Doug Aldrich interview

We all know that Doug Aldrich is not in Whitesnake anymore, he's focusing on Burning Rain, and more recently, the Revolution Saints, but I've found this conversation from 2011, and decided to share it. After countless interviews with the savior of Whitesnake, I had the pleasure and the honor to hang out with him once again. Needless to say, there was time for a little conversation, including some tech talk. As always, the humble fretwizard was so kind to let me know some gear secrets, so here it is. Enjoy! 

Could you please introduce your current stage set up for us?

Sure. I’ve been a Marshall player since I was 12 or 13 years old. So it’s been a long time, and there was never anything that I’ve ever really got comfortable beside my favorite Marshalls. Recently, Marshall came out with a new amp, called the JMD-1. It’s a hybrid amp. It’s kind of an amp which takes the best of all the Marshall amps. It’s got a digital preamp that recreates those tones, through a traditional EL34 Marshall output. You know I’m using basically a few pedal in front of that, I got a signature overdrive called the Rocket Fuel, made by Majik Box. That pedal’s just killer! I’m using that one and my wah, which is a Custom Audio Dunlop Wah and it’s really great, too!

How many Marshall heads are you using right now, beside the JMD-1?

Right now I’ve got two what I’m using. I’m blending between the JMD and also my old JMP, which is a 1979 JMP. It’s been modified, and sounds very good. 

Is it modified by Trace Davis at Voodoo amps?

No, that one is modified by John Suhr. John basically did a lot of help with our backline. He helps Reb a lot with his guitars and amps, and also designed a signature pickup for me. All my Les Pauls are loaded with this, sounds amazing!

As far as Voodoo amps are concerned, I had used one a little bit during the recordings of Good To Be Bad, but didn’t use it so much this time. Voodoo amps are great, so is Trace, but you know, I got a long term relationship with Marshall, and they really look after me.

As far as cabinets are concerned, what kind of speakers do you prefer?

I’m using those regular 25 watt Celestion Greenbacks, the reissue Greenbacks. I just like them… Some guys like 30 watt speakers more, the Vintage 30s… Those are cool, I don’t mind them, but my whole scene is dialed in with 25s. That’s what I used to do.

What about the guitars?

I brought four Les Pauls, I think. There are two Gold Tops, a honeyburst, you know, the Jimmy Page one, and a dark burst, kinda tobacco, like Duane Allman’s. There’s also a custom made Zemaitis, it’s a really nice guitar, too.

Earlier you mentioned a PRS, if I remember well…

Well, I have a couple of Paul Reed Smiths, but I didn’t bring them on tour. I’d rather brought some acoustics, a Gibson Hummingbird and a J-200, and also a Cole Clark model, which is really nice, it’s Australian. I can only bring eight guitars, so I had to get it down to four Les Pauls, the Zemaitis, that’s it.

What kind of strings are on the axes, what gauge do you like?

With Whitesnake I use 011 to 050. Dunlop strings are the best for me. For acoustics I prefer Martins, 012 to 054.

Don’t you feel that 011s are quite hard to bend?

Not too much, because we tune down a whole step to D, so it just feels like standard tuned 010s. It feels good. Sometimes during soundchecks I even overbend them…

Really?

Yeah, that’s the truth, so I have to be careful not to overbend! (laughs)

What about picks and slides?

Dunlop tortex 1 mm picks what I use, and I got some slides Dunlop made for me, they are really amazing!

What kind of slides match better for you, glass or metal?

I like the sound of the metal slide, but it ends up chew on my frets so much live, so I started using a glass one more. 

Do you prefer higher action for slide work?

I don’t. I would say my action is naturally a little bit high, so it works out fine. You know, it’s interesting, a lot of times on tour the neck angle changes because of the temperature and things like this. After these situations we keep adjusting the neck. Sometimes the action is too low, sometimes it’s too high, so we have to keep an eye on it.

Alright Doug, thank you so much for the interview opportunity again!

Hey, it’s my pleasure! So your girls are doing good?

Yeah, definitely, thanks for asking!

That’s good, man!

20 questions with Rob Caggiano (2012)

This great conversation was conducted with current Volbeat / former Anthrax lead guitarist Rob Cagganiano right after the release of Anthrax's latest studio effort, Worship Music. 

1. Let's start with your early days! Do you remember when did you picked up the guitar first?

I got my first guitar when I was about 5 years old. It was a little red acoustic and I fell in love with it immediately! I actually started singing and playing very soon after that. I must have been 6 years old at that time. My dad would take me around to different family parties etc... and I would bang on this little acoustic and sing Dion and The Belmonts songs! ;-)

2. Who were your biggest guitar heroes in your teens?

Well I started taking the guitar very seriously after my mom got me AC/DC's Back in Black album at the local flea market (Yonker's Raceway). They had a really cool record/vinyl vendor there and it was all heavy metal and hard rock records. Anyway I was mesmerized by Angus Young's guitar playing after the first listen and also the overall sound of that album...It just sounds HUGE! I think a week or so later, at the same flea market, I picked up Van Halen 1. That pretty much sealed my fate! Haha To this day Eddie and Angus are my two biggest guitar heroes. In fact, I'm gonna see Van Halen tonight at Madison Square Garden!!! 

3. What was the first song you were able to play in its entirely?

The first song I learned to play on the guitar in it's entirety was Yesterday by the Beatles. The second song was Jumping Jack Flash by The Rolling Stones.

4. Did your parents support your musical plans?

Yes my parents are amazing. They have always been incredibly supportive of my love for music and the guitar. My dad is actually obsessed with music himself so I grew up with a lot of different music in the house. I think that really helped shape who I am today as a musician.

5. Which was your first professional band?

My first professional band was called Boiler Room from Brooklyn NY. We got a nice record deal in the late 90's, toured the world and broke up immediately after that! Haha

6. Do you remember the audition for the Anthrax gig? How did you get in touch with the guys?

Well we always had a lot of the same friends. The NYC music circle is actually very small. In fact Anthrax's current booking agent Mike Monterulo was sort of managing my first band back then. Anyway, I've always been a huge Anthrax fan and I definitely made that fact known to those guys! One thing lead to another and here we are. The first time we got  together and jammed was a bit surreal for me but I think it felt really good and the "vibe" was there. I was nervous for sure though.

7. Scott is undoubtedly one of metal's greatest rhythm players. In the beginning was it challenging for you to play with him side by side?

Scott is definitely an amazing rhythm player and he was always an influence on my playing. Listening to guys like Scott Ian and James Hetfield as a kid really shaped the way I approach the instrument. It's in my blood to play this style on the guitar. I think Scott and I locked in together right off the bat. When I listen back to some of our shows I'm always amazed at how tight we are together. Especially considering the fact that Anthrax is definitely not one of those bands that spends time in the rehearsal room. When I first joined the band, I think the weirdest thing was actually just looking over to that side of the stage and seeing Scott Ian standing there rocking out! That wore off pretty quickly though. Now I'm in 2 bands with the guy! lol 

8. How do you guys usually share guitar duties in the studio? Do you play all the leads while Scott lays down the rhythm tracks?

Well Scott usually handles most of the rhythm parts but there are times when I'll play sections etc... or double what he's doing to beef things up a bit. I'll play some rhythm stuff on choruses a lot of times to beef up what's already there and create a nice dynamic. I like when choruses get "bigger" usually. As far as the solos go, I play all that stuff as well the "color" overdub guitars in spots. Charlie actually played some cool texture guitar overdubs on the new record as well.

9. The solo of Safe Home is killer, one of your best! Do you remember how did you work this out?

Thats a funny story actually. Originally Charlie was going to play that solo and he just wanted me to record it and coach him through it. Well after a while we both just weren't feeling it for whatever reason. I don't remember exactly how it went down but I think I just picked up the guitar to show him an example of how I would approach the solo and after I played it once, Charlie looked at me and said..."That's the solo!". And I said "Really? Well it's a good thing I hit the record button then!" Haha

10. Initially how did you start the reworking of old material on The Greater Of Two Evils? How much did you pay attention to the original guitar parts? (I tell you the truth, guitar-wise these versions are much better for me than the original recordings.)

Well thank you for the compliment! To be honest I never fully understood why we did that record. For me those old recordings are classics. They are very much perfect as they are and I never really saw the point in re-recording those tunes. I think John Bush felt the same way at the time. It ended up being a really cool thing in the long run and it was lots of fun but a bit confusing at the same time. Anyway we invited a small group of people from our fan club to Avatar Studios in NYC to watch us jam those songs live. What ended up on the album was very much that performance with a few minor fixes here and there. I think the main reason why I played some of those guitar solos different on that album was simply to try put my own stamp on it. I know John definitely sang things a bit different as well for the same reason. I just felt that if we were going to play the old songs note for note the way they were....what the hell would be the point??

11. How do you see, what are your strengths when it comes to soloing? Any techniques you should be better in your opinion?

I think my main focus and and what I strive for with every solo I play is to actually "say something" with it. I like solos that are memorable and exciting but also played from the heart. If I can listen back to one of my solos and remember it when the song is done then I know I've succeeded with my own personal goal. At that point I can only hope the fans like it and hear it the same way I do. There are so many guitar players out there that practice 25 hours a day and can play a million miles an hour but so what? A lot of times when guys like that play solos within the framework of a song it just ends up sounding like exercises because they're far more concerned with technique than substance. Anyone can learn to play all the scary guitar techniques in the world if they're willing to spend the time to practice like that. That's really all it takes but to me there is no magic that at all. Listen to AC/DC's "Whole Lotta Rosie" from their live album If You Want Blood....You Got It. To me that's what playing solos is all about! Listen to David Gilmour on "Comfortably Numb". You can't learn that stuff! It's a feeling. It's an emotion that comes from the heart and exits through the fingers. That's magic!

12. As a long time ESP endorsee, which models do you prefer and why?

Well for the longest time my favorite guitar was actually the first guitar that ESP sent me back in 96. It's an old purple Horizon made of swamp-ash. I've acquired a ton of ESP guitars over the years and they're all great but this guitar is special. It just feels amazing and sounds great. I actually have a brand new ESP Rob Caggiano Signature guitar that just came out a few weeks ago at the NAMM show and it's very much based on my original old Horizon but also tweaked out a bit with some very specific things. It's an awesome guitar! It's also fitted with my new Dimarzio Signature pickup called "The Thunderer". This thing screams! I didn't think it was possible but this new guitar sounds and plays better than my original.

13. Which do you like more, Floyd Rose whammy equipped guitars or models with TonePros fixed bridge?

I used to play Floyd Rose fitted guitars a lot years ago but for the past 10 years or so it's been strictly fixed bridges for me. I like the way they sound better and I like the consistency.



14. Pickup-wise, you're a DiMarzio guy. Which particular models do you favor the most?

I've been playing Dimarzio pickups for as long as I can remember. I think they make the best pickups hands down! I used the Tone Zone for my bridge pick for many years. As I said earlier, I have a new signature pickup called "The Thunderer" and it's somewhat based on the Tone Zone. I worked closely with Steve Blucher on this thing and I couldn't be more happy. It really does scream! Steve's a total genius man, that guy really knows what he's doing with this stuff and he really understands "tone". He basically listened to my nonsensical ramblings about what I wanted and he made perfect sense out of it and delivered! Haha The thing I like most about the Dimarzio stuff is the fact that you can always here the "wood" of the guitar, if you know what I mean. Basically if you have a great instrument already, Dimarzio pickups will take that to the next level and really make it sing. I've also had some long talks with Larry Dimarzio in recent times as well and I just really love his philosophy and the philosophy of the company. Larry rules! These guys definitely get it.

15. What string gauge do you use on your guitars?

I use D'addario 10-52's.

16. As far as amps, which way works better for you, the use of a high gain monster or a vintage stuff boosted with an overdrive pedal?

In the studio I use all different kinds of set ups but live I tend to go for a high gain amp. I only use Boost/Overdrive pedals when I solo.

17. How is your current stage setup? Do you use stompbox effects under your feet?

I do uses some stomp boxes but my set up is very minimalistic. Here it is:

1. Boss Tuner Pedal

2. Cry Baby Classic Wah

3. RockBox "Boiling Point" ...overdrive/boost. 

4. Death By Audio "Interstellar Overdrive Supreme"

5. MXR SmartGate

6. MXR EVH Phase 90

7. MXR Micro Chorus

8. Boss DD-5

Everything is controlled by a Musicom Lab EFX MKII which is basically a loop switcher. It rules!

18. As a producer, you did an awesome job on Worship Music, the record rips! When did you explore your senses to production works and which other producers do you respect the most?

Thanks man! I've been producing records for a long time now and I've always been enamored with the recording studio and the whole process of making records. I love working with different artists and I love pushing myself with each record as well. I'm not one of these producers that keeps making the same record over and over again. I hate formulas and I hate to repeat myself. I also feel that every band and every record is unique. No two records should ever sound alike in my opinion but the "sound" of the band/artist should be present at all times. There are a lot of great producers out there and of course that means that there are lots of crappy ones out there too! My favorite record producers right now are Paul Epworth (Adele, Florence and The Machine), Jackknife Lee (Bloc Party, U2), Gotye (self produced artist), Christopher Jon of I'Parasite (self produced artist), James Blake (self produced artist), Justice (self produced artist). Of course there are more out there but these are first few that came to mind. These guys are really pushing the envelope creatively and sonically. My favorite 2 producers of all time would have to be Jimmy Page and Mutt Lange. Anyway, I'm very proud of Worship Music because I know all the hurdles Anthrax had to clear in order to finally finish this record. It's a special record for all of us in that sense and it's a really great feeling that the fans seem to dig it as well. I'm relieved!

19. What moment of Worship Music are you the most proud of?

It's kind of hard to say actually. I'm proud of the entire album. I'm proud of the songs, the performances, the sounds we got and the overall vibe of the album. 

20. As far as The Damned Things, who's got the weird idea first to join forces with members of Fall Out Boy? What will the future brings for this band?

The Damned Things started as a group of friends just getting together to make some fun music. I think we all had blast doing so as well. The album "Ironiclast" came out on Island records and we toured the world soon after. Right now it's on hold because Scott and I doing Anthrax full time but it was great fun and musically very different to everything else I had going on at the time. I really hope we all get a chance to do it again at some point soon. As far as getting together with the guys from Fall Out Boy.....I guess it looks weird on paper but to be honest, it's not weird at all from my perspective. Joe Trohman and Andy Hurley are very into heavy music and they always have been. I'm also influenced by a very wide range of different music as well. Same for Scott and Keith Buckley. When we got together to write the album it really clicked on many levels. If it didn't click then we definitely wouldn't have done it. I'm proud of that record as well because it was very challenging to write/record/produce an album with a line up like that and make it stand on it's own. The record needed to be unique and it needed to be far removed from what Anthrax, Fall Out Boy and Everytime I Die is musically and sonically. I think we succeeded in doing so and for that... I'm proud. 

https://twitter.com/robcaggiano

VOODOO AMPLIFICATION - TRACE DAVIS

A few years back I had the opportunity to interview the incredibly talented Trace Davis on behalf of Voodoo Amplification. Here's his story, hope you enjoy!

How long have you been involved in the amplifier business?

I was surrounded by it as my father worked at Westinghouse in Bath, New York USA over seeing the manufacturing of vacuum tubes. They made their own tubes as well as tubes for RCA, GE, etc. I grew up listening to music and really got into it when I was 12 years old. I started playing guitar until I was 15 and completely immersed myself in it. I began playing professionally at 17 years old and that led into touring. From there I began doing sessions both as a player and as a recording engineer. I traveled a great and eventually wanted to take some time off from being on the road. When I moved to Ithaca, New York in 1998 I founded Voodoo Amps. In the early years we were solely a Tube Amp Modification Company. Through numerous requests we began offering service and repair on tube amps and circa 2005 we began manufacturing our own products. 

What was your basic idea when you formed your own company?

Unlike most I did not wake up one day and decide "Hey, I'm going to start my own amp company!" (lol) When I was working as a session guitarist and recording engineer I would bring in amps that I Modified or built from scratch to use on sessions. I befriended the producers/engineers I worked with and they would ask if they could borrow one or more of the amps as they wanted to use it on an up coming record they were recording. As an amp company the hardest thing to do is to get your amps on recordings, at least back then as it was not like it is these days (IE: its very affordable to purchase a DAW and record a record in your house). Back then 2" analog tape was still the number medium for recording as the sampling rate on Pro Tools was still pretty low (did not sound as real) so looking back on it, it was easier for us to get our amps into recording studios as I was already working in that world so that gave us an advantage. Things got so busy that I was working 80 hours a week so I had to make a choice and I decided to go into the Amp Modification business full time.

I know a lot of our readers are asking themselves "why does a high quality tube amp like a Twin Reverb, a SLO-100, a 5150 a Dual Rectifier or a handwired 1959 Plexi need to be modified"? So what's the reason behind that seasoned professionals would rather use modded than stock gear?

That's an excellent question and one that has many answers all depending on one's point of view. Let me preface this by saying that tone is subjective thus making it a matter of taste and as with all matters of taste there can be no right or wrong, just tone. Lots of people talk about how an amp "sounds" sonically (IE: the tone) but not that many talk about how an amp "feels" to play on. For example; If an amp feels stiff/hard to play when you bend and vibrato, players will place a pedal in front to smooth it up/make it feel easier to play on. To us an amp has to sound and feel good to play on.

Modding - Since the inception of tube guitar amps players have always pushed the envelope. Point of face when engineers first designed tube guitar amps they never dreamed someone would turn an amp up to the point of distortion - that was unheard of. IE: If your guitar amp distorted in the recording studio you had to turn it down as it was considered "un-recordable". But players cranked the amps up and thus overdrive was born. Fuzz pedals came about as a way to add more gain to an amp's tone. For as long as there have been tube amps people have been Modding them.

Transformers/Components - These days amps are made with poor quality transformers (typically Chinese made) and high quality transformers. It's no secret that mass produced amps are all about the bottom line (IE: profit) so naturally they gravitate to using lower cost transformers and often times lower quality components, PCB's (printed circuit boards, etc). We offer Custom Designed Mercury Magnetics transformers that are designed to our specs to get the highest level of tone and quality possible.

High Gain Amps - Many high gain amps suffer from little to no note articulation.

Reissue Amps - Very rarely is there a reissue that truly lives up to the original design. As we have literally worked on, serviced and maintained thousands of vintage amplifiers we know what makes the original amps sound and feel the way they do. IE: certain transformers, voltages, component types/values, etc. We work on a great deal of Fender, Marshall and Vox reissues each month. The common theme is that every one wants the reissues to sound and feel like the originals. In some cases a reissue is an affordable platform for Custom Mods.  

What kind of modifying works are usually made at Voodoo amps?

It runs the gamet all depending on the player. On one end we have some simple Mods that are minimal in nature all the way to a complete rebuild of an amp (IE: strip everything off from the chassis and install Custom Transformers and a Custom Circuit). Naturally we also offer comnent Upgrades (coupling/bypass caps, filter caps, transfrormers, etc). 

What was the strangest mod request you have ever recieved?

On a humorous note; A woman called and asked us asked us to put a "hex" on her fiancée’s mistress. We initially thought it was a prank phone call though once we realized she was serious we politely explained that it was not a service that offered as we worked on guitar amps. Within 10 minutes she called back again - True story.

On a serious note; A gentleman who played a Gamba brought in a Fender Hotrod Deluxe and needed us to voice the amp to work with an Electric Gamba (similar in nature to a Viola Gamba). We designed Custom Transformers that were made to our specs by Mercury Magnetics and also redesigned the amps internal circuitry. It a fun project and the results were great!  

Beside modifying existing stuff, you've developed a long line of original Voodoo amplifiers as well. Could you please introduce them with a few words, especially the Hex DL, Witchdoctor DL, and V-Rock DL Series, as well as the V-Plex SL and V-Reck SL Series?

Dual Lead Series: All of our DL Series have a Clean Channel, a gain channel and a Solo Boost feature on the Gain channel. The Clean channels are identical on all models where as the Gain channels are different from model to model.

V-Rock - For many years we were asked to replicate the guitar tones from the 80's where players used hot-rodded/Modified Marshalls. Our V-Rock is a exactly that. With more low end on tap, effortless feel and incredible harmonics makes the V-Rock the perfect hot rodded 80's tones better than any thing else on the market. Dripping with effortless harmonics/sustain with an incredibly easy-to-play feel makes the V-Rock a must have amp. We also offer this in a single channel model (Single Lead Series).

Hex - A high gain British flavored amp picks up where a JCM800 leaves off. You have all the punch and roar of a 2203 but with more gain tap making it perfect for hard rock, modern punk/emo to metal tones. Its articulate and clear under higher gain tones and can be used for a variety of various musical genres. The Hex falls nicely between our V-Rock and Witchdoctor making it a great middle-of-the-road high gain amp.

Witchdoctor - This is our highest gain model and is designed this amp to meet demanding needs of today’s Modern Metal tones. The amp works extremely well in standard tunings as well as drop tunings (IE: baritone and 7 string guitars). The Witchdoctor has guttural low end that is always tight, intense harmonic complexity and responds instantly to pick attack. There is no other amp on the market that works as well with baritone or 7 string guitar.

Single Lead Series: These are our more vintage style amp designs.

V-Plex: We worked on a late 68 plexi that sounded stunning. We documented this amp and cloned the transformers so that we could offer the best out-of-the-box plexi to the rest of the world.

V-Rock: As the 80's are considered "Classic" or vintage by many we also offer the V-Rock in our Single Lead Series.

Who are the most important Voodoo players/endorsees?

The truthful and sincere answer is that all our endorsees are equally important to us, truly. Some of our lesser known or up-and-coming players have been key to helping us get to where we are now.

We have been blessed to be able to work with several well known and legendary players. To name a few; Jason Hook of Five Finger Death Punch, Vivian Campbell & Phil Collen of Def Leppard, Richard Fortus of Guns N Roses/Thin Lizzy, Brad Whitford of Aerosmith, Richard Kruspe of Rammstein, Doug Aldrich of Whitesnake, Chris Henry of Mondo Generator, 

Are Voodoo amps made by hand exclusively?

Yes, we proudly make every amp at our facility in Lansing New York USA. 

How many craftsmen do you employ right now?

At present we have five (5) full time employees. 

Where is the headquarters of Voodoo custom shop located, and how many Voodoo stores are running in North America?

Our headquarters are in Lansing, New York USA. Modifications are highly specialized and therefore we have one (1) location in the USA. 

Are Voodoo amps distributed in Europe as well?

We are presently looking for a European distributor.

Voodoo's kind of boutique amps are quite expensive as I see the retail price range. Do you have any plan to develop more affordable series in the future?

The section listed as "Dealer" price is what a customer here in the USA would pay if they walked into a music store to purchase the amp. The reason the amps are more costly in Europe is due to the shipping costs and import feed/duties/taxes. Having said that; We are working towards setting up manufacturing in the UK to effectively bring the cost of our products down in Europe so that we can be more competitive.

Which type of sound do you personally prefer, British or American?

First and fore most, I am a fan of tone and as such I love all kinds of tones. This is why we offer different types of production models as well as various different circuitry Modifications. For clean tones I and most others prefer the older Fender Black Face style clean tones. For gain tones I personally lean towards British flavored tones but American tones certainly have their place depending on the type(s) of music one is playing. Our Hex and V-Rock are British flavored where as our Witchdoctor is a more unique design, which I suppose some would call America flavored.  

Do you have favorite preamp and power tubes?

The quality of modern production tubes changes so often that it makes it difficult to narrow it down to one tube.

Power Tubes - As a generalization I prefer the tone of EL34's though there are very few modern production EL34's that I really love the tone of. My favorite were the NOS Mullards and Telefunkens (very rare). Presently with modern production tubes we are using the Reissue Tung Sol EL34B's. Keep in mind that we "burn-in" the tubes for 72 hours and then test/select and match the tubes. I say this as the tube manufacturers are no longer burning in the tubes, which has been part of the manufacturing process for decades. It is the last step in the manufacturing process but a couple years ago when the cost of metals went up they all decided to stop burning in tubes as it was a labor based step. Sadly they did not charge less for the tubes but instead charge the same amount for a lesser quality product. We built burn in racks like they had back in the 60's and we burn the tubes in for 72 hours, which is the minimum amount of time required. Burning in tubes not only increases reliability but also makes the tubes sound better (more three dimensional) and also makes them feel better to play on. If you purchase tubes that are not burned in but are "matched" you can rest assured that after a few weeks of routine playing tour power tubes will spread apart and the tone will suffer. The same will happen with your preamp tubes.

Preamp Tubes - As such we often use more than one preamp tube to get the sound and feel we are looking for. I like the sound of the Chinese 12AX7A's but they need to be properly burned in. Once burned in they are very balanced from lows, mids to highs and have great harmonic content. We always use and recommend a matched tube for the Phase Inverter position and for tube driven Effects Loops. 

These days modeling amplifiers are quite popular. What do you think about them?

There was a big boom period in the USA for digital modern amps but that has since passed. While a lot of players use them at home or as a quiet way to work on demos late at night but when playing live they do not feel or perform the same a tube amp.

www.voodooamps.com