NEW AMB300 Echo Chamber
Create a wall of sound from a small space with highly reflective surfaces. With half the decay of a plate reverb, this chamber finds a sweet spot in any mix. Controls include selection between ORTF and Spaced Pair microphone arrangements.
The standard for high gain amps by which all others would be measured. Though the controls lend themselves to some neurotic tweaking, this amp delivers a tight crunch when dialed in. More controls include Class A/AB and FX Loop routing.
A multi-speaker, halfback 4×12 cabinet offering 100W open-back speakers on top, and 150W closed-back speakers on bottom. Frames date production to February 1985.
Released initially without much fanfare, features like channel switching, built-in reverb, and an effects loop would define table stakes for all moderns amplifiers to come. Be sure not to overlook the amazing clean channel.
A multi-speaker 4×12 cabinet with 65W, 16 ohm speakers offering a blend between top and bottom speakers. Frames date production to November 29th, 1982.
The definitive overdrive, giving an extra kick to any amplifier. Max out the volume to push the front end or dial it back and crank the tone for some grit.
Finally, a chorus pedal! While not the first, certainly one of the most distinctive. More controls include LFO Waveform and Range Capacitor selection, the latter shifting the delay range of the effect.
AMB400 Plate Reverb
A pillar of recording studios around the world, plate reverbs continue to be critical elements in mixes of all genres. Now you too can experience the real thing. Controls include pre-delay, hi- and lo-pass filters, and decay.
AMB100 Early Reflections
Capture the first set of reflections when playing in a small to medium sized studio. This effect can be subtle, or ramped up for classic iso-booth style claustrophobia. Controls include room size, and position, set in three dimensions.
Doubling the power of its predecessor, and favored by musicians looking to record at full tilt, this amplifier featured a new top end boost circuit via the Brilliant channel, and a unique vibrato circuit, inspiring countless classics.
A semi-open back combo that pairs with the VG302E Amplifier, featuring two 15W loudspeakers with poly grey frames. Speakers frames date production sometime between 1964 and 1967.
EQ110 Ten Band Equalizer
This effect laid the foundation for heavy metal as we know it today. Make sure to try this after a fuzz for serious tweaking, or even with clean tones.
This amplifier was the first to feature built-in tremolo. A bewildering interaction between volume and tone controls left most players constantly tweaking to find their sound. Note: the tone control has most effect on the Microphone Channel.
An open back combo that pairs with the VG207A Amplifier, featuring an upgraded loudspeaker with gray frame. Due to a loss of records, the serial number dates production circa 1968.
A bottom 4×12 closed back cabinet featuring classic 25W, 16 ohm speakers with cream magnet covers. Speaker frames date production in December and February, 1973-74.
More like one of the first distortion effects, this is one hairy fuzz. Extended controls include selecting between Version 3, Ram’s Head, and Triangle revisions, as well as modifying the circuit’s Miller capacitance.
The ultimate phaser, actually two phasers in one. Use feedback to accentuate the sweep of the phase and combine both LFOs to acheive this effect’s characteristic wobble. Make sure to check out the extra feature that allows Gen 1 to be modulated by Gen 2.
The first super amplifier, a 100W non-master volume design caught in transition between 1966-67. Based off of an earlier circuit with more Bass, this amplifier shipped with speakers that could barely handle the volume.
A top 4×12 closed back cabinet featuring legendary 20W/25W, 16 ohm speakers with green magnet covers and original lead 75Hz resonance cones. Cone markings date production sometime between 1962 and 1967.
A closed back 2×12 cabinet featuring two classic 50W loudspeakers with ceramic magnets. Speaker frames date production on the 10th and 49th week of 1966.
From slapback echo to runaway sustain, there are countless possibilities with one of the most popular tape echo effects. Extended controls include adjustable Preamp Gain, Tape Quality, and Wow and Flutter. Also try sound on sound for some chaotic looping.
EQ100 Treble Boost
One of the first EQ effects designed to increase treble for bass heavy amplifiers. This effect is great for boosting solos or creating harsh rhythm tones associated with more aggresive styles of music.
The later and more agressive 100W non-master volume amplifier. Features two channels with low sensitivity inputs for high output pickups as well as a custom Mod section to fine tune response between ’68 and ’69 specifications, or something in between.
A bottom 4×12 closed back cabinet featuring classic 25W, 16 ohm speakers with black magnet covers and original lead 75Hz resonance cones. Speaker frames date production on September 19th and 21st, 1978.
A reintroduction to an old classic, however several changes occurred that left many finding this amplifier sonically undesirable. We’ve recreated all of those nuances, from poor bias adjustment to decreased drive potential to pulsating vibrato and reverb.
An open back combo that pairs with the VG205E Amplifier, featuring two 50W extended range loudspeakers with orange frames. Due to a loss of records, serial numbers date production circa 1968.
Very similar in design to the FZ101B, but with a lack of quality control over transistor selection that gives this effect its reputation. Extended controls include Transistor Material: Ge/Si and Bias adjustment.
OC100 Octave Fuzz
The first octave up fuzz, giving birth to a subgenre of effects. Though simple in design, this effect reacts strongly to pickup selection and note range. Extended controls for Bias and Balance adjust the strength of the octave.
The first official phase shifter. This effect has six filter stages and unique organ-style controls that allow ramping between speeds. Extended controls include selectable Waveforms for each speed and Ramp Time.
The first transistor-based fuzz effect. Extended controls include Power Supply, Transistor Cutoff, and Balance. Increasing the Transistor Cutoff will allow for a heavily gated fuzz effect similar to adjusting bias.
One of the earliest phasers meant to simulate a rotating speaker effect. Extended control for Pulse Width changes the timing of the LFO providing new rhythmic expression while adjusting Resonance/Balance can achieve deeper phasing effects.
One of the most popular effects of its era to employ Bucket Brigade Devices (BBDs). Note: when the Filter Matrix is engaged the Rate control has no effect and the Range control adjusts the amount of delay for unique filtering effects.
Carrying forward the lineage of the FZ100A, this effect provides more gain while trying to maintain stability and simplicity. Extended controls include Revision: MK 1.5/MK II and Transistor Type: OC75/OC81D which adjusts gain and harmonic structure.
The original wah-wah effect. Extended controls include tuning for Min/Max Frequency corresponding to the heel and toe position respectively, as well as control over Resonance to adjust peak response.