There’s a specific kind of amplifier tone that doesn’t get described in neat technical terms. It gets described with words like “swampy,” “monstrous,” “possessed.” The kind of tone where you plug in, crank the volume, and somehow the amp knows what it wants to sound like before your fingers do. The Supro Black Magick Reverb — model 1696RT — is that kind of amplifier. Twenty-five watts of Class A 6973-powered attitude, a 6-spring reverb tank that sounds like it’s feeding back from a cave, bias-modulated tremolo that wobbles the edges of reality, and a voicing so committed to one direction that some players will love it immediately and others will return it inside a week. There’s no middle ground, and Supro isn’t apologising for that.
What makes the Black Magick Reverb’s story richer than most current-production amp tales is who helped make it. Lenny Kravitz — not a man you’d typically associate with amp design — co-developed the Black Magick Reverb with Supro. He wanted a version of the vintage Supro sound with onboard reverb and a broader EQ palette, and the result is an amp that carries his aesthetic priorities without wearing them as a badge. You’d never know from looking at it that a rock star had a hand in the spec sheet; it just looks like a beautifully finished vintage-styled combo. That discretion is part of its character.
The Valco Legacy and the Modern Reboot
To understand why the Black Magick name means something, you have to go back to Valco Manufacturing Company in Chicago. Founded in 1942 from the remnants of National Dobro Corporation, Valco spent the 1950s and early 1960s building guitars and amplifiers under a rotating cast of brand names — Supro, Airline, National, Gretsch-branded units for their catalogue. The amplifiers were cheap, cleverly designed, and peculiar in the best sense: small-power circuits that compressed and broke up in ways the big manufacturers weren’t chasing, because they were targeting beginners and mail-order customers, not professional musicians.
Fate had other ideas about who would end up playing them. When budget amps were what a young musician could afford in the late 1950s and early 1960s, Valco-built Supros ended up in the hands of players who later became legends. The result was that the Supro sound — that midrange-forward, slightly dark, harmonically saturated grind — got baked into some of the most influential recordings in rock history before anyone thought to call it a “vintage Supro tone.” Valco liquidated in 1968, Kay acquired the name briefly, and then the brand went quiet for decades.
The modern Supro reboot arrived in 2013–2014 under Bond Audio (New York), which also relaunched National and Gretsch amp operations. The new Supro range wasn’t built on nostalgia alone: it updated the vintage circuit topology with modern manufacturing, reliable sourcing, and in some cases genuine design collaboration with working professional musicians. The Black Magick combo (without reverb, model 1696) launched in 2016. The Black Magick Reverb (1696RT) followed in 2018 — and that’s where Lenny Kravitz entered the picture.
The Jimmy Page Disambiguation (Again)
Every time the Black Magick line comes up, Jimmy Page’s name follows thirty seconds later. It needs addressing directly, because the connection is real but the specifics are constantly mangled in both directions — by players who claim the BMR IS Page’s amp, and by debunkers who dismiss any Page/Supro connection entirely.
Here’s what is actually documented. In 2024, Albert Lee stated publicly that he and Jimmy Page bought their Supro amplifiers in 1961 from Selmer’s in London. Page’s amp, whatever its original format, had a 12-inch speaker by the time he was using it as a studio tool. The amp that scholars and collectors most confidently associate with the first two Led Zeppelin albums is the Coronado 1690T — a different Supro model with a different circuit. Page himself has said he used a Supro for the Zeppelin I studio tracks, and a 1974-acquired Supro (a 6973-loaded combo he later loaned to the Rock and Roll Hall of Fame museum) is what Bond Audio used as the reference point for the Black Magick Reverb circuit.
What does this mean in practice? The Supro Delta King 12 — the modern Bond-era Supro closest to the Coronado-descended circuit — has a stronger documented connection to Page’s recorded tone. The Black Magick Reverb draws from a 1974 instrument that post-dates Zeppelin’s classic albums. It’s a legitimate lineage, but it’s not the Stairway amp, and anyone selling it as such is overstating the case. What it IS is the cleaner documentation: the 1974 Supro is a known, catalogued instrument with a verified Page provenance. Work with that rather than the murkier studio-session speculation.
For the article’s purposes: Jimmy Page is context and inspiration for the circuit, not a documented Black Magick Reverb player. That distinction matters.
The 6973 Power Tube: The Amp’s Secret Weapon
Most guitarists are familiar with the common power tube families: 6V6 (Fender-style warmth and compression), EL84 (Vox-style chime and bloom), EL34 (Marshall-style aggression), 6L6 (wide headroom and clean headroom). The 6973 that drives the Black Magick Reverb is something else entirely — and understanding it explains most of what makes the amp sound the way it does.
The 6973 was originally developed for hi-fi amplifiers and jukebox equipment. Visually it resembles an EL84, but the similarities end at the glass envelope. The 6973 runs at a significantly higher maximum plate voltage — around 440 volts, compared to roughly 300V for an EL84 — and has completely different pin-out and bias requirements. You cannot simply swap EL84s into a 6973 circuit; the two are electrically incompatible. Guitar amp builders Dave Hunter has described 6973s as sounding “louder, chunkier, and bigger, with firmer lows and a meaty, if not overcooked, midrange” compared to the EL84 — which neatly captures what the Black Magick Reverb delivers.
The cathode-biased Class A output stage means both power tubes conduct continuously throughout the full cycle of the audio waveform. This produces rich even-order harmonics (the musically consonant kind that warm overdrive is made of), extreme touch sensitivity where picking dynamics translate directly into output character, and a compression that feels organic rather than electronic. The Black Magick Reverb runs hot, the 6973s don’t last as long as some alternatives, and it will never give you the clean headroom of a fixed-bias push-pull design at the same wattage. That’s not a design flaw — it’s the entire point.
Specifications
| Parameter | Specification |
|---|---|
| Model | Supro 1696RT Black Magick Reverb |
| Power | 25 watts, Class A cathode-biased |
| Power Tubes | 2× 6973 |
| Preamp Tubes | 4× 12AX7, 1× 12AT7 |
| Channels | Two (linkable via 1+2 input) |
| Speaker | Supro BD12 12-inch ceramic |
| Reverb | 6-spring tube reverb (all-tube signal path) |
| Tremolo | Bias-modulated (LFO circuit, double speed range vs. original Black Magick) |
| Controls | Input 1+2, Input 2, Volume 1, Volume 2, Treble, Bass, Reverb, Tremolo Speed, Tremolo Depth, Master Volume, Standby, Power |
| Speaker Outputs | 2× 4Ω, 2× 8Ω, 1× 16Ω |
| Footswitch | Reverb/Tremolo (TRS socket, footswitch sold separately) |
| Construction | PCB, Black Rhino Hide Tolex |
| Dimensions | 520 × 476 × 222mm |
| Weight | 39.5 lb / 18 kg |
| Origin | USA |
| Launch price | £1,529 (2018); current used market ~$900–1,200 USD |
| Also available as | 1696RTH (head version) |
Circuit Design: Two Channels, One Voice
The Black Magick Reverb follows the two-channel format of the original non-reverb Black Magick, with some important updates. The original Black Magick had a single-knob tone control; the Reverb adds separate Treble and Bass controls — Lenny Kravitz’s most direct contribution to the spec sheet, adding range to an otherwise fixed-voiced circuit.
The two channels aren’t dramatically different from each other. Volume 1 (accessed via the 1+2 input) thickens the low mids and adds a touch more gain. Volume 2 (accessed via the In 2 input, or simultaneously through 1+2) adds more lift in the upper midrange. Plugging a cable into the 1+2 jack links both channels and lets you balance them against each other for an internally “jumped” signal path — the same technique Jimmy Page used on Marshall 4-input heads, though here it happens inside a single amp rather than across two input channels. The result of running both volumes is a rounder, fatter, more three-dimensional overdrive texture than either channel provides alone.
The reverb circuit is all-tube throughout: the spring tank is driven by the same slightly dark signal that defines the amp’s overall character, so the reverb sounds warm and lush rather than bright and surf-splashy. At moderate settings the dry signal remains distinct and forward in the mix; push the reverb control toward maximum and you enter smoky, Lynchian territory that suits slow blues and psychedelic material rather than country picking. Precision is built into the control taper — small movements at the lower end of the knob range produce meaningful change, which means finding your reverb sweet spot doesn’t require millimetre-level accuracy.
The tremolo is bias-modulated rather than optically driven. This means the LFO circuit modulates the bias voltage of the output tubes directly, producing a tremolo that feels like it’s emerging from the amp’s core rather than being applied to the signal path externally. The character is swampy and organic — more lurch than flutter — and at extreme settings (slow speed, maximum depth) generates something approaching pitch-shimmer harmonics when combined with heavy reverb. The speed range is notably wide: the Black Magick Reverb doubles the tremolo speed range of the original non-reverb Black Magick, giving you everything from barely-there pulsing to rapid stutter.
Famous Players
Lenny Kravitz — The Co-Developer
Lenny Kravitz is the most cleanly documented Black Magick Reverb player precisely because he helped create it. Supro’s own product page credits Kravitz as a collaborator on the 1696RT development — specifically the addition of separate treble and bass controls and the onboard reverb circuit — and he uses the amp live. His NPR Tiny Desk (Home) Concert video documents the amp in an actual performance setting, making this a primary-source confirmation rather than a brand-page claim. Kravitz is a Supro enthusiast generally — his obsession with the vintage Valco circuit sound is documented across multiple interviews — and the Black Magick Reverb represents the cleanest modern expression of what drew him to those old combos in the first place.
The connection between Kravitz and the Black Magick Reverb also illuminates why the amp sounds the way it does. Kravitz isn’t after versatility or clean headroom; he wants the specific thing a 6973 cathode-biased Class A circuit does when you push it — that saturated, forward midrange compression that makes single notes bloom and chords acquire harmonic mass. The EQ expansion he requested (separate bass and treble vs. the original single tone knob) is about giving players more control over that character rather than transcending it.
Tyler Bryant — The Signature Evolution
Tyler Bryant represents the most direct evidence of how working touring musicians have responded to the original Black Magick Reverb. Bryant used the standard 25W 1696RT on tour, concluded he needed bigger bass response, more headroom and increased output power, and worked with Supro to produce the Black Magick Reverb TB — a 35W variant using a matched pair of Sovtek 5881/6L6WGC power tubes rather than 6973s, plus a “bright cap” modification on Channel 1 that adds top-end sparkle when blending both volumes. The TB is manufactured in China rather than the USA and launched at $1,699.
The TB’s existence tells you something useful about the original 1696RT: its 25W 6973 output is genuinely its defining characteristic, not an engineering compromise. Bryant, a working touring guitarist who needed to compete with a drummer in club-to-theatre sized venues, needed something the original couldn’t give him. The fact that the solution required completely replacing the power section (6L6s instead of 6973s) rather than simply adding a different output transformer confirms that the 6973 circuit is doing something specific that you don’t get at higher wattage with more common tubes. The 1696RT and the BMR TB are, tonally speaking, different amplifiers wearing the same name.
Billy Gibbons — The Head, Not the Combo
Billy Gibbons appears on Supro’s official artist page in connection with the Black Magick Reverb, and this matters — but the documented instrument is the Black Magick Reverb Head (model 1696RTH), not the 1696RT combo. Head and combo share the same circuit and tube complement; the physical difference is the absence of a built-in speaker, which gives a head user full control over cabinet and speaker matching. Gibbons’s documented use of the head version is consistent with a touring musician who brings his own speaker choices; the 1696RTH plugged into a period-appropriate 1×12 or 2×10 cabinet would produce the same basic tone character as the combo, dialled to his preferred speaker response. It’s the same circuit, but the distinction between head and combo matters if you’re making a buying decision.
Joe Perry — The Non-Reverb Sibling
Joe Perry is documented on the Black Magick Combo — the 1696, the non-reverb version of the Black Magick released in 2016 — not the 1696RT Reverb reviewed here. The two amps share the same 6973 power section and Class A cathode-biased topology; the 1696RT adds the spring reverb, bias-modulated tremolo, and the Lenny Kravitz-influenced separate treble/bass EQ. Perry’s connection is to the core circuit, not the Reverb specifically. Mentioned here for completeness, but listed as a sibling-model user.
Elijah Hewson — The Rising Generation
Elijah Hewson — guitarist for Irish indie-rock band Inhaler — has been documented using two Supro Black Magick Reverb combos live since at least 2022, with Equipboard tracking photographic evidence of the rig. Hewson’s choice of two-amp BMR setup (both running simultaneously) is notable: it suggests using the linked-channel jump technique at volume, which is exactly how the amp is designed to be pushed for maximum harmonic density. Hewson isn’t in the guitarist link database for this project, but his documented use is worth noting as evidence that the Black Magick Reverb has genuine traction with a younger generation of British-influenced guitar players rather than just vintage enthusiasts.
Tone Recipes and Settings
Recipe 1: Classic Rock Crunch (Kravitz/Page Adjacent)
Plug into the 1+2 input. Volume 1 at 7, Volume 2 at 5, Treble at 10 (maximum — the amp needs it), Bass at 4, Master at 6–7. Reverb at 2. No tremolo. This is the fundamental Black Magick Reverb voice: a forward, fat crunch that adds harmonic density the louder you play but cleans up beautifully when you roll back the guitar’s volume knob. Use a Les Paul or P-90-equipped guitar for maximum midrange authority.
Recipe 2: Blues Swamp Saturator
Vol 1 at 8, Vol 2 at 3 (blended for body without excessive upper-mid bite), Treble at 8, Bass at 5, Reverb at 4–5, Tremolo Speed at 3, Tremolo Depth at 6, Master at 6. The warm reverb combined with slow, deep tremolo creates something approaching a Leslie-cabinet simulation at moderate settings. Works especially well for slow minor-key blues where you want the amp to breathe with the notes.
Recipe 3: Single-Channel Clean with Pedal Platform
Plug into the In 2 input only (bypasses Channel 1). Vol 2 at 4, Treble at 10, Bass at 3, Reverb at 1, Master at 8. This is the amp’s cleanest available voice — not blackface-Fender clean, but a rounded, moderately compressed clean that suits pedals well without adding its own aggressive character to the signal. Run an overdrive (Tube Screamer, Klon-style) in front and the amp’s natural midrange emphasis complements rather than fights a mid-forward drive pedal.
Recipe 4: Psychedelic Wash
Vol 1 at 6, Vol 2 at 6 (both channels fully linked), Treble at 9, Bass at 6, Reverb at 7–8, Tremolo Speed at 2 (very slow), Tremolo Depth at 9, Master at 5. At these settings the tremolo and reverb begin to interact: the reverb tail catches the trailing edge of each tremolo pulse and stretches it into an ambient shimmer. Combine with a long-decay digital delay (500–800ms, 2–3 repeats) in the fx loop or between guitar and amp for full psychedelic tunnel-vision effect.
Recipe 5: High-Gain Studio Hammer
Vol 1 at 9, Vol 2 at 8, Treble at 10, Bass at 3 (reducing low-end muddiness at high gain), Reverb at 0, Master at 4–5 with an external attenuator in the speaker chain. No tremolo. An external attenuator (Weber MASS, THD Hotplate, or similar) lets you run the power section into full saturation at controllable volume — the 6973 tubes compressing and harmonically loading in a way that doesn’t happen below volume 7–8 on the master. This is the studio tone the amp was built to produce, and the one that requires a load-management solution for home or small-studio use.
How It Compares
vs. Supro Delta King 12
The Supro Delta King 12 is the Black Magick Reverb’s Bond Audio stablemate at 15W with a single-ended 6L6 circuit. The DK12’s Class A single-ended topology produces similar even-harmonic character but a different tonal centre: the 6L6’s fuller low end and cleaner headroom vs. the 6973’s midrange-forward push. The DK12 also features the Pigtronix FAT mode drive circuit and a power amp input for modellers — features the Black Magick Reverb doesn’t have. The BMR’s 6-spring reverb and bias tremolo are significantly more atmospheric than the DK12’s spring reverb alone. Choose the DK12 for a slightly more versatile circuit with higher-gain options; choose the BMR for maximum commitment to the 6973 voice with onboard effects quality that rivals external units.
vs. Laney Lionheart L20T-112
The Laney Lionheart L20T-112 uses a parallel single-ended Class A EL84 circuit to produce 20W with a Celestion G12H-30 speaker. Like the Black Magick Reverb it’s a Class A combo with atmospheric breakup character, but the EL84 tubes give a completely different flavour: brighter, chimier, more compressed at the top end. The Lionheart has a built-in digital reverb and birch-ply cabinet; the BMR has an all-tube spring reverb that sounds significantly more organic. The Lionheart is more British and Vox-adjacent; the BMR is more American and blues-rock. For studio use, the BMR’s reverb quality is the easier choice; for live use the Lionheart’s 24.5kg weight is a consideration (the BMR weighs 18kg).
vs. Hughes & Kettner TubeMeister Deluxe 20
The H&K TubeMeister Deluxe 20 represents the opposite philosophy: multi-channel versatility, MIDI switching, built-in power soak, and a Red Box AE speaker-simulated DI output for silent recording. Where the BMR is entirely committed to one voice, the TubeMeister offers clean, crunch, and lead channels with programmable switching. The TubeMeister is a more flexible working tool; the BMR is a more inspiring creative tool. Players who need to cover a wide range of tones in a live set should look at the TubeMeister; players who want to disappear into one great overdrive sound for hours should look at the BMR.
vs. Friedman Runt-20 Head
The Friedman Runt-20 is a fixed-bias push-pull EL84 head delivering 20W of boutique-quality British-flavoured gain. It has significantly more gain range than the Black Magick Reverb — from clean to high-gain lead — with a more sophisticated EQ section and a tighter, more articulate low end. The Runt-20 rewards players who want control and precision; the BMR rewards players who want the amp to make decisions for them. The Runt-20 is also more expensive and requires a separate cabinet. For pure classic rock and blues where vintage tone character matters more than gain range, the BMR at its price point delivers a more authentic experience than the Friedman’s more surgical approach.
vs. Vox AC15C1 (industry reference)
The Vox AC15 is the obvious spiritual comparison for a 15–25W cathode-biased Class A British-voiced combo with spring reverb and tremolo. The comparison reveals the BMR’s character more sharply than any technical description: the AC15 runs EL84s at lower plate voltage than Vox’s classic “top boost” voicing, producing a chimier, more immediately glassy clean and a brighter, more cutting overdrive. The BMR is darker, heavier, and more saturated. AC15 players who want to explore the darker, more compressed side of Class A tube sound without the Vox chime will find the BMR a logical step sideways; BMR players who want sparkle and articulate chord definition would find the AC15 a useful foil. Both are one-trick ponies in the best sense — just different tricks.
Buying Guide
The Supro 1696RT Black Magick Reverb launched at around £1,529 in the UK market in late 2018. Current new old-stock and used examples — the amp is still in production but available pricing varies significantly by market — typically land in the $900–1,200 USD range used, depending on condition and included accessories. The head-only version (1696RTH) is similarly priced and changes nothing in the circuit; the choice is purely about whether you want the built-in BD12 speaker or prefer to match your own cabinet.
A few specific things to check when buying used. The BD12 speaker has a custom oversized ceramic magnet and is difficult to source as a replacement — confirm the speaker cone is intact and undamaged, and that the voice coil hasn’t been pushed beyond its limits by previous owners who ran the amp without an attenuator. Ask the seller to confirm the 6973 tubes are original or recently replaced. 6973s are not in every guitar shop’s tube stock — original General Electric and RCA examples are sought-after, and current production 6973s (JJ, Electro-Harmonix) are available but at a price premium over common EL84s or 6V6s. Budget for a tube replacement every 1,000–1,500 hours of hard use.
The PCB construction (rather than point-to-point or turret board) is sometimes cited as a negative relative to boutique tube amps, but in practice it means more consistent manufacturing quality and predictable behaviour from unit to unit. The PCB does make some repairs more involved than a hand-wired chassis, but the failure modes of a Supro-quality PCB amp are not meaningfully different from boutique construction in normal use. The finish quality — Black Rhino Hide Tolex and hardware — is well above the price bracket’s baseline.
If the 25W 1696RT combo appeals but the wattage limitation bothers you: the Tyler Bryant TB signature (model 1696RTTB) addresses exactly this concern with 35W and 6L6 tubes at $1,699 new. Be aware that it is made in China (vs. USA for the original) and sounds meaningfully different — not better or worse, but less committed to the specific 6973 character that defines the original. The TB is a more versatile working amplifier. The 1696RT is a more characterful studio and small-venue tool.
Ownership Notes
The Black Magick Reverb runs hot. Class A cathode-biased circuits dissipate significant heat continuously, and two 6973s working at near-full power are generating that heat regardless of volume setting. Ensure the amp has adequate ventilation — leave six inches of air behind and above the chassis, don’t store it in a tight case immediately after use, and let it cool for twenty minutes before packing it away. The standby switch exists for a reason: use it before every playing session to let the heaters reach operating temperature before applying high voltage to the tubes.
The 6-spring reverb tank is long-tank (approximately 16 inches), which contributes to the lush, slow-decay character. Long-tank reverbs are more sensitive to mechanical vibration from the speaker — at high volumes you may hear the reverb “bloom” slightly in response to attack transients, which is part of the character rather than a fault. If you’re recording direct with the amp through a load box, running the reverb slightly lower than your preferred room-listening level often translates better to tape.
The bias-modulated tremolo will audibly interact with other Class A characteristics at high volume: the modulation appears slightly stronger and more dynamic when the output tubes are cooking than when they’re cold. This means the tremolo depth “feels” more intense at high master volume settings without the speed or depth knob moving. Factor this in when dialling in settings at bedroom levels that you plan to use at stage volume — the tremolo will be more dramatic at gig levels.
Speaker cabinet options are well supported. The 16Ω, 8Ω, and 4Ω output options mean the BMR can drive a wide range of external cabs if you want to experiment beyond the stock BD12. A Celestion Blue in a 1×12 open-back cabinet (use the 16Ω output) pushes the amp’s character slightly brighter and more chimey. A Celestion V30 in a 2×12 closed-back adds low-end tightness and projection for stage use. The guitar.com review tested the amp through a Fane A60, Celestion Blue, and Celestion G12 and found the stock BD12 held its own — it’s not a compromise speaker installed to cut costs, but a genuine tonal match for the circuit.
Frequently Asked Questions
Is the Supro Black Magick Reverb loud enough for gigging?
Twenty-five Class A watts is considerably louder than 25 push-pull watts on paper, but cathode-biased Class A circuits run out of clean headroom earlier. At realistic stage volumes with a drumming band, the BMR will be working hard — which means you’ll be using its overdrive character rather than sitting in a clean zone. If you want the BMR’s character at clean-to-edge-of-breakup at stage volumes with a loud drummer, an external attenuator running the amp at full power into a reduced speaker output is the solution most professional users adopt. For smaller venues, recording studios, and practice, 25W is ample.
Can I use the Supro Black Magick Reverb with single-coil guitars?
Yes, though the amp’s character is particularly well-suited to humbuckers and P-90s. The midrange emphasis of the 6973 circuit adds body and authority to both pickup types without the thinness that a bright Fender-style circuit can produce. Single-coil guitars — especially Telecasters and Strats — deliver more bite and definition through the BMR than they might through a dark-voiced circuit, but the amp does suppress the high-frequency sparkle that characterises a Strat through a blackface Fender. It’s a valid combination, especially for players who want a warmer, rounder take on single-coil tone.
What’s the difference between the Black Magick (1696) and the Black Magick Reverb (1696RT)?
The non-reverb Black Magick (1696) is the original, launched in 2016. It uses the same 6973 power section and Class A topology but has a single-knob tone control rather than separate treble and bass controls, no spring reverb, and no bias-modulated tremolo. The 1696RT (Reverb, 2018) adds all three features at the cost of a price increase. The core overdrive character is the same between the two; the RT’s separate EQ gives you more range within that character, and the reverb and tremolo are genuinely excellent onboard effects rather than afterthoughts. The non-reverb 1696 is typically cheaper used and makes more sense for players who run all their effects externally.
Why do 6973 tubes matter so much in this amp?
The 6973 defines the amp’s fundamental character. Its higher plate voltage tolerance (around 440V vs. 300V for an EL84), different pin-out, and specific bias requirements mean the Black Magick Reverb circuit is built around this tube’s behaviour rather than using it as a generic EL84 substitute. The result is a specific tone — firm lows, meaty midrange, compressed saturation — that you don’t get from a 6V6, EL84, or 6L6 circuit at comparable power. When the 6973s need replacing, use the same tube type rather than attempting substitution; 6973 replacements are available from major tube suppliers but at higher cost than common types.
Is the Supro Black Magick Reverb good for pedals?
Yes, more so than its midrange-heavy character might suggest. Running gain pedals into the BMR adds gain on top of the amp’s existing voice, which works well for players who want a thicker, more saturated lead tone than the amp produces on its own. Time-based effects (delay, chorus, pitch-shifting) benefit from the amp’s natural compression, which smooths any harshness in digital effects. Wah pedals sound particularly organic through the BMR’s midrange focus. The amp’s voicing means that mid-scooped pedals (like a Big Muff) can sound slightly thin — match the pedal to the amp’s character rather than fighting it.
Is the Black Magick Reverb a good recording amp?
Excellent, with the right microphone placement. The BMR’s character — fat, forward mids, warm overdrive, harmonically loaded 6973 saturation — records particularly well with a large-diaphragm dynamic (Shure SM7B, Electrovoice RE20) at close range, capturing the full midrange without the high-frequency brittleness that can occur with a bright condenser. The onboard reverb sounds significantly better on recordings than digital spring reverb emulations in most contexts; consider riding the reverb control as an expressive parameter rather than setting it and forgetting it. For silent recording sessions, a reactive load box (Two Notes Torpedo, Universal Audio OX) preserves the power amp character that makes the BMR worth using.
How does the Tyler Bryant TB signature differ from the standard Black Magick Reverb?
The TB signature (model 1696RTTB) is a substantially different amplifier in the power section: 35W from a matched pair of Sovtek 5881/6L6WGC tubes rather than 25W from 6973s. This adds headroom, bass weight, and output power — the features Bryant found himself needing on tour. A “bright cap” modification on Channel 1’s volume control adds top-end sparkle when blending both channels via the 1+2 input, addressing the original’s tendency to lose treble as gain increases. The TB is also manufactured in China rather than the USA and launched at $1,699 new. It’s louder, more flexible, and more stage-ready; the original 1696RT is more committed to the specific 6973 character and arguably more studio-appropriate. They share a name and topology but sound meaningfully different at volume.
What speakers work well with the Supro Black Magick Reverb head (1696RTH)?
The stock BD12 ceramic speaker in the 1696RT combo is a thoughtfully chosen partner for the circuit — Supro’s own testing found it competitive with premium alternatives including the Celestion Blue. For head users choosing a cabinet, the BMR’s midrange-heavy, darker-treble character generally benefits from a speaker with good high-frequency presence: the Celestion Alnico Blue (1×12, 16Ω) adds sparkle and jangle that complements rather than fights the circuit. The Celestion G12H-30 in a 2×12 closed-back adds projection and bottom-end definition for stage use. Vintage Jensen P12Q and P12N speakers (NOS or Warehouse Guitar Speakers reproductions) lean toward the authentic Valco-era response character and are worth considering for players who want maximum period authenticity. Use the 16Ω output for single-speaker 1×12 cabs and match correctly on 2×12 configurations depending on wiring (two 8Ω speakers in parallel = 4Ω; use the 4Ω output tap).