| The Blues Custom 30 - Great Tone, Killer Looks And Superb Quality
Epiphone is pleased to announce the new Blues Custom 30 Guitar amplifier. Designed and engineered in the USA by Gibson, the amp features an ALL TUBE signal path and Tube Rectifier for the ultimate in pure tone. Check out these features:
Two distinct channels share the specially designed 3-Band EQ while the Overdrive Channel is equipped with an additional Mid control allowing the player to dial in that soulful sweet spot.
The 3-Band EQ is selectable between Independent and Interactive mode and the amp features a tube powered, transformer driven, spring Reverb.
The Blues Custom 30 offers the player both 30W Class AB (Pentode Mode) or 15Watts Class A (Triode Mode) at the flip of a switch.
A low noise fan was incorporated into the design to make sure the amp and tubes stay cool.
The Water Cooler: They should go to 11 - and start with 1
Nigel Tufnel, to put it kindly, seldom has come across as the sharpest guitar pick in the box, but he clearly has his admirers at the University Interscholastic League. A brief review, for those of you unfamiliar with the legendary Spinal Tap lead-guitar player: Tufnel, being interviewed for "This Is Spinal Tap" — a 1984 chronicle of the band's American tour — explained to filmmaker Marty DiBergi why the volume switch on his guitar's amplifier went to 11, rather than the customary 10. DiBergi: Does that mean it's louder? Is it any louder? Tufnel: Well, it's one louder, isn't it? It's not 10. You see, most blokes, you know, will be playing at 10. You're on 10 here, all the way up, all the way up, all the way up, you're on 10 on your guitar.
Larry Martus | Transcendence
Solo recordings have to overcome extra hurdles in order to maintain listener interest. Single-line instruments like the saxophone tend to have the most difficulty because of their limited timbral range and inability to maintain an independent accompanying line. The piano is naturally the most flexible, allowing independent hands to work, but it also has timbral limitations. The guitar is in betweenit can fake true contrapuntal lines, but it also can change its sound through electronics. With Transcendence, Larry Martus has assembled a beautiful collection of original compositions for solo guitar. For the gearheads out there (meaning most electric guitar players of any stripe), a lot of different equipment was used in this recording. Martus lists a 1967 Gibson ES-335, a 1968 Fender Pro Reverb, and an old Fender Stratocaster (with modified electronics, of course) coupled with a 1956 (!) Fender Tremolux and a Roland JC-120 amplifier.
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