Other Amps

Amp roll call


Ok come one come all ... I would like to hear about your latest amp acquisition -- one you really like for some reason or that surprised you, ie good value for the money.

Doesn't have to be new ... even just a well known vintage model you are all eaten up with.... all the way to a noisemaker/shredder from China for your 14 year old, or a boutique hi-end build.

Even the hot lick from 45 years ago that no one gives a damn about now ... say like a Sunn Coliseum head. Anything is ok

I will get the ball rolling with: DV Mark LIttle Jazz 50. From the MarkBass people.

Light, with an 8 stuffed in to a small box, 3 EQ, decent verb, clean and clean only, and best of all, does well for the lo-volume bass I do a lot of.


over to you


My latest amplifier purchase was a Boss Katana 100 watt 2x12". It's a powerful but fairly lightweight amp, tipping the scale at 45 lbs. It replaced my 1980 Fender 75 Lead combo tube amp (15" speaker), which weighs 70 lbs, a huge difference! I often stacked it on top of a Fender 4x12" cabinet, making the whole rig weigh 150 lbs!

The Boss Katana is a whole different animal, with a lot of skins. It was somewhat of a shock, at first, crossing a gap in technology of forty years. The old amp has only one effect, analog reverb, and it can get drippy wet. It's a big honking pedal platform with enormous headroom.

The new Boss Katana has access to 64 downloadable Boss pedal effects, fifteen of which can be installed in the amplifier at the same time. It has a very intuitive interface, and eight memory slots to store control panel user settings. It can be totally controlled by the GA-FC (six dual function buttons) foot controller (its an optional, but very necessary component). The foot controller has two expression pedal inputs. I use one for volume and the other as a wah wah.

Rather than the typical modeling that many modern amplifiers have, the Boss Katana uses "amp type" channels, through a selector knob on the control panel. The channels are : Acoustic, Clean, Crunch, Lead, and Brown. The Brown channel is ultra high gain, emulating Eddie Van Halen's tone. Eddie called his tone "Brown", for some obscure reason. The Brown channel is the one that I use the least. Maybe thirty years ago it would have been attractive to me, but I've outgrown that sound in leiu of cleaner tones.

The Boss Katana 100 watt 2x12 amplifier is a monster, in the loudness department, made tamable by a power attenuator switch. You can select output powers from .5 watts, 50 watts, and 100 watts. It can really push air when connected to my Fender 4x12" speaker cabinet, essentially becoming a 6x12" amp. But the combo all on its own is sufficient to play any imaginable venue. I think that I would only drag the 4x12" cabinet along if it were an outdoor gig. That kind of rig has become outdated, most amps now have an XLR output, to run the amp through the soundboard and PA.

I've been very impressed with this amplifier, it is a radical new approach guitar amplification. It eliminates the need for a pedal board, I've whittled it down to a single stereo delay (Boss DD-2) pedal, that I will occasionally use for driving a second amp with the delay sound. I also will occasionally use a Boss CE-3 stereo chorus pedal in the same way. Other than that, I'm pedal free!

I took this new innovative approach to amplification, because all of my lifetime collection of pedal effects were stolen from me a number of years ago. I was faced with the daunting task of replacing the bulk of them, or taking advantage of the new technology. I chose the latter, and I'm thousands of dollars ahead of the eight ball financially. I will say that I miss my foot pedal collection, it represented a lifetime of tone chasing, and each one had a story about how where and why I purchased it. I don't miss dragging the huge gig bag with me to rehearsal and gigs.


1965 Premier Twin 8. Started as a basket case, now she’s a singing pretty. A really cool amp.


This is what I started with.


Barking thru a pair of vintage Oxford Vox 8’s thanks to the author of this thread.


Have to say this custom Supro SpazOmatic dressed in orange stained oak from Ethan he built for my son.Originally he built a 5F1 that thanks to USPS sat locked up for days in an annex,couldn’t be found so Ethan came up with a beautiful plan for a modified Supro to replace it with so this turned out to be a happy misfortune as this thing kills!!! Gladly the 5F1 showed up but hadn’t been for lacking of the postal service we’d likely not end up with this one also.


Ethan makes some super cool amps!


The last amp that I purchased was a Gretsch Executive with a JBL D130F that a previous owner had installed. It is heavenly but weighs a ton.

But since I acquired the Executive, I had Ethan make a special cabinet for my silverface Fender Bronco/Vibro Champ.

Mine was originally a Bronco so I kept the name but had a larger cabinet made to support a Weber California 10 that I had. A great decision.

Not pictured are an 80-81 Deluxe Reverb that has been blackfaced internally and cosmetically with a Weber California speaker; a Music Man 65-210 with Weber Chicago High-Powered speakers; and, a Fender Acoustasonic Junior.


My latest amp acquisition has been a Fender ‘57 Custom Deluxe. I’ve had it since the end of November/beginning of December. It hasn’t left the house yet, but I’m enjoying fooling around with it in my study.

I’ve mostly been playing it clean or with a Jr Barnyard on in front of it, all at fairly low volumes.

I also spent a bit of money upgrading a Blues Junior recently, new speaker and a few tone mods, it’s not a new amp but it certainly sounds like a new amp now. Haven’t had much time with it though as I loaned it out to a friend for a recording project pretty much the day after I got it back from the tech.


My latest acquisition is a Supro Tremoverb (one of the new ones). After seeing a few demos of it, I got lucky and found one used locally to try (and buy).

It's like a Princeton Reverb, but perhaps a "browner" one... it doesn't have the hi-fi high end of the blackface circuit (I also have a PRRI), and I have always been more partial to LESS high end. When I play my Hot Rod, I'm not looking for "Chet Atkins" or "That Great Gretsch Sound" as much as I'm looking for "Brian Setzer Orchestra" and also tones in the realm of Johnny A (ES-295 w/P90s or his Gibson Johnny A with PAFs), or El Twanguero (except for his last album, he plays an ES-295 w/P90s as well.). Kenny Burrell on Midnight Blue.

So... I gravitate towards warmer hollowbody tones. I even installed a tone switch on my Hot Rod to help with that (love it!). But I'm getting a little off track here...

The Supro Tremoverb can be thought of as a Princeton Reverb (is has reverb and tremolo, and a 10" speaker, but it's 25W)... but one that sounds more old-school, it has a rounded high end... the amp isn't capable of getting ice-picky, even with the Bass at 0 and the Treble at 10. I'm guessing it sounds more like a brown face Princeton, due to the higher mids content and softer treble.

So, long story short (too late), Tremoverb = old school, more mids, softer highs than Princeton Reverb. AND ITS THE AMP I LOVE WITH MY GRESTCH, because of that... I think the mid-scooped and bright tone of the Filtertrons doesn't work well with the mid-scooped and bright tone of the PRRI. I think the more mids and less highs of the Supro "fill in the gaps" of the EQ on Filtertrons, and I like the pairing much better. I have struggled, for years, to love the sound of my Hot Rod... all along it was because I didn't have the right amp (for MY EARS). I had a Vox AC30 type, I had a couple of Fenders (both blackface), also all these amps had master volumes (that's another discussion- all but the best master volumes choke what little signal the Filtertrons put out, IMO). All this time I thought I just didn't like Filtertrons, altho I liked them when OTHERS played them, and all along I just hadn't found the right amp for the guitar. A more-mids, softer-high-end, NMV, Supro.

I actually still prefer my PRRI with my tele, but the Supro is now the ones I always plug into with the Hot Rod.

Getting the Supro also has me considering doing the famous "mid control" on the PRRI. I did it once before, it worked great. And it might allow me to unload the Supro... but I have grown wary, as I get older, of trying to make something into something it's not. The PRRI is what it is; the Supro is what it is. And even tho I put a tone switch on the Hot Rod, that's a Gretsch feature, so I'm not making the guitar something it's not (like by putting PAFs in it- egads!)


I haven't bought an amp in a long while but here's my short roll call

Victoria 5112 (tweed champ w/ 12" speaker) hiding behind my TV Jones Spectra Sonic. This is my go-to, living room amp.

Fender limited edition 2-tone Princeton Reverb (Gibson Jr long gone). Love the two tone tolex and that Fender trem/reverb

and a speaker cab from Ethan / Powdog for which I've got to find a perfect head (just wanted to share because it seems like having something from Ethan is a trend in this thread)!


I figure I’ll just show you my pile of amps. Left to right, a Vox AC 10 , a Yamaha THR10 (for, ya know, when I’m in a hotel room with an electric guitar and need an amp quick, which, of course will never happen), a little Fishman acoustic battery powered amp, under that is a shell of a modern day champ, then a Josh-built, hand wired Champ in a Delux chassis that is too cool for school, and then my beloved ‘64 Deluxe non-reverb that is the best sounding amp in the world and a Pignose, just to reremind me of how old I am.


My latest is a Vintage Sound SC22 built by Rick Hayes in Florida. It’s basically a Fender Deluxe Reverb but with only one channel. It also contains the following, 22 Watts, Solid Pine Cabinet, Middle Tone Control, Bright Cap Defeat Switch, Reverb Dwell Control and Diaz based Tremolo Mod. Great sounding amp with my Strats and Tenny.


Well quite a selection -- leaning to boutique and modern design stuff. Glad also that My Demented Projects led to progress on the Powdog Premier restoration.

Also gratifying to see when someone is Happy as Hell when a long-desired acquisition comes in, like Mr. Howard"S '64 Deluxe.

I seem to be pretty well covered at 4 amps - 5 counting the clean in box Micro Cube coming in from KC Ed. But it's really not an amp, it's 1/2 of my acoustic guitar.

One name that seems to have dropped off the face of the earth (to me) is Peavey. They used to be everywhere backing up everyone. Maybe they have put all their cards in the EVH hard rock scene....I have no idea. But I am just seeing them less.


The last amp my gal picked up was the 1966 AC30.

There's not too many gaps in what she wants, and without the impulse buys from guitar shows the inventory has been pretty stable for a while


I am still in search of the ultimate amp. As a means of helping this search, I bought a Fender Super Champ XD housed in a custom built mahogany (I think) cabinet with a 12 inch speaker a few years ago. The goal was to sample the various models offered within it and then buy the preferred amp.

While I have no delusions about it, I have been very happy with the amp. It meets my needs and sounds good. I prefer the clean channel which has a Blackface tone but it’s nice to change to a brown face one by simply stepping on the foot switch.

The downside to this amp is that I also own a Fender Champion 100 which has similar tones with two 12 inch speakers but also has the ability to dial up each channel differently as compared to the same settings for both channels in the XD. The Super Champ XD wins overall for its size and portability.

While I am thinking about a Fender Deluxe Tone Master or maybe a Fender Princeton, as stated above the Super Champ XD currently meets my needs. I like the tones, portability and affordability. I have some nice guitars and can’t help wondering if some cork sniffery on my part is involved with my logic that I need a better amp to better appreciate the guitars. One day a GAS attack will win out, but I’m satisfied in the meantime.



That could be just stained pine... here's my Fender PRRI knotty pine, looks very much the same as yours:


Well I've spoken at length here about my bigger amps: a 65 Ampeg Gemini, and a lo-powered Plexi thing that I built (also with one of Ethan's cabinets).

But I recently took my little Vox AC4TV on a road trip, and I really enjoyed getting to spend some quality time with it. It's basically a Champ circuit, with a power switch allowing 4, 1, or 1/4 watt modes, all into a Weber Alnico Silver 10". It just always sounds good, it seems to be perpetually in that in-between-clean-and-dirty edge-of-breakup tone that I love. I wish it had reverb, but that's obviously not its thing. I took a delay pedal with me, and that gave me the space I needed.


The last amp my gal picked up was the 1966 AC30.

There's not too many gaps in what she wants, and without the impulse buys from guitar shows the inventory has been pretty stable for a while

– jim W

Those old wood case Epi amps are cool and not terribly expensive. Nice collection!


Would like to remind The Assembled Amp Multitudes that my restored Musicmaster Bass amp thru a good cab and good 12 -- was pretty cool. A Blues Dude in New Orleans has it now.

9 watts outta 2 smokin' 6AQ5s put it right in the sweet spot between 6 watt Champ and 12 wattt Princeton.



That could be just stained pine... here's my Fender PRRI knotty pine, looks very much the same as yours:

– ruger9

Nice Princeton, Ruger. You may be correct. I just remember the seller/builder saying something about mahogany but don’t remember exactly what. I don’t know the difference and therefore put it in question. Thanks


the most recent thing i bought was a Vox AC15...i forget the model number, but it has a Top Boost channel and came with a Celestion Greenback. but the amp i started using most recently is a weird little head i was given by Charlie Pastorfield. he had no idea what it was, so i did some research and figured out that it's a Hammond AO-35 tube amp driver from the reverb unit in an A-100 organ. 2 EL84 power tubes, 2 preamp tubes, and a rectifier tube. this chassis was the blueprint for the Dr. Z Carmen Ghia amp, but that had only volume and tone knobs while mine has gain and master volume plus a mysterious chickenhead knob on the back panel labeled "WHOOPASS" which makes it go from reasonably clean to utterly berserk. i have no idea what the Mystery Knob does, or how...i am quite ignorant as to the workings of amplifiers. but it definitely boosts gain somewhere in the circuit. you can hear the inherent noise of the circuit get louder as you crank it further up. anyway, it's a terrific little amp. right now it's in a fairly shabby homemade cabinet. i'm going to have a new box made; in honor of its obscure lineage i decided to call it the Mystery Machine, and will cover it in purple Tolex with a MM logo like the Scooby-Doo van on the control panel. it sounded great at the UG Roundup through a 12" Weber California D120 clone that Charlie also gave me, and i'm eager to try it with a Greenback and the 2×12" cab i'm going to do with Fane-alikes, either the Reeves or the Weber Thames. i thought of getting vintage Fanes, but good ones go for $250-350 USD and that's too dear for my budget. i think i'm going to try an Alnico Blue in the AC15 and put the Greenback in a separate 1×12. i've come to believe that the kind of speaker you use is almost as important as which amp and type of pickups you use, and am trying to give myself as many options as possible for recording. i also want to replace the 2×12 with alnico Jensens i had in the 00s, which i really liked and worked very well. i generally prefer 2 speakers in a cabinet rather than one for that additional bit of tonal complexity you get from two not-quite-identical speakers...however, i'm afraid of mixing two different brands of speaker in one box because i already have enough choices to boil my brain. but anyway, it's a really neat little package of EL84-powered dynamite that can do anything from nice quiet jazz to Rust Never Sleeps. thanks, Charlie.

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