I read an interview in Tone Quest with Gary and after hearing him talk about the Gibson Falcon, Ampeg reverb, and Magnatone vibrato I knew he was speaking my language.  I've been a player since the Ed Sullivan show and have been through all the grails over the past 40 years.

Running Rear Window Recording Service in Massachusetts has also been an education, as we keep an arsenal of vintage and Boutique amps of all kinds, and we get to hear masters like Derek Trucks and Duke Levine play our gear and bring in their own jaw-droppers.  So i was intrigued talking to the great man himself and reading the testimonials and made the leap to a 1210 sight unseen.  

We have never looked back. The 1210 makes every guitar i have tried sound more like itself--50s Strat, Tele, Les Paul (p90s and Humbucker), '59 ES335, Gretsch 6120, and my #1, a '65 Jazzmaster.  This is the only way i can express it--you hear the tone you are familiar with, but with more detail, like a closeup on a wood grain surface, kind of in the same way a subtle boost setting on the Klon Centaur will do.  The tone generally cannot be pigeonholed to a Fender,Marshall, or Vox-like sound, it's yet another one, but with some characteristics of the others.  Push the gain stages with a Les Paul and it gets Bluesbreakerish, but AB'd with a real period plexi, dare I say it, it blows the Marshall away. Likewise ABing with a Gibson Falcon, a couple of different Magnatones.

I have had well known surf tendencies (check out our Instro band at www.fourpiecesuit.com) and the Juke dont play that, but this reverb-behind-the-note deal is VERY cool, and the punters seem to notice what you're doing more than usual.  Want surf?, get a tank.  Players at our studio tend to get hung up on our Magnatones for their vibrato (listen to Susan Tedeschi's "Alone" record for lots of that) but I think the Juke may actually be an improvement on it, add to that the ability to get Fenderly Amplitude as well as Frequency and you can really get into what Pops Staples used to call "that nervous sound".

When Dean Cassell, a great bassist who has suffered alongside me in roadhouses all over the globe in Barrence Whitfield and the Savages, Four Piece Suit, the Robin Lane Band, and now Super Genius, says "what the hell amp is that? , you sound more like you than I've ever heard", it kinda gets your attention. It's been months and months and I have left the Vox, tweeds, browns, ampegs, all at home, and the Juke is always the one on the gig.  In the studio I took Gary's advice and positioned a 57 about 8 inches out from the center point of the three speakers.  The tracks speak in the mix, in very much the way we hear it live, so it must be the frequency spectrum that this circuit gives you, but damned if i understand it.

Milt Reder
Brookline MA
http://www.rearwindowstudio.com

Everyone knows, if you have been playing for several years, that real tone comes from your hands, technique is defined by your limitations and the soul of music abides outside of oneself. If one is lucky enough to get out of the way , something magical might happen on any given night. The Juke 1210 will not create musical miracles. It will give you the oppurtunity to allow others to hear what YOU sound like. That can either be frightening or exhilerating. The bottom line is.... if you have defined your sound.... this amp will get it out there. If you are still searching for your sound, spend time with the 1210 and it will deliver the goods. I am still searching........but now I am enjoying the journey.......Everytime I play out with the Juke......I come home with a big smile on my face. This amp just gets better and better.......the warmth and presence of the sound is really stunning!!

James Robinson

www.trailerparkhomepage.com

Musical. That pretty much sums up the Juke 1210. It's like each aspect of the amp was designed to have as much in common with high-fidelity audio components as with the guitar amps that influenced its design. From its whisper-quiet operation (is it on?) to the numerous, yet totally usable tone controls, it's all about the quality of sound that emerges from this unique piece of equipment. Play it quiet or play it loud. It sounds great either way. Hey, if you can't find your sound, you just aren't trying. Oh yeah, and the pitch-shifting vibrato is the real deal. No more pedals that kinda come close. You'll find excuses to want to use it. It's that good.

I admit to being a little afraid of buying an amp solely on reputation without even having played it. But after a couple of conversations with Gary, I knew that he didn't want to sell me an amp I wouldn't be happy with. He has every reason to be proud of his creation, but the conversation wasn't all about him, it was more about what I needed and expected from the amp. He's not only an old-world craftsman, but a guy with old-school values as well. I know that if a problem arises, he'll be there to help make it right.

I have spent some time playing the cocoa 1210 I received last week and I am very impressed. The quality and workmanship are simply top notch - nothing I have used or seen is better in that regard - period. As for the sound - ahh, it is an extremely musical amplifier. Every nuance (and indeed mistake) comes through - the amp beckons, perhaps even demands, that you play better and when you do, you are rewarded with superb sounds. I have been experimenting with the pentode/triode switch as well as the ultralinear feature. There again - the

difference is more nuance than dramatic, but the point is that you can HEAR nuance with this amp.

 

I have played both Acoustic and Electric guitars through this amp with excellent results. I have played a Jumbo Taylor cutaway equipped with their new Expression pickup system, plugged into the "low" input on the amp and was pleasantly surprised by the rich, ful bodied sound - even wwarmer than my Ashdown Radiator 2 dedicated Acoustic amp (athough that amp has a built in Alesis Midiverb which I admit is quite cool) I have also played a Tayor 614 equipped with a Fishman bridge pickup and a Taylor Doyle Dykes with a Baggs pickup/preamp system. Each guitar sounded different through the 1210 - all were pleasing acoustic/electric sounds.

 

As for electrics - I have played a PRS McCarty Soapbar P-90 guitar, Metropolitan Westport Deluxe with hot Rio Grande humbuckers, a Fender Custom shop 54 Strat (vintage single coil) a Gibson Custom Shop Dickey Betts Les Paul with 57 PAFs and a Gibson Custom shop Non reverse Firebird equipped with 3 mini humbuckers. The 1210 allowed each guitar's unique sound qualities to shine through. I A/B'ed many of these guitars through a Fender Woody Jr (15W Blues Jr) and the 1210 had a totally different take on each instrument.Through the 1210, each guitar has a rich clean sound with plenty of warmth.

 

To be honest the controls intimidated me at first - I have played a Mesa Boogie 50 Caliber+ for more than 14 years as well as a Mesa Boogie Nomad 45, a 15W Fender Custom Shop Woody Jr(a swanky Blues Jr) and an 8W Carr Mercury. Having SO MANY CONTROLS! wow. But the controls are not there as gimmicks. Each helps to contour and color the sound in a different way. The Termolo/Vibrato features are a blast. Would I used them on every song? No. But on the occasions when I am looking for something a bit different, it is a nice choice to have available. The numerous parameters also make it easy to add just a touch or a "pinch" of effect that enhances the sound of the guitar without shouting "Hey listen to me - I have vibrato!." The reverb is likewise rich and full of welcome variables with 3 controls instead of the single control so often found on amps.Again - the quality - from the chassis to the tubes to the workmanship on the cane front to the feel of the controls are all top shelf.

 

I have also spent a lot of time with the gain turned all the way up to get a crunch or overdriven sound. I admit that this 46 year old still loves Led Zep and Cream and Allman Brothers in addition to James Taylor and the Beatles. The overdrive is smooth and, like many things about the 1210, subtle. Each note remains distinct andsmooth. It is more subtle than the drive on many of my other amps, but it is a pleasing, articluated tone. I do wish that there was more overdrive possible by simply dialing in more gain, but I found that for a more overdriven sound without resorting to all out fuzz, that a Fulltone Drive 2 pedal works quite well, providing both overdrive and boost functions, in effect giving me a 3 channel amp. That pedal, like the 1210, is of extremely high quality and allows the qualities of the amp to come through much like the amp allows both my playing and the qualities of different guitars to come through. With the 1210, it is important not to color over overshadow the unique tones of the amp itself. I have also used a Voodo Labs Chorus Pedal (based on the classic Boss CE-1) with excellent results. Like the Trem/Vibrato feature it is nice to have available and I find that particularly with acoustic guitars works nicely.

 

Jim Moret

Journalist/Broadcaster and Amatuer (but fanatic and passionate) Musician

Los Angeles, CA

Several months ago I purchased a Juke 1210. I had never heard or seen the amp, except on the internet, so my trust in the financial outlay was almost solely gained through several conversations with Gary Croteau, the amps builder. Too, one other factor contributed to my taking a chance ordering an amp I had never heard; the reviews others had written. For this reason I am writing to try and pass on my enthusiasm for what has become my favorite amp.

 

I have played many amps over the last 25 years, including new and Vintage Fender amps, Yamaha, Bad Cat and Matchless, Roland, Mesa, Pierce, Bogner, Acoustic, THD, Ampeg, Gibson, Polytone... and probably more I can't remember at the moment. What I sought from all those amps--never wholly satisfied by any one amp-- was a particularly "musical" sound that I had difficulty describing in words. Indeed language is probably inadequate to describe what I wanted, but I used to tell people who sell amps that I wanted my guitar to "sing, with full rich notes that resonate in space, that seem to be whole sounds that float apart from the listening space, and yet are also very much a part of it... a three dimensional sound, rich and 'nutty', airy in space yet earthy." I have frustrated many sales people to be sure, especially when they couldn't meet my expectations.

 

While I certainly got parts of what I wanted from different amps and different combinations of effects, including stereo with one amp, stereo with different amps, compression, EQ and so forth, I never found exactly the sound I wanted, even though I was close in some cases. But I either had too many effects, or something else was wrong (For example, I liked the Bad Cat a low volume through a single coil, but could never get the right sound with the volume loud enough to play with a drummer). I wanted to plug my guitar right into an amp and have the sound I wanted right there, without the hassle of effects.

 

Right out of the box it is clear that the amp is well made, with attention to detail that is becoming rare in our consumer society. The amp looks different than any other amp, yet it doesn't make a statement of itself either. (Except, of course, for the snake skin pattern cover!)

 

As soon as I started playing the 1210, I knew it was different than other amps: the was a "fullness" to the tone that was striking. And the sound felt three dimensional, like the notes actually originated a couple of feet in front of the amp. I remember just sitting there smiling when I started to play the amp. The design of the amp is so different from anything else I have seen that it makes sense that the personality is also unique. A friend of mine who builds and repairs amps wanted to hear it and was very impressed with the sound and the quality of the amp (he even looked at the wiring harness and noted electronic things I would never have noticed which also impressed him; to my eye, as a former furniture maker, the amp looks constructed by a true craftsperson who still cares about the quality of his work, even the parts that no one will see. I used to spend hours working on joints that would never be seen in a piece of furniture, so I really appreciated that level of care).

 

Now that I have played the amp for a few months, my initial impressions are proven true. I consider the amp to be a part of the electric guitar, not something to amplify the guitar's sound, and the 1210 is the most musical amp I have played through. The reverb is subtile, and when Gary says that the notes sit on top of the reverb, rather than being buried in the reverb like most guitar reverbs, he is correct. And although I don't use the tremelo much, it is quite a nice effect. I have finally found an amp that satisfies my ear with the guitar direct.

 

I really don't have anything negative to say about the amp, and I have thought about it for some time because I want to be very honest about my impressions. The amp is not to heavy, especially for one that has three speakers. The controls are clear and very user friendly, and stay put when you set them. There is plenty of power cable length. I don't use the foot switch, but it seems well made and easy to use, and also has plenty of cable length. The case doesn't show wear badly, and the thatched face is very durable and protective. If tubes need to be replaced, they are common tubes and very easy to get to without any screws removed

 

In closing, I would whole heartedly recommend this amp to anyone who is looking for a unique amp that will become a part of their sound, an amp that will actually define their sound. I can't say about how the amp works for a dirtyor distorted sound, because I have never used the amp for those sounds, but there are a range of subtilities to the clean sound that are impressive, and if you spend a little time with this amp, I think most people who are looking for a full, very musical tone, will find surprising results with the Juke 1210. And the great thing is that if Gary sends you an amp, you have 48 hours to return it for a full refund if you don't like it. I'm sure he can do this because no one ever takes him up on that. After I had had mine for a day I knew there was no parting with it. In fact, I may buy another one, just in case something happens to this one that is beyond my control, so that I don't have to play though a different amp until I can get another one of his. Although, I have sold all my other amps and effects now, so there is nothing left to play but the 1210, which is okay with me.

Michael Lowe
Denver, CO

 Having played my Juke 112 over the past few weeks, I wanted to let you know that I am very

satisfied with this amplifier! I didn't even need to do much tweaking to the suggested settings

found in the owners manual. The idea of incorporating desirable features from great amps of

the past was quite intriguing. After playing mine, I know that you've succeeded in this undertaking.

Normally I shy away from amps with a lot of knobs, but my Juke is an exception to that rule. The

tone is not compromised; instead it comes out very vibrant, dynamic, and musical. The reverb is just

right; not too strong, not too weak. And the decay is really something to be heard. The two types

of vibrato are enough to make me put my Demeter Tremulator pedal away. The boost and the

pentode/triode switching are nice bonuses to have, too.

Andrew Spencer

Los Angeles, CA

This amp is the most enjoyble amp I've ever played thru because I can get what I want!!!
That's something that's never happened before! I have just sold my blackface Super...it couldn't come close.
If I couldn't get another one from Gary Iwouldn't sell my Juke for 10 times the purchase price.....period!!!

Laurence Beall

Las Vegas, NV

Luckyman (Solo Rockabilly etc.)
Lucky and the Hot Dice (3 piece Rockabilly etc.)

WOW!!!!! This is probably the best sounding amp I've ever played

through. Thanks for offering such a wonderful product

Michael Coleman
Tallahassee, FL

I recently purchased a much ballyhooed Juke 1210 amp. My initial impressions are very favorable. As described it does have the Maggie vibrato sound,the bias-modulated tremelo and sidebanded 3 knob reverb. All these effects do sound glorious. It is beautifully put together and the soldering job is a thing to behold ! The only thing taking some getting used to for me is that it doesn't have the huge amount of headroom I'm used to in my heavily modded Super. I did take the Super out on a gig after I started using the Juke almost exclusively, and it sounded flat to my ears by comparison. The sounds on the Juke are kinda like hearing a stereo when you've become used to mono! All of the power options of the Juke (Pentode/Triode/Ultralinear) present noticeable sound differences and the ampsounds killer at all volumes. The speakers(1-12 and 2-10's) are all Weber alnico's made with different paper for great variety. It's like using a couple of different amps in terms of the sounds you're getting. Additionally, since I've been known to pretty much be a (body and) Fender man, it has 'caused quite a stir amongst guitarists that see me playing it and they are allvery curious as to what it is. Furthermore, Gary (the manufacturer), in addition to being very knowledgeable about the varistor circuits & much more and a nice guy to boot, has really come up with a different concept for a vintage style amprather than just rehashing the design's that everyone else is doing!

Chris Stovall Brown

Boston, MA

boogie02130

Last fall Vintage Guitar Magazine staff told me about an amp that they were reviewing. They were impressed with it and asked me to give it a try. The amp was the Juke 1210. I also tried two other amps they were reviewing but

the 1210 was by far more interesting. The tonality as well as the vibrato and reverb caught my ear. I went back for a second try and decided that I had to have one. Both the reverb and vibrato in this amp are not just average; they are special. The vibrato can give me the sound of the best Fender style or the Magnatone style or a combination of the two. Over the next several weeks I had several conversations with Gary and he gave me his time freely. It was evident that Gary had a lot of years of experiece but most of all he had credibility. The amp arrived well packed and was flawless. I played the amp at home and was very happy with it but the surprise came when I used the amp live in a crowded blues bar. That's when the personality of the amp started to happen and the character of the EL34

output tubes gave me a fatter more complex tone than I was used to. This amp has that certain something. I liked the Magnatone (FM) vibrato so much that I sometimes left it on. I've owned more amps than I care to admit and this is one amp that I'm keeping.
I thought you might be interested. I was talking to the two guys at Vintage Guitar who write the reviews; they still say that the best ampthat they have reviewed was your amp. They've had several interesting amps over the last few months and remember the Juke 1210 as the favorite.

Ron Turner
ZU ZU Blues Band

What I enjoy most about the Juke is it's transparencie and clarity

of tone while still maintaining a full, warm sound. I find this especially

useful for playing slide on a baritone guitar, where the range goes from

quite low to fairly high in frequency. The Juke can handle it all! I have

also found it to be a very useful amp for acoustic guitar amplification.

The Juke has such a fine degree of tonal control that enables you to dial

in a good sound for just about any pickup out there. As a musician and

repairman of musical instruments, this is a very useful amp in the shop or

the studio. As a bonus, it has also proven to be an excellant amp for

the electric violins I produce here at my shop. All in all, very

versatile, very well made and worth every penny.
Thanks for enlightening mewith your great work!

Tucker Barrett

T.F. Barrett Company
tbviolins.com

Jonathan Mitchell
Boston, MA

Time travel isn't possible, is it? If it isn't, then how did this amp appear at my door? The Juke is a pristine, all-tube amplifier that appears to have been constructed long ago (when pride and workmanship were much more prevalent than they are today), and one that has somehow survived the years in immaculate condition. Maybe it was squirreled away in someone's closet? Maybe it is the product of a incredible genius who, sadly, ran out of funds and only a few were built? In actuality, this amplifier is not a relic from the past, it was recently manufactured in New Hampshire by a superb craftsman named Gary Croteau.

It possesses all of the qualities sought after in vintage equipment and then some. With its point to point, eyelet-style wiring, all tube design, finger-jointed, solid white pine cabinet (no plywood in this baby!), vintage style speakers and handsome tolex covering, you'd swear you'd just stumbled upon a rare bird from the fifties or sixties. But the amp also exhibits features that no classic amp ever sported; a clever 2-10" and 1-12" speaker configuration (all coned for subtle frequency response characteristics, if I recall Gary's explanation correctly), that add astonishing texture and definition to notes,EL-34's for power, a gain (3-5db boost) footswitch, pentode-triode power selection (which cuts the output roughly in half), and a cool "ultra-linear" switch that imitates a 6L6 power tube configuration.

The amp also utilizes a few time tested and honored effects; a three-spring, side-banded reverb tank; tremolo; and an honest-to-goodness pitch modulated vibrato. The reverb has a three knob control set up that allows you to tweak it just the way you want it, but because it is side-banded, you will never achieve that ultra saturated, surf type of effect (if that's what you want). The nature of this kind of circuit design keeps the guitar signal "in front of" the reverb for an effect that doesn't bury the signal or suck all of the tone out of it. If you ask me, this is the way reverb should be. And the tremolo and vibrato? What can I say except: very smooth and very cool.

There's no distortion channel or overdrive in this amp, but I've found that with it's separate volume and level controls you can reach the kind of natural crunch and sustain that no pedal or distortion circuit can duplicate. What seems to be different about this amp, though, is that it has a full range of useable volume; in other words, it doesn't break up too early or too much. You can turn the volume knob almost all the way up and it still delivers a clean tone, almost. But as I've said; the more you push it, the more you'll get the sweet, natural harmonic and sustain that you've dreamed about and that should make you grin from ear to ear. And if you're at home practicing, switching to triode mode will keep your ears from bleeding.

I could go on and on about this amp but that would only burn time that could be spent playing it. Remember: this amp is no hybrid, neither is it a clone of another amp. It has a distinct personality all it's own. If you're like me, it is difficult to shell out the two big ones for an amp you've never seen or heard because even the in-depth web site Juke has doesn't assuage all of your reservations. Also, if you're like me, you'll notice the boutique amplifier market is extensive and fraught with hype, claims and counter claims. Your mind can quickly become bogged down with information that does little to help in decision making. Call Gary. He was available every time I called and he can really help weed through the crap for you. He knows his stuff and he's been building/maintaining amps for so long that he knows the difference between fact and fiction, between what really matters in an amp and what is pure marketing hype.

By the way; Mr. Croteau states emphatically that he will sell no amp without a cover. The snakeskin cover he ships with the amp is a real attention grabber. Every time I've taken the amp out, guitarists gather around and comment about it. Then, like kids at a magic show, they wring their hands in anticipation until they can view for themselves what is hidden beneath it. One more thing: I don't know what his overhead is but I'm betting the time machine wasn't cheap.

G.R. Croteau's Juke Amplifier has provided me with a 'tonal pallette' of

great variety. The words I use to explain the sound of this amp are 'color'

and 'shape'. In contrast to the nauseating sounds of the current crop of

DSP 'Amp Modeling' units currently in vogue, which are really just

combinations of heavily compressed distortion and artificial effects, the

Juke amplifier gives you the freedom to come up with your own sound.

The Juke 1210 is an amazing amp! When I first tried one out, I knew I

would have to own one. Now I do! I have quite a collection of Blackface

Fenders and none come close to my Juke. The tone is rich and clear with a

nice, tight low end that holds up great even at higher volume. Plenty of

clean power or crank up the "LEVEL" control for a nice broken up, big fat

bluesy tone. Also sounds great with a Tube Screamer in front of it. The

"GAIN" button on the footswitch is perfect for a solo boost. And the

reverb and vibrato are gorgeous sounding. You can't get a bad sound out

of this amp! It sounds great with all of myguitars, equally at home with a

Fender or a Gibson, single coil or humbucker. Not to mention it is very

cool looking. I love this amp!

My Warbler Juke is the best sounding & most versitle amp

I've everowned. Three members of our band use Warbler Juke.

It has plenty of bottom for playing country music and a sweet

midrange & higher notes, yet makes an excellent rhythm

guitar amp, too. This amp will never be resold in my lifetime.

Wow! The Juke 1210 is a great amp. The rich musical tone, touch
sensitivity, superlative reverb, vibrato, tremelo and the expert
workmanship makes it a pleasure to play. The only thing I don't like
about this amp, is that I like it so much I want to buy another one.
What else can I say!

 Having played over fifty gigs since I bought my Juke 1210 last year, I can truly say that this amazing amp that
Gary has created is MAGICAL !! The amp seems to know what I am musically feeling as I play, (sometimes even before ). Strats, Teles, Les Pauls, Lap Steels, Single Coil, Humbuckers, P90s, Tube Factor, Tube Rotoshere,
Cry Baby, ETC, ETC, ETC. My Juke 1210 handles all of the above better than any of the many other amps I have owned. Getting back to the Magic. This amp just knows how to bring out the best tonal qualities of whatever instrument or effect I choose to plug in. The reverb and vibrato are the best I have heard, and the gain switch is
all I need many nights for soloing. The amp simply always sounds great.

I have never received so many compliments for my tone since I bought my Juke 1210 !!!

The Warbler Juke is the most exciting amplifier that I've played through in a long time. That's why I bought it. In fact, I bought two of them.I don't claim to be an expert, but I can say that I have played through and owned some very fine amps &endash; I still own the '65 Fender Super Reverb that I bought 29 years ago &endash; so I have a pretty good frame of reference. And I think that the Muse Warbler is really special &endash; in fact, it's my main amp now, for both performance and recording.I bought my first Warbler from Chris at Retro Music in Keene, New Hampshire. When I spoke with Chris on the phone, he recommended that I try the Warbler. He said that it was the "most musical amp you'll ever play through," and that I ought to drive up and give it a try. I did, and he was right. I was impressed from the minute I first played through the Warbler, and I was using my guitar, which I had brought with me. There was no confusion over where all the sweet wonderful sound came from! I was also lucky enough to meet Gary, the designer and builder of the Warbler, that day. He gave me a guided tour of the Warbler's features and design &endash; it was fascinating! Gary knows his amplifiers. He has played through them and repaired them for quite a while, and he has great ideas about how to design an amplifier &endash; the Warbler clearly reflects this. The tone controls on the Warbler give you an amazing control over your sound. You can dial in your tone with a precision and ease-of-use that I've never seen in other amps. The tone controls are very responsive &endash; you turn them and you can hear the tone change &endash; but always with a slope that's gradual enough so that you feel that you're in control. For all my adjustment, I never found myself with a suddenly different or ugly tone (no ugly tones from my Warbler!). This was very different from my experience with some other amps that offer notch filters and graphic EQ panels, but are in fact fussy and difficult to get right. The Warbler's reverb is tremendous &endash; as lush or subtle as you like it. Before I bought the Warbler, I thought about buying an external three-knob Fender reverb. A pal in my band had one, and I liked the sound of it. There's no need for that now. The Warbler gives any kind of reverb that I need. Beautifully.

Perhaps the most noteworthy single feature of the Warbler is its vibrato circuit, which allows you to dial in both amplitude (the usual) and frequency modulation. What a sound! I can dial in the swampy, sinister-sounding vibrato of my dreams &endash; no other amp can touch this. I love this sound. You ought to try it, even if you don't use a vibrato that often. It's arresting &endash; you might like it a lot more than you think.

One thing that might be an adjustment for some players is the lack of channel switching. Not to worry, there is a very useable foot pedal-activated gain boost. I find that it gives me just enough of the push that I need to step out for any solo work. If you need more crunch, you can always use a pedal. I do, from time to time, and the Warbler responds very, very well to that.

I don't use pedals too often, and I use them less than I used to. I love the sound of the Warbler, just as it is. I can get a warm, articulate sound that's just right for me. If I need to put a little hair on it, I step on the gain boost. When I want to really add some color, I turn on the reverb or the vibrato.

The Warbler allows me to sculpt the sound I want. It's a beautiful amplifier -- the best for my money &endash; and I can't recommend it highly enough.

There are two things that instantly come to mind when I play through my

1210 - balance and dimension! When I strum a chord on my guitar, every string

is uniform and balanced. The notes just all blend harmoniously

together - quite unlike my old Fender Blues Deville which tonally seems so

weak to me now. And beyond that, or perhaps because of it, there is a

dimensional depth to the sound that inspires my playing. I'm very pleased!

I would like to complement you on the wonderful piece of work you've named the Warbler Juke; you've done your momma proud. I've been playing for 30 years and have used more amp's than I can remember, yours is the best I've ever used or even heard. As you well know, I dumped my vintage Black Face Twin and Vibro-Verb thus pulling together some scratch to fund the purchase of the Juke; as nice as they were, I don't miss the Fenders one little bit.

 

The Juke delivers the jazz / rock / funk, even acoustic electric sounds I need and is well packaged for lugging to and from the jobs. I could rave about the technical stuff, but will cut to the chase by letting you know that: as an electrical engineer, working in the audio field and as one of the ten members of a professional listening panel, the Juke is a superior sounding instrument amplifier. I've taken it apart; my complements on your workmanship, it is a thing of beauty.

Keith Lively

Electric Guitar Operator

Principal Engineer

Bose Corporation

My Warbler - Juke 1210 amp seem to contain a combination of sounds reminiscent of the best of classic American and British amps. Adjusting volume levels allows one to obtain a blend of clean and dirty sounds depending upon the particular settings and picking technique. Notes within chords are clean and distinct while single note leads sustain with rich harmonics. Adjusting the controls on the amp results in audible changes when turned in small increments, unlike most amps which require you to go from 0 to 10 to perceive a change. The amp sounds great at low volumes and gets even better when turned up.

Mike Italia

The Seventh Sons Band

howdy howdy !!!!! i love my juke . mainly play it at home.

most everyone who's played it really likes it. it's a good clean amp and i dig the vibrato.

Jefferson Erck
San Antonio, Texas

Gorgeous!

Whether I'm using it with my Gretsch Roc Jet or my Taylor 512, the Juke is a thing of beauty.

I may be the only guitarist / singer / songwriter to have shared the stage with both Doc
Watson and Kurt Cobain, and I can only say "I wish I'd had my Juke"!

Tim Ericksen Cordelia's Dad

The Warbler Juke is the most musical amp I've ever owned.

It's great for both harp and guitar, total tone to the bone.

Chris Wood
Swanzey, NH

The truth is it is simply a great sounding amp. The Juke has a warm, pleasing musical tone; an open
singing clean sound as well as a real vintage overdriven sound at moderate sound levels. I really like
the contour knob, it has a strong effect on the sound of this instrument. With the reverb and
vibrato/tremolo circuits, its pretty much got it all !

Dave Sullivan
Brattleboro, VT

"To Rock the house, or shake up the barn, ( my twin) JUKES are the HOTTEST amps around!"

Tod Born
Gilsum, NH

In 1962 I was in my dad's music store and picked up the sunburst Strat and plugged it into the Tremolux. I could barely complete a bar chord, but I knew from the sound of that setup I'd found my calling. I still have the Strat, but many amplifiers have come and gone - some better than others, none coming close to that first experience, until the Warbler Juke.

With the settings flat, I cranked it up and it felt so good I played solo for a couple of hours in a room full of people quite familiar with my playing - something I'm rarely comfortable doing. Then we started fooling around with the individual system controls and found a whole batch of different tones, including the "warble". This amp really is a pleasure to use, and I like its easy compatibility with pedals and other outboard gear.

Stephen King
Hinsdale, NH

I went into my local music store looking for a high quality accoustic guitar amp, while I was sampling their best, the owner came out with this little purple rig and said "try this". It was twice as much as the other amplifiers,

but I had to try it; and no wonder! What I had been playing through sounded like amplifiers, this Warbler-Juke sounded like music.This amplifier opened doors for me, I doubt I will ever want a different one. It's the most musical amp I've ever heard, and every other owner I've spoken to says the same. Money doesn't mean a thing when you really love something. Gary is obviously an artist who won't settle for producing less than the very best.

"I love this amp- thanks! "

T. "Breeze" VerDant

"Great Amp!!"

Hugh Holmes
Dorchester, MA

a.k.a. Prof. Harp

"I've been using my Juke with a strat with lipstick tubes and it sound more

like a strat than a strat! I also like the way it amplifies an acoustic.

It's completely transparent; just the sound of the guitar, but louder."

Gene Kuch

Rod Welles

Guitar Warehouser
Owner

The Warbler Juke Musical Instrument Amplifier is an impeccably made instrument of unique capability. This all tube amplifier weaves circuitry of classic amps from the "Golden Era" of tube amplification technology resulting
in a most musical sounding unit. Especially configured for superior timbres from Guitar or Harmonica, this piece is equivalent to having a truck full of vintage amps in one manageable package. Elements of vintage Ampeg, Fender, Gibson, Magnatone and Valco are blended for optimum performance. Warm, luscious tones emanate from the unit in any of its varied settings. A whole spectrum of fabulous sounds are a tweak away, from it's clean round sounds to sounds reminiscent of a vintage tube amp without master volume driven hard. Clarity, musicality, versatility makes the Warbler Juke a valuable asset to any discriminating musicians' collection.

Jimmy Gordon
Bellows Falls, VT
Harmonicas, Guitar and Lap Steel

Professional Harmonicist who has played with numerous national stars:

Bonnie Raitt, Jerry Lee Lewis, J.J. Cale and many others.

Gordon Custom Harmonicas

Authorized Filisko Method Custom Harmonica

Builder and Technician.

I unboxed her and fired her up around 8pm and I didn't stop playing

till after midnight. This is one sweet amp and there is a lot to play

with tone wise. I followed your advice for initial settings as a

starting point and went from there. This amp sounds great!

 Since I have 2 Supro's, I can vouch that you have nailed the

Valco tremolo, which always sounded better to me than Fender's.

I have not owned a Magnatone yet, but have heard enough of true

pitch-shift vibrato to know that you've succeeded in getting that

sound too. I can go straight from CCR's Born on the Bayou in

tremolo to the Fabulous Thunderbird's One's Too Many in vibrato

with ease (and no effects boxes!) The Pentode/Triode function is

a godsend. I'll be able to play this amp at the house or the

club and not kill me neighbors in the process! You have a real

winner of a circuit and I am a happy camper. I have the sounds

of several great vintage amps AND reverb too!

Plus, no worries about taking it out of the house to gig.

Glad to be your third Texas customer.
Michael Schneider
Austin, Texas

Played and tested the amp last night and I love it already.

It looks great and is built like a tank. The green tolex and

tan grill look great together. The controls are all laid out

logically and I really like the purple jewel light. It sounds

fantastic with plenty of clean power. The reverb is the best

I've ever heard and the vibrato is too cool. I tried my TS808

Tubescreamer and it sounds incredible. This is by far the

best amp I have (or had) and I have no doubt it will be

reliable for years to come. I look forward to using it with the

band. Thanks for the great amp and I will spread the word.
David M. Castigliego
Bristol, RI

First impressions ... amazing. Very full and musical with a very

usable sweep on all pots, including the volume (how many amps are too

loud on 1 or 2, regardless of the wattage rating). Admittedly I'm an

amp addict and have (or have had) them all ... Kendrick, Naylor, Z,

Bruno, Carlson, Hiwatt, Blues Pearl, and of course Fender, Ampeg and

Marshall, etc ... and your build quality stacks up against the best of

them. I definitely hear the Fender roots of your design, but I also

hear more complexity and touch response. I once heard someone say

that what makes Bruno's special is that they sound like a grown ups

amp, and I thought that was a perfect description. After spending

some time with the Juke, I hear the same basic qualities. Add your

great sounding tremolo and 'verb and what more could you ask for? Of

course I'll send you more thoughts after I get to spend more time with

it (I may have to call in sick tomorrow).
Kevin Shows
Houston, Texas

"Don't let the hip retro-styled tolex and grill cloth fool you...this thing can sing like a crankled blackface,

crunch like a Marshall from the late 60s, and deliver it at a volume level from club to concert hall!

The tremelo/vibrato is terrific, you can't duplicate it with pedals or other amp circuits, and the reverb stays

in the background and makes you sound like you're in a fine old wooden auditorium. You'll stash away

your delay/reverb/chorus/overdrive pedals, don't need them. Notes sustain without buzzing, bottom end

stays tight.The amp works great with single coils, P90s or humbuckers. The workmanship is unsurpassed,

it's rugged. It's a unique all-tube amplifier that really is an original design, and it's 'bug-free' - no rattles, no booming frequencies. I hear the ghosts of Roy Buchanon and Mike Bloomfield with this amplifier."
Gerry Ventura
Nacogdoches, Texas.