, aux-in, effects loop, footswitch input
Footswitch: Available, sold separately
Weight: 25.4lbs/11.52kgs
Dimensions (WxHxD): 485x447x259mm
Contact: Laney Amplification

Usability and sounds

Using a Telecaster Deluxe plugged into the clean channel, with tone controls in mid/neutral position, we’re greeted by an impressive full-bodied presentation.

As promised, the amp responds with a valve-like touch responsiveness that inspires further playing and, by applying the boost, takes us into the pushed-Fender amp realm where bluesy licks begin to feel effortless. With 60 watts on tap, we can bring the clean sounds up loud enough to hold their own against even a heavy hitting drummer.

Switching to the lead channel, taking over where the clean channel’s gain topped out, the tonality of this channel is immediately appealing. Its contoured, smooth overdrive reminds us of Orange amps, yet with possibly more gain available.

Any honky upper-mids seemed attenuated to a degree, lessening the squawk and quack that can plague Stratocaster-style guitars. And moving to a Cutler Custom S-style, the amp easily turned in a convincing Van Halen ‘brown’ sound, a feat many would assume out of range for an affordable solid-state combo such as this.

For once, time allows us to put this amp through its paces at a gig and it was a rare pleasure for this writer to walk through a venue with all his gear in-hand and not be breathless upon reaching the stage. The amp held its own all night against drums, bass, vocals – and four horn players!

One thing to note, in comparison to the 70s Fender Twin previously used for this gig, the Super60 has quite a large and open low-end. In positive terms, that can help the guitar hold its own, and by dialing back the bass control and flicking on the Bright switch, it regained some snap for a funkier R&B sound.

Visiting the effects department, that Secret Path pedal-derived reverb imparts a pleasant but neutral ambience that we enjoyed with the clean channel – neither obviously too ‘springy’ nor ‘roomy’ in nature.

The tremolo throbbed pleasingly with a richness of modulation evoking vintage valve-modulated designs. In Chorus mode, subtle depth settings could nail Message In A Bottle-like chorus, moving through to chewier flange sounds at higher depth levels.

With regard to the extended size of this cabinet – which houses the specially designed HH Acoustics H1260 driver – as expected, the added size did indeed translate into a noticeably larger sound stage than many single 12-inch combos can muster. The speaker stayed true and unfatigued at all volume levels, punching out detailed yet robust clean and overdriven tones alike.

Verdict

Here’s an amp that we thoroughly enjoyed using. Its ability to speak with a valve-like voice at stage levels in a package that’s liftable with one hand is something many of us could only have dreamed of in our younger days.

The flawless integration of the effects and speaker emulation is a testament to Black Country Customs’ efforts, too.

While the amp itself won’t reach valve-like temperatures, it certainly warms our hearts to know that in the future we’ll still be able to sound great on a gig without a monster valve amp pumping out behind us.

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After the release of her signature combo amp, the Oriverb, in August, Orianthi has once again teamed up with Orange for the Crush 20RT – a travel-friendly amp that promises to offer ample functionality and reliability.

Like its sibling, the Crush 20, the Crush 20RT features footswitchable Clean and Dirty channels, with Orange's new high gain, four stage preamp design guaranteeing a wide sonic palette.

For enhanced “sheer punch,” the amp, weighing just 15.9 lbs, features an 8-inch, custom-designed ‘Voice Of The World’ speaker, a 3-band EQ, chromatic tuner, and “spring-inspired” reverb.

Designed with modern guitarists in mind, it’s also equipped with an Aux In for backing tracks and a CabSim-loaded headphone output – making it suitable for the bedroom, rehearsal room, studio, or stage.

“This amp is really diverse – from the clean channel to the dirty channel – there’s warmth and there’s grit, it’s really quite incredible. I think everyone is really going to dig it!” comments Orianthi.

“I wanted a portable amp that I could use backstage before a show to warm up before I go on. It has a similar tone [to] my larger version of this amplifier. It's just really easy to use. I like to plug my PRS right into my 20RT, and there [are] no pedals required.”

Construction-wise, the Crush 20RT comes in Orange's standard orange or black finish with a cream grill, as well as an attractive limited-edition white Tolex exterior with all-black accents and, of course, a custom Orianthi badge.

With the limited-edition white amp priced at $219 and the standard black and orange versions available at $199, the Orianthi-approved Orange Crush 20RT is now available for pre-order from all Orange partners and distributors.

For more information, visit Orange.

Supro has announced the Montauk – a super compact 1x10 amp that makes the Supro sound more travel-friendly.

The all-tube amplifier boasts independent Gain and Master Volume controls and a two-band EQ for “a wide range of undeniable tones” from clear cleans to saturated overdrives.

There’s also a tube-driven spring reverb lurking behind its silver grill, offering plenty of flexibility with Dwell and Level controls. That helps players unlock Supro’s hallmark surf-inspired sounds, and personalize them according to taste and application.

Away from its tonal character, a trio of line outputs are optimized to be fed into larger amps or recording consoles. They are powered by preamp tubes that come before the Master Volume, meaning its onboard custom-built Supro BD10 Celestion speaker can be tamed for bedroom jamming, or unleashed for the live environment.

Additionally, its all-tube gain and reverb effects can be used as an effects unit, or as a direct recording preamp, making the teeny amp nice and versatile. Or, as Supro says, “a Swiss army knife for the studio and the stage”.

Former Hall & Oates lead guitarist G. E. Smith has teamed up with Supro to showcase what the amp can do, but after the shoot, he took a Montauk to the stage.

“That thing is a little monster,” he would later text its creators to say. “[It's] really special; so much tone and feel.”

Supro amps have quite the lineage. Manufactured in Chicago from 1935 to 1968, Supro creations, including amps and guitars, can be heard on records by Led Zeppelin, the Rolling Stones, Aerosmith, and David Bowie.

The Supro Montauk is available now for $999.

Visit Supro for more details.

Last year, Supro set its sights on redefining the pinnacle of its tone with the Custom Amplifier series of tube amps, which are all hand-built in the USA.