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Dr. Z Amps - Octal Six 1x12 Combo

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As is so often the case with a great amp, the Dr. Z Octal Six delivers on a combination of engineering prowess an ear for good tone. This new amp is a collaboration between venerable guitarist Joe Walsh and Dr. Z, delivering a 50s vintage tweed sound with the clarity and articulation that makes the Z amps sing. Combined with the post-phase inverter master volume, this amp sounds fantastic at all sorts of volume levels without compromising on tone.⁠

Description Courtesy of Dr. Z :

The Octal Six is result of the 4th collaboration between Dr. Z and Joe Walsh, birthed from the need to go somewhere different, untread upon and new, then road-mapped through Dr. Z’s 36 years of experience designing and building guitar amps. Joe is no stranger to electronics, being a hobbyist HAM radio operator and having played countless amps through his storied career. He always brings a unique, informed perspective to the drawing board while sending Z down uncharted territory; the Octal 6 is no different in this regard. Yet, under the hood, this amp is uncanny in almost every other regard in the history of Dr. Z Amplifiers.

Starting with a pair of octal preamps, the 6SL7 and 6SN7, the guitar signal is amplified by these large bottle tubes that are more commonly used as power tubes than preamp, marked by a their distinctive 8-pin octal base as opposed to the 9-pin 12ax7 types seen in 95% of all other amplifiers. These are supplied with their own independent DC heater supply, resulting in extremely low noise operation in ratio to gain. The distortion signature and compression character is simultaneously smooth, yet harmonically dense with a churning overdrive texture reminiscent of the 50s Tweed amplifiers, without the mush or lack or articulation common in those more archaic designs. The Octal Six has a recognizably vintage sound with expressive, blooming compression but with a string articulation and dynamic bandwidth only these octal tubes can supply. Play-feel and volume knob clean up, even at the high-overdrive settings rival the lauded Dr. Z Z Wreck, with a delicate balance between gain and fidelity.

After Joe first suggested the 6V6 as power tube, Dr. Z found these octal tubes to be exceptionally lively in the audio spectrum and needed a power tube to match their vigorous output. Striving for efficiency in both the top and bottom of the signal, he settled on the less common 7591 power tube, the last major power tube designed before the end of the vacuum tube era and the transition into solid state transistors. These are noted for their high sensitivity input resulting in unparalleled playing dynamics, with a clean and robust output with no loss in detail, seen by hi-fi and tube aficionados as the “perfected” form of the classic 6L6 tube.

A paper-wound, vintage spec’ed output transformer manufactured by Heyboer Transformers drives the speaker, while our Mk. II style Post-Phase Inverter Master Volume offers smooth volume operation at any level. Two guitars inputs are included to optimize for the amount of clean headroom desired. Joe requested a transparent FX loop for his bevy of guitar pedals, so the ever-reliable Metro “Zero-Loss” FX loop was included in the Octal Six.

Finally, debuting in the combo version of the Octal 6 is a Warehouse Guitar Speaker G12C/S orange basket speaker, a versatile American-voiced speaker with a very punchy, forward response and a smooth, silky top end. This is a speaker that was carefully selected through numerous candidates, and matched the distinguished quality of the Octal Six while also making in its exclusive debut in this design.

• Power Output: 28 Watts
• Output Tubes: 2 – 7591
• Preamp Tubes: 1 – 6SN7 (octal base tube)
• 1 – 6SL7 (octal base tube)
• Rectifier: Solid State
• Controls: Volume, Treble, Middle, Bass, Master
• 1×12 LT Combo: 22 1/2” W, 20 1/8” H, 10” D; 36 lbs.
• Hi/Lo Sensitivity Inputs
• Metro “Zero Loss” FX Loop
• WGS G12 C/S speaker
• Browse More Dr. Z Amps
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We take the time to set up every new guitar, mando, bass, uke, or banjo for every player, whether it was purchased here in Lawrence, Kansas or on our website. Large retailers are content to ship you a guitar right off of the warehouse shelf, while we take pride in the fact that your new instrument will be set up to be truly ready to play - for you.

Contact Us!

Call us at 800-747-9980 or send us an email at [email protected] - we're here to help! All of us at Mass Street Music are musicians, and we're dedicated to helping you find exactly what you're looking for. You can also check out our Staff Page if you'd like to email one of us directly.

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Dr. Z Z-Drive Review

An impressive collaboration that combines versatility with rich, tube-like breakup.

The engaging simplicity of a single-channel amp can be both immensely satisfying and somewhat limiting. For some, a powerful, loud box with decent headroom and a carefully curated pedalboard can serve nearly any musical situation. Dr. Z’s first step into the pedal market, the Z-Drive, is a powerful ally for expanding that plug-and-play simplicity without being paralyzed by choices. The good doctor has made a name on building rock-solid, no-frills amps that walk the line between Vox, Fender , and Marshall. It’s that approach—taking inspiration from a few different sources—that makes the Z-Drive an abnormally useful dirt box. In a fit of brilliance, Dr. Z realized that he needed some help in crafting the Z-Drive, so he reached out to Jamie Stillman and the crew at EarthQuaker Devices. The result is worthy of both brands and combines a few distinct distortion flavors with an easy-to-use setup.

Red Light, Green Light The Z-Drive isn’t a full-on two-in-one pedal. Think of it as adding a pair of channels to your amp. Each channel has independent gain and level controls, along with a cut switch. They share a 3-band EQ. The EQ is a bit of the secret sauce—more on that in a bit. The overall layout of the pedal is tidy and clear. You have one footswitch to engage the pedal and the other moves between the green (germanium) and red (mosfet) modes. Speaking in general terms, the green channel gives you low-to-medium levels of breakup, and the red channel offers a thicker, classic rock-style flavor. Combine those with a clean amp and you’re able to cover some serious tonal basses.

Pros: A ton of volume and gain options. Harmonically-rich overdrive. Useful cut switch.

Cons: Channels aren’t stackable. Probably not enough gain for metalheads. A bit on the spendy side.

Street: $275

Dr. Z Amps Z-Drive drzamps.com

The germanium channel is powered with some NOS diodes, so my expectations leaned toward a more vintage-sounding vibe. Armed with a Telecaster and a Les Paul , I found this side of the pedal to be crisp and airy with plenty of subtle nods to some classic blackface Fender tones. With the Tele, the fear of head-cutting treble was tamed with the EQ and I found the response to my picking style and volume changes actually felt like I was playing through an old, cranked-up tube amp. It was rather easy for me to move from Stones-y, edge-of-breakup stabs to a straight-up clean boost with surprisingly minimal tweaks to the pedal.

Big, Bold, and Bright? One of the interesting wrinkles of the Z-Drive is that the signal passes through the EQ first, before splitting off into each channel’s gain and level controls. This allows the level of gain to change a bit with the EQ. It was especially notable when I plugged the Les Paul into my Fender Deluxe. If you’ve played any of EarthQuaker’s pedals, you are likely familiar with the myriad levels of dirt, grit, and sludge that the Akron shop can produce. To my ears, the red channel is classic EarthQuaker—full of life and harmonic richness. With the Les Paul, the red channel felt a bit dark, but had a rather defined and slightly compressed high end. Normally, I’m not a fan of bright switches, but each channel on the Z-Drive is armed with a rather smart variation. In the up position, you get a fuller, bass-heavy sound; the down position boosts the mid and treble frequencies. I found myself preferring the down position on both channels—especially with PAF-style humbuckers. It allowed the overtones to come through a bit more and gave my Deluxe some distinctly Marshall-like qualities. The nuanced interactions between the EQ and the gain stages are the real stars of the show and make me wonder how they would sound if they could be stacked.

The Verdict If you’re running out the door to a gig or session, or even unsure about what backline you might be confronted with, the Z-Drive would be a trusty tool to have on your board. With two rather distinct channels, it was able to move from crunchy rhythms and modern alt-country dirt to bombastic ’70s leads that live just this side of being oversaturated. Add in a wonderfully thoughtful boost/cut toggle and you end up with quite a bit more than just a two-headed overdrive.

• Dr. Z releases the Z-28 Mk. II preamp - Premier Guitar ›
• Dr. Z Z-28 Mk. II Review - Premier Guitar ›

Grace Bowers Raises the Bar for Blues with Debut, Wine on Venus

Master capo position in any key position, vox real mccoy vrm-1 review, introducing the orbiter fuzz pedal from solodallas.

Discover the SoloDallas Orbiter Fuzz, a meticulously crafted effects pedal designed to blend genuine vintage tones with user-friendly versatility.

Building upon the legacy of the 1966 Arbiter Fuzz, the Orbiter Fuzz enhances this classic circuit with advanced fine-tuning circuitry.

Key Features:

• Vintage Tone: The Orbiter Fuzz delivers smooth, musical fuzz tones with cutting sustain, offering immediate inspiration.
• Vintage Power: Our unique power circuit internally converts modern wall power to emulate the draw of a vintage carbon zinc battery.
• "Sweet Spot" Dial: An internal mini potentiometer allows you to dial in the perfect impedance response for your favorite pickups.

Versatile Controls:

• FUZZ: Adjusts the overall amount of fuzz by shaping the signal’s waveform from triangular to square as the knob is turned clockwise.
• GAIN: Increases the amount of signal entering the circuit, pushing it into harmonic clipping for smooth overdriven fuzz tones.
• BIAS: Modifies voltage to the matched pair of transistors, unleashing a wide range of vintage fuzz tones. Lower voltages produce spitty Black Keys responses, while higher voltages create smooth American Woman fuzz.
• Compact Design: Optimized for pedalboard space and easy integration with any standard pedal.
• Durable Construction: Crafted for reliability to withstand rigorous touring conditions.

Technical Specifications:

• Input Impedance: 500 kOhm
• Output Impedance: 10 kOhm
• Power Requirements: External 9V DC center-negative power supply
• Dimensions: 4.75" x 2.50" x 1.5"
• Weight: 0.8 lbs
• Bypass: True bypass

Design Details:

• Custom Artwork: Retro space-age design that pays homage to the Arbiter’s flying saucer enclosure.
• High-Quality Housing: Durable reinforced steel enclosure with a vintage metallic blue hammered finish.

Why You Need the SoloDallas Orbiter Fuzz Pedal:

A great fuzz pedal is essential for every guitarist and bassist. The Orbiter Fuzz offers the smooth, singing fuzz tone every musician dreams of, combining musicality with the reliability you need. If you’re looking for a pedal that excels in both sound and style, the Orbiter Fuzz is a must-have. Complete your search for the perfect fuzz pedal with the Orbiter Fuzz.

Arriving on Planet Earth 9/1/24! The Orbiter Fuzz will be available for purchase exclusively at SoloDallas.com starting September 1, 2024. The first 100 orders will include a SoloDallas swag pack guaranteed to impress. All SoloDallas orders ship within 24 hours.

Price: $249 USD.

ENGL E658 Steve Morse Signature 20

Introducing the ENGL Steve Morse Signature 20, a compact and versatile all-tube head with two channels, power soak options, built-in noise gate, delay, reverb, and more. Made in Germany, this amp delivers Steve Morse's precision and clarity in a powerful package.

Steve Morse, the legendary guitarist known for his work with bands like Deep Purple and the Dixie Dregs, has recently announced a new collaboration with ENGL Amps.

The result of this partnership is a small signature head that promises to deliver the perfect tone for any guitarist looking to achieve the same level of precision and clarity that Morse is known for. The new ENGL head, aptly named the Steve Morse Signature 20, is a compact and versatile amplifier that packs a punch in terms of both features and sound. With two channels, guitarists will have the ability to dial in a wide range of tones to suit their playing style.

What makes this signature head stand out is its unique preamp and power amp design. The clean channel offers a warm and articulate sound, while the lead channel delivers a classic rock tone with just the right amount of grit. With its powerful and responsive gain stage, this head produces a rich and dynamic sound that can go from smooth and creamy to aggressive and punchy with just the twist of a knob.

But that's not all the E658 also features a built-in noise gate, making it perfect for high-gain playing without any unwanted noise. And for those who want even more tonal options, the head also has a built-in delay and reverb as well some handy features like an IR loader, midi, headphone out. Whether you're a fan of Steve Morse's playing or just looking for a versatile and powerful amp, the ENGL Steve Morse Signature 20 is definitely worth checking out. With its compact size and impressive features, this head is sure to become a go-to for guitarists of all styles and genres.

• Two Channels: Clean, Lead
• All Tube Head
• Power Soak (Full Power / 20 Watts, 5 Watts, 1 Watt, Speaker Off)
• Preamp tubes: 4 x ECC83 (12AX7)
• Poweramp tubes: 2 x EL84
• Tube buffered FX Loop
• Noise Gate Master Volume Boost (M.V.B.)
• Midi: MIDI In (with ENGL Phantom power switch)
• Impulse Response Loader
• USB: for IR loading
• Headphone Output with Level control
• XLR Ground Lift Switch
• Store (for MIDI programming)
• Controls: Gain (separately for each channel), Bass, Middle, Treble, Lead Volume, Clean Presence, Master
• Controls (Rear): Powersoak, Noise Gate threshold level, Delay, Reverb
• Outputs: 1 x 8-16 ohms or 2 x 16 ohms
• Made in Germany

The Steve Morse Signature 20 is available now from authorized Engl Amplifiers dealers worldwide.

For more information, visit engl-amps.com .

John Bohlinger & Tim Aven Play Guitar and Talk About Being a Pro Musician in Nashville

The LANCO lead guitarist sits down with John Bohlinger and covers his journey from software engineer to touring pro, surviving the deep waters of Nashville’s music scene, and how he uses social media and YouTube as a resume. Plus, he and John jam it out!

Martin Guitar Drops the D-11E Rock the Vote Guitar

Martin D-11E Rock the Vote acoustic-electric guitar is a limited edition collaboration between Martin Guitar, Rock the Vote, and artist Robert Goetzl, honoring David Crosby's passion for voting. Crafted with premium materials and featuring unique LR Baggs M80 soundhole pickup and Luxe by Martin Kovar strings, this guitar inspires civic participation through music.

The Martin D-11E Rock the Vote acoustic-electric guitar is a special edition instrument crafted to inspire people to participate in our democracy. This collaboration between Martin Guitar, David Crosby’s estate, Rock the Vote , and artist Robert Goetzl tells a powerful story. “David was a patriot,” says Executive Chairman Chris Martin IV. “He believed deeply in this great experiment of ours, and his passion for voting is something we wanted to honor and continue.”

The vision for the original D-16E Rock the Vote guitar launched back in 2020 was born from a conversation between Chris and David Crosby, partnering with Rock the Vote to encourage people to register and participate in federal, state, and local elections. That conversation led to blending Robert’s compelling artwork with Martin's renowned craftsmanship. Robert shares, “David threw out this quote, that ‘democracy works if you work it,’ and that became a guiding theme for the artwork.”

A reissue of that original guitar, the all-new D-11E Rock the Vote model includes new features like an LR Baggs M80 soundhole pickup paired exclusively with Luxe by Martin® Kovar™ strings. Kovar is a unique alloy of two ferromagnetic metals, nickel, and cobalt, not found in conventional phosphor bronze strings. When paired with the adjustable M80 humbucking coil, these strings are guaranteed to deliver an exceptional acoustic-electric experience. It’s the ideal pairing for players seeking warm, authentic, amplified tones in any performance setting.

The D-11E Rock the Vote acoustic-electric is crafted with premium materials, including American sycamore satin back and sides and a spruce gloss top showcasing Robert’s custom artwork. Its Dreadnought size and unique 000 depth offer players a powerful, projective sound with strong bass and a comfortable feel. It also features a satin select hardwood neck, ebony bridge and fingerboard, silver binding, and includes a softshell case made of hemp.

This guitar not only commemorates David Crosby’s legacy, but through this collaboration, Martin Guitar is proud to support Rock the Vote with a $5,000 donation. Rock the Vote is a non-partisan, non-profit organization dedicated to building the political power of young people, and over the past 30 years it has helped register over 14 million voters. According to the organization, “In 2024, Millennials and Generation Z will comprise 44% of American voters. Young voters are new voters and as new voters they face unique obstacles to voting ... Our efforts focus on research-driven programs and innovative solutions to right the system and ensure each youth generation is represented in our democracy.”

"We are thrilled to partner with Martin Guitar to harness the power of music in inspiring young musicians and their fans to engage in our democracy," said Carolyn DeWitt, President and Executive Director of Rock the Vote. "Music has always been a catalyst for change, uplifting critical issues and driving people to action. As we face the defining challenges of 2024, it's essential that young voices are heard and their passion is transformed into meaningful participation at the polls," adds Carolyn DeWitt, President & Executive Director of Rock The Vote.

With only 47 of these guitars made, honoring the election of the 47th U.S. president, each one represents a commitment to encouraging civic participation through the universal language of music. “I believe it’s our responsibility as citizens to participate in our democracy,” says Chris.

For more information, please visit martinguitar.com .

Martin D-11E Acoustic-Electric Guitar - Rock the Vote

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Which Amp Model sounds closest to PHD Motorway (Dr. Z Rt. 66)

• phd motorway

By bobcoss , March 27, 2018 in Spider V

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Wading through all of the many amp models on Spider V, and wondering what amp model you would say is closest to the PHD Motorway on the HD Platform (emulates a Dr. Z RT66)

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• Digital & Modeling Gear

Line6 POD HD500X thread - settings, patches, tips and tricks ect

• Thread starter Cgkindler
• Start date Dec 30, 2013

• Dec 30, 2013

I'm beginning to realize that each model is different than the last and there are subtle difference. I've been playing with mine for about 5 days now and have gotten some pretty sweet cleans. Dirt has eluded me so far as something that I really really love I'm using some powered PA right right as reference for the sound. Some questions: Do you use yours as a direct out to the house PA? Do you run it into an amp and mic the or some other combo? What speakers to you use to monitor your patches? What are some great patches you could share for the 500x There was another thread where people said to start with the Dr.Z amp. I went through each amp in the 500X and there is no Dr.Z. Maybe it's under a different name. Anyway, I tried to search and couldn't find a thread dedicated to the 500X specifically so I thought if start my own. I'm going some folks will chime in and we can have a thread with usable information! Thanks! Chris  

The Dr. Z is called PhD Motorway on the HD500.  

2-Voice Guitar Junkie and All-Around Awesome Guy

For me, it's all about the Plexi and the Soldano Clean models. but I run the Soldano through the PhD (Dr. Z) cabinet. And, for me, I monitor through a FRFR and go direct. others are different. One size doesn't fit all.  

What's FRFR?  

Btw thanks also suckza!  

Cgkindler said: What's FRFR? Click to expand...

So like a studio monitor type speaker? I've got a set of Shure e425 - would that be considered FRFR for building patches to be used in studio/direct? Thanks again all!  

drgonzoguitar

Yup. If you are playing live, the Atomic CLR stuff is great. For the music room, a decent set of studio monitors will do. Setting patches through those Shure IEMs are going to be a bit weird when the translate to a real speaker. The guide that help me get started on building patches was this: http://foobazaar.com/podhd/toneGuide/ My personal page for POD HD stuff is here: http://royfinley.com/?page_id=892 I've got samples with IEMs and FOH board mixes.  

Karl Houseknecht

Not specific to the x but my favorite trick with the plexi models is using the treble boost stomp. What? There's no treble boost, you say? Use the Boost Comp before the amp. Turn the comp off and boost the treble to max. Gain and boost to taste. Try that with the 100 watt super lead model.  

KarlHouseknecht said: Not specific to the x but my favorite trick with the plexi models is using the treble boost stomp. What? There's no treble boost, you say? Use the Boost Comp before the amp. Turn the comp off and boost the treble to max. Gain and boost to taste. Try that with the 100 watt super lead model. Click to expand...

Did you mean foot stomp? (I think, wait I know I'm dumb)  

I just bought an HD500 used a few weeks ago, and this is exactly the kind of thread I needed to help me get started with building some usable patches! Thanks for the link to your page drgonzoguitar! Please keep the tips and patches coming!  

• Dec 31, 2013

The stock patch Doctor Crunch is a GREAT one to start busing from. Good clean, can turn the drive up a little then stick a tube overdrive in front of the boost and make it footswitchable. May not need another latch at church now!! Lol  

I don't play 7 strings. That would be too many.

I love most of the amp sims in it (500X). The effects - I had used them for the last year in my M13. But my favorite of all of them is the Blackface Deluxe Reverb. Blindfolded, you can't tell the difference. I run the Dream Rig. Variax JTV-59 -> 500X -> DT50. Phenomenal. Amazing. Would love a way to post patches, settings, etc. here. I know it can be done at Line6, but that site is so slow and unresponsive. Any ideas?  

I still want a Matchless DC30 model. I have been using the real thing for years and am so addicted to that sound. The Vox models in the 500X just don't get close enough to the Matchless. Has anyone got a patch/setting that is close?  

Cgkindler said: ...Some questions: Do you use yours as a direct out to the house PA? Do you run it into an amp and mic the or some other combo? What speakers to you use to monitor your patches? ... Chris Click to expand...

CheeseGrater

I use the HD into a tube power amp and guitar cab. Sounds great using the pre-amp models. Full models sound great at low volume but pres are way better with a band.. My tips would be not to go overboard adding EQ and OD blocks. The tone is in the models if you dial it in nicely and have the right power source and cabinet. My main dirt patch is just a gate and amp block. sounds spot on.  

Sorry, I realize I could have answered your questions a bit better Cgkindler. Do you use yours as a direct out to the house PA? Yes, direct to FOH. What speakers to you use to monitor your patches? I set up my patches with studio monitors at home. I record a few gigs to fine tune some patches from a field recorder out front. I personally tend to spike things around 3kHz (due to hearing loss) and make patches too dry for the type of music. I use in-ear monitors live (Alclair dual-xB). Here are some examples of my in ear mixes: noise gate>>Plexi normal channel>>pong delay>>plate verb Volume pedal for rhythm to lead boost. [SOUNDCLOUD]https://soundcloud.com/royfinley/plexi?in=royfinley/sets/pod-hd500-roys-iem-mix[/SOUNDCLOUD] noise gate>>Screamer+4band EQ>>Plexi>>pong delay>>plate verb Volume pedal for rhythm to lead boost. Crazy pong delay for effect. ADA flanger for freaky tones [SOUNDCLOUD]https://soundcloud.com/royfinley/plexi-with-screamer?in=royfinley/sets/pod-hd500-roys-iem-mix[/SOUNDCLOUD]  

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“See through to every nuance of your tone with the X-RAY!” – Dr. Z

Specifications.

General Information

The X-RAY is the long-awaited response to the demand of two different Legacy amps that were discontinued many years ago. It was conceived as an amalgamation of two amps country legend Brad Paisley helped popularize in the 2000s and 2010s, the Stang Ray and the DB4, both of which are still featured his live backline today. Over the years, a few modifications, tweaks, and design evolutions took place in both of these amps, those of which have all been included in this latest advancement.

Powered by Dr. Z’s favorite NOS 6n14n power tubes, the X-RAY models the same chiming clean headroom of the original Stang Ray, showcasing an articulate, snappy, British Invasion inspired jangle that the Fab Four would have fallen in love with. Twisting the knob clockwise unleashes a rush of mid-forward saturation, the uncanny overdrive signature provided by the 5879 pentode preamp tube featured in the X-RAY and first introduced into the Z roster by the DB4. Combining the chewy, churning overdrive of the DB4 with the snap and sparkle of the Stang Ray was the goal; evolving the design to be flexible with today’s breed of player takes the X-RAY over the top. Both of its predecessors were non-master volume designs, AKA loud! The X-RAY delivers the same 30 Z-watts of its forebearers but its new post-phase inverter master volume adds welcome flexibility to the design, pleasing sound techs, housemates, and neighbors that may be a tad volume sensitive. Further, a front panel mounted half-power switch allows the player to alter the compression and dynamics of the power amp for a smoother, silkier feel at 15 watts. Finally, Dr. Z included a tube-driven FX loop to push the X-RAY’s signature voicing through the effects signal path of your choice, with no loss in high end, dynamics, or tone.

The X-RAY is available in two configurations, head and 1×12 combo, the latter of which sports a striking quantum silver front valance and is loaded with a WGS Retro 30, a 75 watt speaker that has become an overwhelming favorite in the Z test room and was specifically stocked for this amp at the Doctor’s request. Dr. Z’s stalwarts are all present here: a custom welded, aircraft grade aluminum chassis is the skeletal structure, hand-selected, high quality components are the viscera, and all systems are sutured together in-house in Cleveland, OH by technicians with a quarter century of experience under the proverbial knife. As usual, Heyboer Transformers are the iron heart of the X-RAY and NOS mil-spec tubes breathe life into the lungs of the amp.

Low introductory price of: $1899 for X-RAY HEAD! $2299 for X-RAY COMBO!

WGS Retro 30

Celestion V30

Eminence Z12

Celestion Gold

Celestion G12H

Celestion Creamback

Celestion Greenback

Disclaimer: while the information contained on this page is correct at the time of publication, due to our policy of constant improvement and development, Dr. Z Amplification reserves the right to alter specifications without prior notice.

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