kkolar's Activity

From Vintage Guitar:

Autry, born in 1907 in Tioga, Texas, came to fame as Oklahoma’s Singing Cowboy on KVOO radio in Tulsa in the late 1920s. That and a couple sides for Okeh landed him the “Gene Autry Program” and a spot on the “National Barn Dance” for WLS, the Sears megastation in Chicago. His star was on the rise. Following the pattern set with the Bradley Kincaid Houn’ Dog guitar (VG, July ’04) in 1932, Sears commissioned its subsidiary, Harmony, to build a guitar for Autry. That model was the Supertone Roundup, a standard-sized guitar showing cowboys rounding up cattle, and Autry’s signature on the belly. In 1934, Autry was recruited by Nat Levine of Hollywood’s Mascot Pictures to make his first film, In Old Santa Fe, thrusting him to the front ranks of singing cowboys in the movies. Overnight, a new movie genre was created, mixing good guy/bad guy Western action with a love interest and a hero who’d break into a song with a guitar at the slightest provocation. The following year, Sears briefly marketed an Old Santa Fe archtop. In 1935, Harmony increased the size of the Roundup to a 14″ concert and changed the neck to 14 frets clear of the body, like the 1938 version shown here. This had a spruce top and reddish mahogany-finished birch body. Like all Harmony models, the timbers were solid and the inlays were real pearl dots. This guitar, like most small-bodied, ladder-braced Harmonys of this era, has a nice response and a bright tone that’s pleasing in intimate settings. And by this time, Harmony had established the practice of stamping the date of manufacture on the inside, so these are easy to date. This second version of Autry’s Roundup guitar lasted until 1939, when it was replaced by a 15″ grand-concert-sized model in spruce and maple without the decals, but with Autry’s signature on the fingerboard. Autry continued to make horse operas through 1953, adding television to his repertoire beginning in 1950. In later years, of course, he concerned himself with a form of mass entertainment quite different from cowboys and music, as owner of the California Angels baseball team. Nevertheless, guitars such as this Supertone Roundup preserve the voice of the Depression and the nostalgic sentiment of being “back in the saddle again, out where a friend is a friend.”

Our ACX1000 represents a true milestone in acoustic instrument amps. It not only gives you incredible cutting power, ensuring that your acoustic instrument will slice through any mix and hold its own with the loudest band, but also unusually flexible voicing options. Its instrument channel is optimized for the Piezo-type pickups most often found in guitars and other string instruments, and includes a great-sounding active 3-band EQ plus an attack control, especially useful for finger-picking, and two feedback controls for fast and easy elimination of problem frequencies. Separate gain and volume controls offer additional tone-shaping flexibility, while the phase button with status LED allows quick correction of the phase problems often encountered with acoustic instruments.

The second channel features a first-class mic preamp with a balanced XLR input and phantom power plus a 1 /4 " line-level input for a second instrument or sound source plus the same EQ section and feedback controls as channel one. Instead of an attack control, channel 2 sports a control for the enhancer circuit, which helps you get the best out of your vocal or instrument signal. Both channels share a tube emulation circuit, specially developed for the ACX1000, featuring a warmth control that allows you to add tube-type harmonics at will. The vintage-style VU meter displays the amount of added warmth Speaking of voicing power, our ULTRACOUSTIC also boasts an onboard 24-bit stereo digital multi-effects unit with 24 algorithms that we painstakingly fine-tuned for acoustic instruments and vocals, including reverb, delay, rotary speaker, chorus, flanger, stereo panning, tremolo and various effects combinations. Four of its 99 editable presets can be assigned to presets for quick front-panel or footswitch selection.

From Reverb.com: A new take on a classic delay sound, the Malekko 616 takes a 600ms analog delay and adds a modulation circuit which can take you from a gentle tape machine sway, to a full on sea sick vibrato. With it's small footprint and sizable features, this is a perfect option for anyone looking for sonic experimentation.

The Megalith Delta high-gain distortion is a design like no other. All of the tone of the MI Amplification Megalith Beta 180W amplifier distilled down to stompbox form by none other than the designer himself. The Megalith Delta contains all of the tightness and heavy bottom-end giving you that complex and sophisticated signature Megalith tone.

From Michael Ibrahim:

“So many amp-in-the-box designs leave so much behind. It takes years of R&D to truly understand the variables behind great high gain tones. But by designing the amplifier from the ground up, I was able to really grasp how to make a complex, sophisticated high gain sound that kept all the nuances, huge bottom end and the clarity and character of the top end. Without this knowledge, it is very hard to capture all of the feel and tone that, as a guitarist, we come to connect with in our amplifier. Factors such as operating points, dynamic range, scaling of clipping thresholds, output impedances, and intrinsic capacitances due to things like the miller effect etc. all went into the design of the Megalith Delta. It is not a standard JFET copy of a preamp circuit, but for a design that captures the power of the Megalith Beta amplifier.”

Beyond the ordinary Klone! The Sericon is a highly tweakable and interactive version of a "professional" gold overdrive.

Taking on mystique all it's own, the Sericon has three seperate controls for gain manipulation. Drive affects the level of the first stage, which in turn will effect the harmonic complexity of the rest of the stages. Gain adjusts the gain of the second stage. Blaze is the final adjustable gain stage with its own unique twist. At it's core, it's a low-pass filter. At lower Gain/Drive settings, the filter behaves in a typical fashion you'd expect, bringing in low end warmth as you increase is. At higher Gain/Drive settings, Blaze can help tighten low end when turned counterclockwise, or add a lot more beef and thick saturation when turned clockwise.

Envelope controlled filter is an effect type that ventures beyond the mainstream yet is equally at home in a wide range of genres and equally effective on guitar, bass, keys, horns and more. Electro-Harmonix is a pioneer in this effect category and has been making envelope controlled filter pedals since the 1970s! The Nano Q-Tron springboards off that deep heritage.

Here’s how it works: The Nano Q-Tron responds to the user’s playing style and dynamics. The volume of the input signal it receives (also called the envelope) controls the cutoff or center frequency of a swept filter. This allows the Nano Q-Tron to create tone-altering effects ranging from subtle to dynamic, auto-wah to ultra-funky. It’s all about how you play and it’s super interactive.

Simplicity was the goal when we set out to design the Astro - the purist in me knew something could be gained by minimizing the circuit design, but I wanted to do it without sacrificing the wide range of great tones available from the silktone amp's full TMB controls. Well, it worked - we kept them and they're now super easy to dial in.

The single tilt-style tone knob controls both treble and bass simultaneously: set to noon bass and treble are evenly balanced, turn it clockwise to get a treble boost and at the same time a bass cut, counterclockwise to get a bass boost and a treble cut. You’ll also find a 3-way voice switch for full mids ("Dense"), scooped mids ("Light") or to bypass the tone stack entirely for a flat EQ and gain boost ("Raw Silk")

We didn't want to mess with a good thing too much here, so the Astro shares a lot with the silktone amp. Same cab, same speaker, same KT66 at the heart of it for those huge power tube overdrive sounds when pushed. What the Astro gains is nuance and clarity while still delivering a nice musical sweetness. It has a looser and even more responsive feel.

Also standard is our new fixed reactive attenuator with the ability to bring the output down to a half watt for bedroom level playing or quiet recording sessions without any tone or feel loss. Our reactive design lets both the output transformer and speaker see what they need to for an unchanged response.

Oh, and no reverb this time - but it takes pedals even better with it's increased headroom.

The H72 Reissue brings a collectible into the present by inviting more players into the Harmony story with the thoughtful recreation of one of our most iconic musical instruments.

The original H72, introduced in 1966, has become an instrument highly sought-after by collectors due to both its importance to guitar history and its enduring design. Today, players have an opportunity to join the Harmony tradition and add their unique signature to this instrument’s story.

The semi-hollow body construction and double cutaway instantly recalls classic melodies and inspires brand new riffs. The iconic six-in-line headstock graces a maple neck with an ebony fingerboard. The playability is comfortable as is the familiar feeling of a classic 24 ¾” scale length.

Details like the diamond-shaped switch plate and use of the original cherry finish instantly connect the H72 Reissue with its guitar lineage. The reimagined Mustache Gold Foil pickups deliver legendary lo-fi tone with modern clarity.

The limited-edition Harmony H72 Reissue delivers on the sound and enjoyment of its predecessor, now available to a limited number of players.

Amazingly powerful and ultra-versatile, GT-1000CORE delivers the most complete guitar and bass processing experience available in a single stompbox. The full DSP muscle of the flagship GT-1000 lives inside this mini juggernaut, driving class-leading sound quality, advanced AIRD technology, 24 simultaneous effects blocks, and over 140 unique amp/effect types for unlimited creative expression. GT-1000CORE fits into any pedalboard setup and works equally well as a standalone processor for playing live and in the studio. And with flexible I/O and vast control support, it’s right at home as the core of any rig.

This return of the tremolo effect to the MXR line combines a full historical range of masterfully tuned tremolo styles with a host of features to satisfy the performance needs of today’s discerning players.

The MXR Tremolo’s six tremolo waveforms represent classic and iconic sources of the effect as well as new sounds concocted by the MXR design team. First, the MXR style recreates the organic sound and pulse of the much beloved M159 MXR Stereo Tremolo. Next, the Bias style takes after the lush, power-soaked compression of tremolo effects that came equipped on early 1960s tube amplifiers. The Revo style, an original innovation, turns the optical tremolo waveform backwards for more exaggerated peaks and valleys. The Opto style emulates the smooth pulsating tremolo generated by photo cells in many popular amplifiers. Inspired by an iconic outboard effect, the SQR setting produces choppy, super pronounced tremolo. Finally, the Harm style recreates the trippy, phase-like tremolo produced by certain rare vintage amplifiers.

Getting incredible sounds from the MXR Tremolo right out of the box is simple. Speed, Gain, and Depth controls set the rate, volume, and intensity of the selected tremolo effect, and cycling through the six styles is as simple as pushing the Gain knob. For advanced technicians of tone, a bevy of features await—from stereo operation to tap tempo and expression pedal functionality to envelope tremolo, which makes the response of the effect sensitive to your attack.

These and other features come in a single MXR housing so that you can put a wide variety of intriguing, well-crafted tremolo waveforms on your board with no overcrowding.

Billy Sheehan’s singular shredding style distinguishes him from his rock peers. His latest Yamaha signature model—the Attitude 30th bass—celebrates the 30th anniversary of Billy Sheehan’s signature series, drawing inspiration from the heavily customized original bass that he affectionately refers to as “The Wife.” For the past three decades, Sheehan and Yamaha have collaborated on various iterations of the Attitude bass, culminating in this outstanding instrument, which is accompanied by a second pickguard and a numbered certificate of authenticity—both signed by the renowned bassist.

Seymour Duncan's PowerStage 200 is a miniature power amplifier that is engineered to attain the best tone and performance from your pedal-based electric guitar rig. Small enough to fit right on your pedalboard, the PowerStage 200 still pumps out an astounding 200 watts — more than enough to power any combination of guitar cabinets. And the onboard 3-band EQ makes it extremely versatile, no matter what pedals you are using for your front end. Complete with built-in speaker cabinet emulation so you can record directly into your DAW, the Seymour Duncan PowerStage 200 is a powerful solution both on stage and in the studio.

The Cube is a three module desktop power rack designed to bring the fun and excitement of 500 series modular audio to everyone. Create the ultimate channel strip by combining your favourite mic preamp, EQ and dynamic processor. Use the PowerPre for absolute clarity to feed a mic into the Q3 for color and the Komit to keep everything under control. Record your guitar and bass direct using the JDV-Pre. Send the recorded track back out to the EXTC so that you can add effects pedals and then process the return signal through the JDX to emulate a Marshall 4x12 half stack. Send your pre-recorded clean track into the Radial X-Amp and out to your amplifiers and Reamp to your heart's content! Send the signal back through the EXTC to add effects or add the absolute cool of a spring reverb using the Tank Driver. Boing!

Following the criteria established by the Radial Workhorse, the Cube is 100% backwards compatible with older API modules while being optimized for Radial's expanding range of preamps, processors and routing devices. Construction begins with a 14 gauge steel frame and features dual gold contact EDAC 15-pin connectors for optimal signal transfer. To maximize headroom, the external supply delivers 500mA of current for power hungry modules plus a separate 48V phantom tap delivers a full 10mA of current for microphone preamps. Rear panel connectivity includes standard XLRs for each slot along with ¼" TRS connectors for multiple modules, cross patching and parallel processing. Instead of the traditional 'hardwire patch' system employed by others, The Cube employs an innovative feed function that patches modules together in series without the need of a cable. And stereo modules no longer need to be soldered to be paired, they can now be sync'd together using a simple switch. The Cube is also equipped with Omniport on each slot. This TRS jack enables the module manufacturer to implement a unique function for a given module such as a key input on a gate.

The Mulholland Drive is an overdrive/booster pedal. Keeping all the tone of your amp & favorite guitar, the Mulholland Drive was designed to give you more of that drive you desire without sacrificing something else – your tone. The idea was simple. Clarity.

The Mulholland Drive is the result of starting at square one and designing an overdrive that is not only transparent in its tonality, but natural in its drive. A completely unique overdrive that stands alone in a market flooded with hot-rodded tube-screamer clones. Yes, we all love a great 808 style overdrive, but that’s not what we wanted to create. This boost style overdrive is a lower-range gain pedal that starts at a clear clean state and follows through to an organic pushed pre-amp fluid overdrive.

The Mulholland Drive Mk II has all the same features, tone and dynamics as the original Limited Edition 2011 model. The internal layout was moved around to make it easier to change the battery without damaging the pedal, plus we have upgraded the Output control for a more gradual climb in volume. You may have heard the hype. It means nothing until you hear the pedal.

Welcome to ESP's first ever 9-string guitar, in collaboration with Kawaii metal band Babymetal. Their unique blend of J-pop vocals and prog metal instrumentation is a refreshingly catchy concoction - garnering plenty of praise for its musicality, as well as the obvious wow factor.

The Japanese-made MF-9 E-II monster was used on the album Metal Galaxy and is appropriately finished in a custom album artwork graphic. Don't be fooled, this isn't just for spectacle. It's kitted out with all the latest hardware and construction details to make traversing nine strings as easy as possible. Anderton's

Now in it’s second incarnation, the Faux Tape Echo v2 brings you everything you want from a standard delay pedal in the ultimate gig friendly package.

Based on the hugely popular best seller of the previous models, the v2 offers the same purity of signal path, the same depth of tone on the repeats and most importantly, the addition of sub divisions on the tap tempo. With this, you can now have your delays come at ¼, 1/8, dotted 1/8 and triplet based on your tap tempo.

With our hybrid design (completely pure analog dry path with the digital delay layered on top) approach, you get the best of both worlds. You get the note clarity, much lower noise, and longer delay times from digital delays... You also get the lovely warmth and little exquisite touches that are usually reserved for analog delays. Nearly every part of the pedal, all of its major functions, are analog. The “delay line” is the only digital part of the signal path. It alone being digital brings clarity and focus to the task in a way that analog delay line chips can’t really match.

But everything else, all the absolutely vital filtering to carefully finish the sound is pure analog. Every aspect of the modulation that gives the Faux Tape Echo pedal a unique function and tone and makes it desirable for people who want their delay tone to sound as good as tape delay units but without all the maintenance, supplies, and hassle. Your all-important fundamental dry tone is 100% analog, too.

So when we say it’s the best of both worlds, we absolutely mean it. From country slap-back to ambient washes to straight-ahead rock and metal delay, the hybrid approach lets Brian make one pedal that can do it all.

The Faux Tape Echo takes everything great about the original, and adds to it that much-requested tap tempo with sub-division functionality that users have been asking for, as well as our well known emulation of the elusive and beautiful character that people look for in classic tape echo units.

With two independent audio channels, plug in any instrument or piece of gear you want. Split, join, feedback and rearrange your signal freely. Discover an endless array of effects, virtual instruments and MIDI utilities.

Our device is equipped with ten knobs and six push buttons fully assignable to any parameter. Its Pagination System allows for different control assignments at one simple touch. The unique Instant Recall function will take you back and forth to your favorite moments of your performance instantly, at any given moment of your set. The Duo X is a flexible standalone device inside an ultra-resistant monolithic enclosure. Define your very own “plug & play” presets to fit all your studio and live applications using User Profiles. Expand your device to maximum connectivity with MIDI Learn, MIDI Slave Sync or by using it as a MIDI hub for multiple controllers at the same time. Still want more flexibility? Get that analog feel thanks to internal CV support.

We are excited to announce the result of our collaboration with David Grissom! The Grissom Signature pedal is an overdrive that raises the bar for natural, organic, sonic performance. Tight and controlled in the lower octaves, the Grissom Signature stays focused with both complex chords and single-note lines on the lower strings. It also exhibits lightning fast transients and a truly amp-like feel. The gain structure was dialed in to offer beautiful edge-of-breakup tones that can seem like it's providing “more amp,” rather than a pedal in front. At higher gain settings, the notes bloom with rich harmonic overtones, without too much compression, and no trace of bloat. At any gain setting, the Grissom Signature remains true to the natural tone and resonance of the guitar and the player’s touch.

This pedal needs no introduction. If you've been a long-time fan of Bjorn Juhl (BJF/BJFe) then you know that this is one of his best creations. The Honey Bee Overdrive is renown for it's warm overdrive crunch which is easily adjustable by a twist of a knob. Over the years, there have been several revisions of this sought-after pedal. We are proud to announce that this version from One Control, is the best version yet, as it contains all the revisions and improvements from previous models.

Like its creator, the REBEL-20 is a born rule-breaker. This compact all-tube head has a bold voice that’s anything but small and a host of innovative, user-friendly features that give you the power to shape your sound. Under the hood, the REBEL-20 boasts a full complement of tubes: 3 x 12AX7 Sovteks in the preamp, 2 x 6V6 and 2 x EL84 JJ power tubes.

Egnater’s signature TIGHT and BRIGHT voicing switches let you fine-tune the amp’s response to suit any style. And our exclusive wide-range gain control takes you from sparkling clean to percussive crunch to a ferocious roar. The scalable WATTS control takes the REBEL-20 anywhere from 1W to 20W, so you can dial in rich, responsive tube tone at any volume level.

The professional-grade effects loop is designed to preserve every ounce of your precious tone. But the real star here is the revolutionary TUBE MIX control. This knob lets you dial in the rich American tones of the 6V6 power tubes, the British-style bark and chime of the EL84s, or to blend them for an endless variety of sounds. So resist convention, buck authority and create your own signature tone with the REBEL-20.

What if you combine the ruthless sustain of a silver box Big Muff with the harmonic signature of a Tone Bender MkII and the unrivaled touch dynamics of a germanium Fuzz Face? Would you get the ultimate vintage Fuzz pedal? Here at Supro USA, we think so. The Supro Fuzz takes this “best-of-all-worlds” approach to old-school fuzz using an N.O.S. Germanium transistor in the first stage, followed by secondary, silicon-based gain and a dash of our special sauce to create a low-noise, high-gain fuzz box that will leave you deaf and breathless.

Whether you’re looking for a touch-sensitive, vintage 60’s flavor or a full-on wall of modern sonic destruction, the Supro Fuzz delivers the goods while keeping your noise floor amazingly low. The Supro Fuzz pedal sports a simple control layout with Volume, Gain, Treble and Bass knobs. The independent EQ found on this pedal is drawn from the award-winning tone stack found in our flagship tube amplifiers, offering a huge range of adjustability without the frustrating limitations of a more traditional, one-knob EQ design. Both Bass and Treble controls are capable of cutting or boosting within their respective frequency bands, with each control designed to deliver the widest possible range of usable tones while remaining musical at all settings.

All our Solist Snares feature the Trixon Hamburg German Snare String/Lock System. It provides the most secure and constant tension on snare strings than any other Snare Drum. Play your snare until your sticks are whittled down to toothpicks it won’t matter.

The G Series represents a logical evolution of the term "vintage". It is modern yet retains the familiar characteristics of the classic double-cutaway design in an aesthetically tasteful manner. This double-cutaway collection includes a wide variety of options and features to best meet a player's specific needs and requirements. G250 features humbucker, single, single pickup configuration providing a wide variety of sounds to cover virtually any musical style.

The Voodoo-Axe is our latest fuzz guitar effect pedal and has many of the qualities the Axis Fuzz which I designed for Jimi in 1968. Jimi used the original Axis on the landmark recording 'Axis Bold as Love' and the Voodoo-Axe is an evolution from my original design The original Axis Fuzz is still in production today but the Voodoo-Axe offers an alternative and exciting range of new modern tone colours for those who want to experience the same basic sound qualities of the original but extend and modify the tone to suit today's music.

I have taken this great classic fuzz sound and added a very effective passive Tone control which extends and tightens the low end response without becoming woolly and indistinct. The very tight and extended low end was expressly designed to compliment the use of dropped tunings and dynamically responds very well to this new range of modern sounds. The Voodoo-Axe reacts in a human way to the players touch as it uses a significant part of this information to continuously adjust it's operating point. The quality of distortion produced is very musical to the ear and responds well to the use of chords. The Guitar volume control works in perfect harmony with the unit to control the amount of distortion. The background noise is very low and encourages the use of lots of sustain without hiss and the extremely large output swing will drive the front end of any amplifier to its limit. It has the highest output level of any of my distortion or fuzz units and you can use it very effectively as a power booster.

Electronically the Voodoo-Axe shares all the same basic Voodoo Series features with dual output buffering or hard wire output etc. The distortion section uses a unique combination of the best discrete and IC design techniques to emulate the type of distortion found on many classic tube amplifiers. It allows the player to create a wide range of distortion effects from mild to extreme whilst reacting to the most subtle nuances in touch and playing.

The Voodoo-Axe is housed in our Classic Style enclosure with both dual direct drive buffered outputs or hard wire output and has provision for an internal 9-Volt Battery (battery life 150Hrs) or can be powered from a 9-Volt DC Power Adapter (not supplied). Extensive internal filtering ensures that noise free operation is maintained even with the most basic of adapters.