Posts Tagged ‘Soho’

Sebago Sound PrototypeSummary: I don’t know what an original Steel String Singer sounds like, but if Sebago’s take on that amp is any indication, we have a winner here! This is an incredibly versatile amp that can fit any genre of music. This is my next amp.Pros: Versatility is the key with this amp. The notch High and Low notch filters let you dial in your tone to fit the genre or help fine tune the amp to your guitar.

Cons: None. But not a 5.0? I’ll explain below…

  • 100-150 Watts (150 with 6550’s) from 4 power tubes
  • Reverb “loop” with send and receive knobs (send is signal gain into tank, receive is similar to mix)
  • Single input with switchable FET circuit
  • Gain control
  • Three-band EQ
  • Bright, Mid, Rock/Jazz mini toggles
  • Master control
  • Presence control
  • Individual High and Low notch filter knobs.
  • Power and Standby switches

Price: TBD, but will probably be somewhere between $2500 and $3000

Tone Bone Score: 4.75 ~ The only reason I took off a quarter point is because the reverb receive circuit was a bit noisy. I was able to dial back the hum by upping the send gain and dialing down the receive signal, but this is a prototype, so it’s understandable that there would be some tiny issues, and believe me, this is tiny.


My First Impressions article pretty much said everything that I had to say about this amp. My opinion hasn’t changed. This is an absolutely SUPERB amp that has me GAS-ing VERY BADLY. And after playing with this amp for the last few days, I’m in a dream state from the hypnotic tone that this amp produces – with all my guitars.

One thing I will add is that Bill Dunham emphasized that the amp is a great pedal platform. I still agree with that assessment, but frankly, this amp produces almost all the tones that I need, so I haven’t hooked my pedal board once this past week. The reverb is fantastic, and when I’ve taken the amp into overdrive, I just haven’t seen the need to use a pedal. The only exception to that is with the last clip I recorded where I ran my Strat through my Timmy overdrive before going into the amp, which was not quite at the breakup level; just slightly below.

Granted, at 100 Watts, I couldn’t take the amp into breakup without an attenuator. But luckily, my trusty Aracom PRX150-Pro comes to the rescue yet again in that department. A quick note on the distortion. I wasn’t really liking the fully cranked up tone of the amp with my Strat. It’s an entirely different matter with my Les Paul. The lead tone – which you’ll hear shortly – is just incredible. With the FET activated, and both Gain and Master cranked up (Gain at 9, Master at 10), the sustain, harmonics and overtones create this absolutely gorgeous lead tone. Now by itself, this amp won’t do metal. It’s not made for that, and I don’t think it was ever intended to do that. But crank it up and throw a distortion pedal in front of it, and I believe you could easily do metal.

Fit and Finish

I really won’t comment on this much because the final face plate is being produced so Bill modified a Double Trouble face plate. That’s also why I didn’t take pictures. It’s not finished, and I don’t want people to get the wrong idea that the amp will be in the condition in which it was tested. It looks great, but I’d rather get pictures of the finished product.

How It Sounds

Bill kept on saying when he dropped off the amp that it’s real strong point was clean. After playing with it, I heartily disagree. 🙂 Clean, dirty, it don’t matter. I dug the sound. In any case, I’ve recorded three clips to give you a general idea of the amp’s tonal possibilities. Mind you, I don’t have a mild breakup clip with a Strat. Once I get the real thing, I’ll share lots more clips. For now, you check out the ones I’ve recorded thus far. Note that these tracks are raw tracks. I used no EQ nor compression because I wanted to ensure that I’d capture all the dynamics of the amp.

Clean, Gretsch Electromatic (thin body)

Clean, Les Paul

Rock, Crunchy Rhythm (left), Solo (right)

Clip from an SRV tribute song I wrote called “In The Vibe”

All the clips were recorded using an Avatar  1 X 12 closed back cabinet with the fantastic Fane Medusa 150 speaker. I used a single mic – a Sennheiser e609 – positioned about 18″ from the cabinet pointed directly at the center of the cone. Part of why you might hear a little static is the ambient room noise from my garage. Barely detectable, but it’s there.

With the rock clip, one thing I had to get used to was the note separation in touch sensitivity of the amp when I’ve got it cranked; actually, even in heavy overdrive. I didn’t really have to change the way I play, I just had to make sure that if I was chording, then I needed to be smooth with my strums, otherwise you’d hear every dang string being plucked. 🙂 It was a pretty easy adjustment.

With the SRV tribute song, as with the other clips, I didn’t EQ the guitars at all, though with the lead, I did add some reverb and a touch of delay to give the tone some air. I also ran the guitar through my Timmy overdrive in front of the amp. Other than that, what you hear is what the amp and the Strat are producing naturally though the final recording has a touch of compression. With the first part of the clip, I’m playing through the neck pickup, then switch to the bridge pickup and turn the volume of the guitar up a couple of notches.

In any case, to me, the clips I’ve provided tell a good story of what this amp is capable of. As I mentioned, in a clips, what I’ve laid down is the raw amp sound, completely unprocessed except for the SRV tribute. The tones are absolutely gorgeous!

Overall Impression

I suppose you can pretty much guess what my impression is of this amp. Once Bill gets this into production, it’ll be my next amp. Better start saving my pennies. 🙂

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EWS Little Brute Drive

Summary: Proving the old adage that “big things come in small packages,” the EWS Little Brute Drive is an absolute distortion machine, capable of mild crunch to face melting distortion. Don’t let the “drive” in the name fool you. This ain’t an overdrive – but who cares? 🙂

Pros: Though it has output level and treble controls inside the enclosure, the pedal is set to unity gain, so no need to mess with output volume. You just set the gain knob where you want it, then turn it on. It’ll instantly turn your guitar a fire-breathing dragon!

Cons: None. Absolutely none.


  • Single gain knob. All the way left gives you about the max overdrive of a soft OD pedal like the Timmy. All the way right is evil – very evil – distortion. 🙂
  • True bypass
  • Runs on either a 9V battery or 9V power supply (I use a 1-spot).

Price: ~$129 Street

Tone Bone Score: 5.0 ~ I could barely pull myself away from playing this evening to write this review! I was having way too much fun with this pedal!

I have to admit that I haven’t been too much into distortion pedals in the past, but since I got a Strat, none of my overdrive pedals could give me the kind of creamy crunch that I love for playing rock songs. It’s not a problem with my Les Paul, and though my new Strat does have some higher-output pickups, it’s still not the kind of gain that a Les Paul produces. So I figured that I’d try a distortion pedal. Enter the Little Brute Drive.

After watching some very good videos and listening to some sound clips of the pedal, I knew it would do the job. I wasn’t mistaken. This freakin’ pedal has more gain than anything in my arsenal. I was amazed that at even with the gain all the way down, it was more than the gain that my beloved Timmy produces! But the even cooler thing is that even at the highest gain setting, note separation is incredible! I was concerned about that because my past experience with distortion pedals is that they get really muddy and compressed at high gain settings; not the LBD. The distortion is tight, but it never gets muddy, and the EQ response is pretty flat to boot.

Fit and Finish

Though it is diminutive in size, it’s built like a tank, and it is definitely gig-worthy. It has a nice red powder coating – almost like a warning that this thing breathes fire!

How It Sounds

Make no mistake: This is NOT a low-gain pedal. It is meant for crunch and face-melting. So if  you’re looking for something milder, best stick with an overdrive pedal. But if you’re looking for lots of gain and sustain AND clarity, this is a pedal that will do the job in spades.

I recorded a couple of quick clips to demonstrate the pedal. I had the gain knob set to noon on both clips. I used a Barron Wesley Alpha with humbuckers – though I played both clips in split coil to at simulate a single-coil guitar, and I used my Fender Hot Rod purely clean. With the first clip, I do a comparison riff. The first part is the guitar with no effect, then I switch on the LBD. The second clip is just me noodling.

Yowza! I really had to have a much lighter touch on the fretboard playing this pedal, and since the guitar I was playing is so resonant, I had to mute the strings I wasn’t playing because the pedal picks up EVERYTHING! It’s incredible! And to think that I was able to get that kind of gain with the gain knob set at noon!

Overall Impressions

I love it. ‘Nuff said. The sustain, the drive, and most importantly the note separation and clarity make this pedal a winner.

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SWR California Blonde I

Summary: This amp is a classic and loved the world over for its great sound.

Pros: Great acoustic sound, but it’s versatile enough to use as a clean amp for solid-body guitars.

Cons: This is a nit: It’s heavy at 50lbs.


  • 120 Watts
  • Speakers: 200 Watt 12″ and a 25 Watt high-freq tweeter
  • Instrument Input Jack
  • Stereo Input Jack
  • Tuner Out Jack
  • Balanced Mic Input Jack
  • Gain Controls with LED Overload Indicator and Pull Phase
  • Aural Enhancer Control (Channel 1)
  • Two independent channels
  • Two independent effects loops with independent effects blend knobs for each channel
  • On-board reverb – it’s nice and subtle

Price: ~$300 – $600 Street (if you can find one)

Tone Bone Score: 5.0 ~ I’ve used this amp in a variety of settings, and with a variety of guitars, and it has NEVER let me down. The sound is rich and full, no matter what guitar you put in front of it, but it doesn’t take away from the natural tone of the guitar.

My first exposure to the California Blonde was through a church bandmate who would use it for our services. My initial impressions of the amp were NOT good, mainly because this guy just doesn’t take care of his gear. The knobs were scratchy and the jacks were loose and would occasionally crackle. But one thing was for sure: When he had it working, it had a great tone. I was always impressed by the sound of that amp, and REALLY impressed by its ability to project – it is a LOUD amp.

SWR now has a second edition of this amp, and the original is no longer available, but I got mine through my friend Jeff Aragaki of Aracom Amps who acquired one from an estate sale. He had a bunch of gear to sell, and one of the items was this classic California Blonde.

I wasn’t planning on getting an amp at the sale. I just wanted one of the many guitars he had, and ended up getting my gorgeous Strat. But just for shits and giggles, I checked out the amps. The ‘blonde immediately caught my eye (blondes have a way of doing that to me 🙂 ), so I asked Jeff if we could hook it up. Luckily I had my acoustic in the back of my SUV so I could give the amp a proper test. So we hooked it up, powered it on, I strummed a chord, turned to Jeff and said, “I’ll get this too…” I did play through it for about 15 more minutes to really go through its controls, but from having to adjust my buddy’s ‘blonde in the past, I was pretty familiar with the amp.

Since I purchased it, I’ve used it with my acoustics, as a clean amp for my Strat (and using a distortion pedal with it – it rocks), and just last night, I used it for its intended purpose: as my guitar amp for my outdoor gig, using my Gretsch Electromatic. As I mentioned above, no matter what I’ve thrown in front of it, this amp has delivered the goods.

Fit and Finish

Despite the amp being several years old, it has withstood the test of time. That’s a testament to how solidly built this amp is. Even my buddy’s amp – despite being mishandled – was still rock solid. My amp was and is in absolutely pristine condition. This thing is built like a tank. The enclosure, though made with a combination of plywood and particle board is THICK. Chrome-plated corner protectors adorn all the corners (this amp was made for gigging). No stray joints here folks, the build quality is fantastic.

The tilted control panel is an absolutely nice and convenient touch, allowing for quick access to the knobs. This is much better than the Genz-Benz Shenandoah 150 upright that I’ve played that has a flush control panel. Makes it hard to adjust. The metal speaker grille on the ‘blonde demonstrates again that this amp was meant to be gigged.

The only nit that I have with the amp is that at 50 lbs, it’s really heavy. But that’s understandable and forgivable considering the thick wood of the cabinet and the magnet of the 200 Watt speaker, which must be pretty big (I haven’t taken off the back panel). I’ll trade weight for ruggedness any day; besides, that’s what hand carts are for! 🙂

How It Sounds

The California Blonde has a rich, deep tone, but as I mentioned above, it doesn’t take away from the natural tone of the guitar. And though I mentioned that the amp is loud, the cabinet really disperses sound at a wide angle, creating a three-dimensional effect that makes the sound seem to float in the air.

I used it outdoors at my gig yesterday, and it was fantastic! I ran chorus, delay and reverb through the loop, and I have to say that the effects blend knob is a god-send, allowing me to mix as much or as little of my board signal into the dry signal. Because of how the amp disperses sound, I used very little reverb, and many times just had it off. For ambient tones, I used my MXR Carbon Copy delay set to a mild slap-back. That seemed to work best with the amp.

The tweeter’s effect is subtle, but a very nice addition indeed, as it provides just a touch of shimmer to the tone. I tried the amp with the tweeter switched off, and just turned it back on because I wanted the shimmer. With a Strat, the tweeter is a necessity in my opinion.

Last night, I started out running my guitar signal only through the amp, but then later added some signal into my Fishman SA220 PA so I could get even better sound dispersal. The line out is great on this amp, and reproduces the signal very true to the original. In fact, when I’ve used this amp at church, we run it right into the board, and the sound is very nicely balanced.

Overall Impression

This amp is a workhorse. I really couldn’t be happier with this amp. It totally delivers the goods for me!

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65 Amps Soho
Summary: Super-versatile amp with LOTS of balls. Goes from AC30-like tones to cranked vintage Plexi. While definitely British-style in tone, it has a tone all its own.Pros: One of the very few amps I’ve ever played that REALLY responds to guitar volume knob changes. The Soho, while very versatile is also VERY efficient. The 20-Watt model I heard and tested had the feel of a 50 Watt amp! Very nice.Cons: None.

  • Features:Output: 20 Watts (SoHo) or 35 Watts (SoHo HP)
  • Tubes: Power amp 2xEL84 (SoHo) or 4xEL84 (SoHo HP), Preamp EF86-12AX7
  • Rectifier Tube: EZ81
  • Speakers (combo): Celestion Alnico Blue + G12H30
  • Panel controls: Volume, Treble, Bass, Booster, Bump™, Bump Tone™, Bump Level™, Master Voltage™
  • Extras: Footswitch input jack, dual speaker outs, switch for 8Ω & 16Ω impedance

Price: ~$2400 Street

Tone Bone Score: 5.0 ~ Yowza! I LOVE this amp! It is so versatile and expressive and responsive to input gain. As much as I love my Aracom amps, I think this is an amp that I have to have.

I really shouldn’t go to music stores. But then again, if I didn’t, I’d lose an important source for gear. Last week, I happened to go to my favorite gear store (Gelb Music in Redwood City, CA), and was just hanging out looking at gear. i was also in there to see if they had gotten their latest shipment of Gretsch guitars, as I want to get the Electromatic 5122DC. Unfortunately, it hadn’t come in yet. But Jordan (who’s the guitar dude at Gelb) said that Dan, the designer from 65 Amps was coming in to do a demo from 5-7pm. It was just after 3pm.

Just so happened that Dan had just walked in the door, and Jordan introduced me to him while he was setting up their back room with the 65 Amps they carried. Dan and I got to chatting about gear and gigging, and then I started asking him questions about the Soho, which is an amp that has continually gotten my attention because Andy at ProGuitarShop.com uses one for most of his gear demos. So a cool thing happened: I got a private demo of the Soho from Dan the designer himself.

Now as we were talking, my impression of Dan was that he was a very nice, straight-shooting guy. But I’ve also seen and tested lots of different amps, so I guess I’ve become a bit jaded about boutique amps. But as you’ll soon find out as you read through this article, my jadedness became completely irrelevant in this case…

Dan took me through all the features, and I was completely dumbstruck by the expressiveness and versatility of the Soho while he played. The response to input gain using the guitar volume knob was incredible! I confirmed this when I played through it myself. You can go from clean to dirty with just the knob, then get really nice driving, but not overly compressed hard gain. The tone was incredible!

Now the Soho might look like a two-channel amp from its control layout, but it doesn’t have two channels; rather, it has two modes: Normal and Bump, which gives you a “bump” in tone and gain which is controllable like a separate channel – but it’s not a separate channel. Believe me, it’s very cool!

The “Bump” feature makes the tone of the Soho thick and rich and incredibly expansive. I commented to Dan that when he had it cranked, the amp sounded as thick and loud as a 50 Watt Plexi. He just grinned, as he knew exactly what I was talking about. As I mentioned in the Summary section above, this little amp has BALLS!

Equally impressive is 65 Amps’ trademark “Master Voltage” which is a bit different from a master volume in that like a regular MV it varies the B+ voltage it also keeps the filament voltage up, so you can still break up at lower volumes. Not sure the tech behind this, and who knows, it might be hype. But hyped terminology or not, it works; and it works incredibly well! It acts like an attenuator, giving you all the grind you need at lower volumes, without the extra circuitry.

I didn’t get as much time to play with it as I would like, and I tend to be rather self-conscious in stores when I’m evaluating gear, so I didn’t try too much. But I took it through various things I might do in a gig, and all I have to say is that the Soho is a true player’s amp. It has everything you need to cover gorgeous cleans to hard-driving rock. It’s definitely not a metal machine, but for producing most rock sounds, you can’t do much better. It’s not a small wonder why a great player like Andy over at ProGuitarShop.com uses this amp for his demos.

Here’s another thing: The amp is absolutely unforgiving. You can’t be tentative with your playing when you play through this amp because every mistake will be picked up. I love that about this amp! That’s why I call it a player’s amp because you really have to play. When I first started playing around with it, Dan said, “Give yourself some time Brendan. It takes a little while to get used to…” Man, was he right! I twiddled knobs, found a setting I liked, then just closed my eyes and started to play (closing my eyes helps me lose my self-consciousness – beside if I suck, I know it’s not the gear). 🙂 Luckily, I didn’t flail too badly, and in the process, I fell in love with that amp. It simply rocks! I need to get this amp. Damn! There goes the GAS again!

BTW, here’s a video demo of the amp by Dan:

For more information, visit 65 Amps Soho page!

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