Swart offerings have long evoked some of the coolest visual aspects of early amps while still looking fresh and unique.
Still not grokking why this is so cool for both old- and new-school types? Let’s just say the SM20 is all about the glorious, oft-ignored world of contrasts. The kickers: 1) Each amp has its own deliciously hypnotic tube-driven tremolo circuit, and 2) this Swart 2x12 has an internal cabinet divider isolating a pair of diagonally oriented Celestion Creambacks (other options are available as well). Whether you plug straight into its “amp-1” input, or route stereo signals from your space-station pedalboard to both of the SM20’s inputs, the Stereo Master sends your signal to two 20-watt, 6V6-powered amps, each of which can then feed either its own cab or the deceptively normal-looking 2x12 shown here. Originally conceived as a means of packing a single chassis with the harmonic possibilities you get from through two differently voiced amps, the SM20 became something more compelling. But you don’t have to be a fan of the latest algorithm cruncher from Eventide or Strymon to fall in love with Swart’s Stereo Master 20. Stereo rigs typically entice players heavily into sophisticated delay, reverb, and pitch-shifting effects-not exactly the target market for Michael Swart’s line of vintage-inspired designs. Amp miked with a Royer R-121 and a Shure SM57 feeding an Apogee Duet going into GarageBand with no EQ-ing, compression, or effects.Ĭlip 1: Telecaster (with pickup selector in middle position for rhythm segment, then in bridge position for lead segment) feeding Swart’s amp-1 input with toggle in bottom position, “space” and master volume at maximum, amp-1’s controls set with volume at 1 o’clock, tone and tremolo speed at max, and trem depth at 10 o’clock, while amp-2’s controls had volume at max, tone and trem speed at minimum, and trem depth at 3 o’clock.Ĭlip 2: Les Paul neck pickup feeding Swart’s amp-1 input with toggle in top position, “space” at 3 o’clock, master volume at maximum, amp-1’s controls set with volume at 11 o’clock, tone at 9 o’clock, tremolo speed at minimum, and trem depth at 10:30, while amp-2’s controls had volume at 10:30, tone at noon, trem speed at minimum, and trem depth at 3 o’clock. Thanks to globally renowned DJs like Honey Dijon and The Blessed Madonna, house music is still filling dance floors today, and has spawned no end of sub-genres including acid house, witch house, electro house, handbag house and, most recently, tropical house – come on, you know you’re partial to a few Kygo tunes.īut these 20 house music anthems picked by Time Out Music writers and DJs from iconic London radio station Rinse FM are the OG four-to-the-floor bangers from the pioneers of the genre.Recorded using a Squier Vintage Modified Telecaster with Curtis Novak Tele-V bridge and JM-V pickups, and a Gibson Les Paul Traditional with 57 Classics. By the early ’90s, massive pop stars like Madonna, Janet Jackson and Kylie Minogue were all incorporating elements of house music into their sound – a sure sign that it had infiltrated the mainstream. After evolving on the Chicago club scene in the early ‘80s, house music exploded at the end of the decade to become the world’s most exciting and innovative dance genre.
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