NAMM: Peavey Michael Anthony VB-MA Amp

peavey vbma

Would Van Halen I be as iconic if it didn’t kick off with Michael Anthony’s couldn’t-be-more-simple-or-more-cool intro to ‘Runnin’ With The Devil’? …Look, I’m gonna say no. Mike was a huge part of Van Halen’s classic sound, and it’s great to hear him loud and proud in Chickenfoot. Mike now has a signature Peavey bass amp, a nice match for his Yamaha BB3000MA bass, I might add, and it’s an all-tube, 300-watt beast that somehow still manages to weigh in at a manageable 38 pounds.

Here’s the press release.

January 24, 2013, Meridian, MS – Peavey Electronics, known for its commitment to tonal quality and innovation, today announces the new Michael Anthony VB-MA™ signature tube-powered bass amplifier. This 300-Watt all-tube head packs a low-end punch, while weighing in at an extremely portable 38 lbs.

As a member of legendary bands, Michael Anthony has toured the globe, performing before millions of people. Currently with the supergroup Chickenfoot, Anthony has relied on the Peavey VB-3 exclusively and is now proud to share a uniquely voiced model that suits his exacting demands perfectly. Read More …

Last Chance to Enter the AmpKit “Setup Smackdown” Contest

Quick! Post your AmpKit Setups for a chance to win gear from Ashdown, Sonic Edge and Peavey! This is your last week to enter the AmpKit “Setup Smackdown” contest, so get ‘em in now! AmpKit users can submit their setups until August 23, 2012 in three categories and have a chance to win real, physical guitar and bass gear.
The categories include:
Best Clean / Acoustic Setup (prize: Sonic Edge Tumbleweed compressor and clean boost pedal)
Best High Gain Setup (prize: Peavey AT-200 autotuning guitar)
Best Bass Setup (prize: Ashdown MiBass 220 compact bass amp head).
Find out more about the Setup Smackdown contest at

INTERVIEW: Arch Enemy’s Michael Amott

Arch Enemy are about to embark on the last round of touring for last year’s excellent Khaos Legions.  More melodic and with maybe a touch less death than you might expect from a melodic death metal band, Khaos Legions is also the last Arch Enemy album to feature guitarist Chris Amott, whose departure from the band was announced earlier this month. But mere line-up changes can’t keep Arch Enemy down: new guitarist Nick Cordle of Arsis has taken up the co-guitarist throne alongside Michael Amott, and the band has a lot to say and do before they put the full stop at the end of Khaos Legions.

You’re about to come to Australia for a very short tour. Only two shows. You know what that means for a lot of fans: heavy metal road trip!

Yeah! We’re happy that we got the opportunity to play Australia at all this year, but it’s just these two shows. We wanted to play it safe. And it’s at the end of an Asia run. We start in Japan and do four shows there, then we go round Singapore, the Philippines, Korea, various places around Asia. Then we got the opportunity with a new promoter to tack on these two Australian shows, Melbourne and Sydney. We’re just really excited about doing it. I guess it’s been a couple of years since we were there now.

The last time I saw you were was probably Gigantour.

Yeah. I think the last time we were there was ’09. We did Gigantour, we’ve done a few different things down there. This will be our fourth or fifth visit to Australia, and this will be the last one in a while. We’re obviously not going to come back this year after these shows, then next year, 2013 is going to be a year off for Arch Enemy mostly. We’ll probably put out a new album in 2014. So I don’t know, maybe 2015 we’ll be back, if metal is still around at that point! So it’s going to be a while, so if anybody wants to see us and get their dose of Arch Enemy this is the last one for a while.

Obviously the hot topic at the moment is Chris’s departure from the band. What’s the story?

Well, Chris informed us in October last year that he wanted to leave the band. Again. [Laughs]. He’s been out of the band, in 2005, 2006, 2007.

Read More …

INTERVIEW: Trivium’s Matt Heafy & Corey Beaulieu

We all know Trivium can play. They’ve been able to shred with the best of them ever since their first album, 2003’s Ember To Inferno, while and 2008’s Shogun veered close to progressive metal more than once, with its complex single note lines and ferocious 7-string riffage. But new album In Waves (Roadrunner) finds these Floridians exploring more restrained territory – to a point. The riffs are more direct, the tones are huge, and the songwriting is tight and purposeful. Guitarists Corey Beaulieu and Matt Heafy refined their approach without losing their edge or power, a rare feat in a world were ‘stripped back songwriting’ is usually taken to mean ‘wimpy.’ There’s still plenty of precision in the latest evolution of the Trivium sound, and there’s more than enough aggression to satisfy fans of the band’s early hardcore days, but In Waves stands out as the best sounding and most repeat-listenable Trivium album to date. I spoke with Heafy and Beaulieu about what went into the project, and what ultimately came out.

You started working on this album quite a while ago. Is that how you always work?

COREY BEAULIEU Mostly on every record, while we’re touring for the previous record, we stockpile ideas. Once we get off tour we have a lot of stuff we can start digging into and putting together. We use the tour to write and put together ideas so that when we start on the next record we’re a bit ahead. We’ve already got stuff we’ve been working on over time and that has been allowed to develop. Some of the songs go back pretty far back in the Shogun touring cycle.

What was your guitar approach on this album?

BEAULIEU It was about focusing on the songs, and writing songs that are straight to the point. It wasn’t all about technical stuff or trying to riff out a lot or show off. It was just making sure everything in the song was what needed to be there and nothing more. Taking a songwriter’s approach and not trying to be a flashy guitar player. It’s all about making the song and the riff the best it can be. It’s a lot simpler technically. We took that approach for the playing stuff, and the solos were whatever was needed for the song, whether it was a crazy solo or something more melodic. The songs dictated the lead stuff.

MATT HEAFY We were thinking about telling [producer] Colin Richardson, “We want a combination of this, this and that…” but I’m pretty sure we held all of our comments until we saw him in person. The guitar process was long. Normally, every record we’ve ever done, you get a BS scratch guitar tone and send it off to be mixed later, but Colin’s whole thing is he doesn’t want to record a second of music until he has a tone that will be the final tone of the record. I think we spent about five days on the guitar tone.

Read More …

NAMM 2010: Peavey PXD Vicious Devin Townsend signature 7-string

I certainly make no secret about my Devin Townsend geekiness, and as you may remember I’ve been excited about the forthcoming Peavey Devin Townsend signature model for some time. The extreme awesomeness of Devin’s current album Addicted has only increased my gearlust, and I finally got my hands on the new model at NAMM. Here’s a photo I took at NAMM – note that the version on display has a different bridge and a neck pickup that aren’t present on Devin’s original one as seen on the display behind the guitar.

Let’s zoom in to the guitar itself, shall we? Note the cool DTP (Devin Townsend Project) logo at the 12th fret.

And here’s the press release:

‘V’ is for Vicious: Peavey Launches Latest PXD™ Guitar Design with Devin Townsend Signature Model
January 18, 2010

Peavey proudly introduces the new PXD™ Vicious™ Series and the PXD Vicious Devin Townsend Signature Model, a 7-string baritone metal guitar designed to his demanding specifications.

“When Peavey and I decided to collaborate on this project, I knew that I wanted an instrument that could crush everything while maintaining a high level of quality and elegance,” said Townsend, the renowned producer and mastermind of The Devin Townsend Project and Strapping Young Lad. “This quest has redefined how I view the guitar. To have a company that knows how to get things done behind me with a metal axe like this is a real sense of power.”

The PXD Vicious Devin Townsend Signature Model has a 28″ baritone scale, seven strings and a maple neck-through-body design that gives the instrument incredible sustain. A pair of EMG pickups—including a custom EMG 81 7-string humbucker in the bridge position and an EMG 7-string single coil at the neck—give Devin’s Vicious guitar menacing rhythm and lead tones, as well as striking clean tones in the neck position. This gun-metal gray guitar is appointed with locking Sperzel® tuners and an ebony fretboard with jumbo frets.

The Peavey PXD Vicious™ is available in two additional models with a range of feature options, including an adjustable bridge with a string-through design and Coffin Case® hard cases or gig bags. PXD guitars feature high-output Peavey VFL™ active pickups or EMG® 60 and 81 pickups with the EMG Afterburner™ tone circuit, which boosts input gain up to 20 dB for the highest levels of saturation anywhere. See below for full feature options in the Peavey PXD Vicious guitar line.

The Peavey PXD Series is a new breed of extreme electric guitars that captures the aggression and attitude of modern metal players. With supercharged active pickups coupled to menacing slabs of tone-sustaining mahogany, the Peavey PXD Series is the sound of aggression and the perfect complement to the legendary Peavey 6505® Series guitar amplifiers. True to the music that inspired them, PXD Series guitars are built for speed, slicing leads and razor-sharp riffs.

Devin Townsend’s illustrious body of work includes The Devin Townsend Project, Strapping Young Lad, Steve Vai and numerous other projects, as well as production credits for Lamb of God, Bleeding Through, Darkest Hour, A Life Once Lost, and Soilwork. His latest release is “The Devin Townsend Project’s Addicted,” the second in a four-part album series.

Peavey PXD Vicious Series guitars will be available in Q1 2010 from authorized Peavey retailers.

PXD Vicious Devin Townsend Signature Model

Designed with Devin Townsend
7-string baritone instrument with 28″ scale
Maple neck-through-body design for incredible sustain
Alder body wings
Locking Sperzel® tuners
Adjustable bridge with string-through design
EMG® 7-string active neck pickup
EMG® 81 7-string active humbucking bridge pickup
Volume control
Three-way pickup toggle switch
Ebony fretboard with 24 jumbo frets
Glow-in-the-dark side fret markers for dark stages
Gun metal gray finish with black accents
U.S. MSRP $1199.99

PXD Vicious II

6-string guitar with 24.75″ scale and 24 frets
Set mahogany neck and body
EMG® 60 and 81 pickups
Two Volume and one Afterburner controls with 3-way toggle switch
Adjustable bridge with string-through design
Rosewood fretboard
Available in Matte Black, Gloss black, Gloss red, or Gloss white
Matte black model features brushed aluminum finish pickguard
Specially designed Coffin Case® case included
U.S. MSRP $799.99

PXD Vicious I

6-string guitar with 24.75″ scale and 24 frets
Set mahogany neck and body
Two Peavey VFL™ active pickups
Two Volume and one tone controls with 3-way toggle switch
Adjustable bridge with string-through design
Rosewood fretboard
Available in Matte Black, Gloss black, Gloss red, or Gloss white
Matte Black model features brushed aluminum finish pickguard
Specially designed Coffin Case® gig bag included
U.S. MSRP $499.99

LINK: Peavey

NEWS: Peavey website reflects Satch’s Marshall move

Take a look at this Chickenfoot news story at – they’ve chopped out any reference to Joe Satriani in this Chickenfoot story, hot on the heels of Satch switching to Marshall while on tour with Chickenfoot in Europe. Even Satch’s picture is missing.
The article says: Chickenfoot, the supergroup formed by bass legend Michael Anthony with Sammy Hagar and Red Hot Chili Pepper Chad Smith, relies on a Peavey backline for its self-titled debut album, released on June 5.


UPDATE! Peavey has since reinstated the reference to Joe being in Chickenfoot, and un-cropped the photo. 
By the way, Anthony’s tone on this album is great and the Peavey article really makes me want to check out the Peavey VB-3.

REVIEW: Peavey Windsor Studio

Small amps have been something of an un-secret secret weapon for years. I’m sure we’ve all heard the stories about Jimmy Page using small combos in the early days of Led Zeppelin. There’s just something about a small amp pushed hard that sounds great on recordings, and it’s with this in mind that Peavey designed the Windsor Studio.

This little Class A, 15-watt screamer arrives from the factory with two 12AX7 preamp tubes and one EL34 power-amp tube, but can also accommodate 6L6GC, 6550, 6CA7, KT88 and KT66 octal power tubes, as well as variations on those types. Controls include preamp volume, master volume, three-band EQ, footswitchable effects loop (with the in and out jacks located on the front panel – very studio-friendly) and a single 12” Peavey Blue Marvel loudspeaker. The footswitchable boost effectively acts as a second channel by increasing the level of the preamp, either overdriving the power amp for more distortion or for a simple volume boost for solos.

If that’s not enough control for ya, or the volume is too loud for recording with a baby in the next room or something, the Windsor Studio includes Peavey’s new Power Sponge output attenuator, which lowers the power output of the amplifier while preserving tone. Further boosting this amp’s stock as a recording guitarist’s Swiss army knife, there’s a transformer-balanced XLR direct output with microphone simulation, so you can plug directly into a mixing desk live or in the studio.

Although the ability to switch out different power tubes is a great feature, I was glad to see that this amp arrived EL34-loaded, as it’s my personal favourite. I just love that warm, compressed vibe from a cranked EL34. You can also get a rather decent amount of drive out of the preamp. It’s no grindcore amp, but there’s enough gain for most varieties of rock and a few metal styles. Combining your ideal preamp gain level with the punch and whomp of the overdriven power section (with the volume tamed to taste by the Power Sponge), you can attain a very responsive, warm lead tone with great sustain. The open back cabinet adds a nice midrange throw, and while the bass is a little lacking, this isn’t really an issue either in the studio or on stage because you’re likely to trim the low frequencies to allow room for the kickdrum and the bass guitar anyway. So you could say Peavey has already voiced this amp to sit nicely in the mix. This is worth considering and you may see it as a negative if you’ll mainly be playing unaccompanied by yourself at home though. There’s also a nice roundness to the clean tones, which is great for jazz. The amp inhabits that rare, mystery zone where the individual notes of chords maintain their definition, but the sound is still warm and full, instead of sharp and zingy. Personally I like the zing but that’s not for everyone.

The Windsor Studio is obviously designed as a studio tool (and it’s a good choice for those who want monster tube-driven tone at low levels around the house), but it has enough volume for certain live applications, and as long as you trust the PA system you could quite happily use the XLR out to feed the signal directly to the house in larger venues. It’s not the be-all and end-all of amps, and it’s not in the same league as Peavey’s higher-price items, but it its own place it’s a good alternative in the ‘small amp, easy to record’ sector. If you’re in the small amp market you might still want to check out the Orange Tiny Terror, Bogner Alchemist, Vox AC15 and Hughes & Kettner Statesman just to name a few.

CLICK HERE to buy the Peavey Windsor Studio 20W 1×12 Tube Combo Amp from Guitar Center for $399.99.

MUSIKMESSE 2009: Satch talks Vox pedals, Chickenfoot (video)

Music Radar had a little chat with Joe Satriani at Musikmesse about his Vox signature pedal line, in which Joe talked about the design philosophy of the series and dropped some tiny hints of what may be next.

Satch also talks about using his Vox Big Bad Wah and Peavey JSX50 on the forthcoming Chickenfoot album.