The 1950’s saw the rise of Elvis Presley, Chuck Berry, Screamin’ Jay Hawkins, Etta James... the list goes on. If you’re looking to get that magic tone from that inimitable golden era, without tracking down Scotty Moore’s amplifier or having to take out a second mortgage on your home, look no further than “The Two!” Can transport you from Country Blues/Rockabilly to “Johnny B. Good” growl, all the way to late 1950’s Dancehall warmth, with the flip of a (rotary) switch. An equally powerful tool for Jazz players, “The Two” is a one-stop shop for those looking for the classic breakup characteristics indicative of the era. Designed and hand wired by Guitarist/Engineer, Reeve Carney right here in the USA.
1956 - Designed to recreate the sonic footprint of the likes of Scotty Moore on the earliest Elvis Presley recordings. It can obviously be used to access a wide range of sonic colors, as well as be employed in a myriad of styles, but for me this circuit calls to mind the earliest days of Rock N’ Roll and Rockabilly, also suitable for tackling Country and Western in equal measure.
1958 - In simplest terms, on this setting think Chuck Berry meets Jimmy Vaughan. Designed to recreate the sound and responsiveness of the early Fender Tweed Amplifiers, this circuit is capable of supporting the player on whatever journey they choose to embark upon. Although I find it to be particularly sweet when exploring styles which traditionally employed those early Fender amplifiers prior to the dawn of the higher headroom and mid-scooped Blackface Amplifiers.
1959 - One of the “cleanest” settings in the series, this circuit is designed to resurrect the rounded tones of the Rock N’ Roll as it had begun to somewhat lose it’s “edge” prior to the British Invasion. Think the likes of Frankie Avalon and other late 50’s Dance Hall Matinee Idols, as well as more winsome acts like Santo and Johnny.