For a good percentage of 6-string guitarists out there, a tube amp isn’t just the preferred way to achieve the ultimate tone—it’s heresy to consider playing anything that doesn’t have glowing valves around back. And the longer you play, the more likely it is that you’ve been through a bunch of brands, models, and output-tube types in effort to find the sound(s) in your head. We all tend to start out with what we can afford, and gradually we graduate to something better—and better again—all to achieve the next degree of tonal satisfaction.
But at some point, most of us tube-amp fans also experience some sort of failure related to this arcane—yet fantastic and sonically satisfying— technology from the 1950s, and it’s often at the worst possible time. Unfortunately, there’s no practical or accurate way to predict when or where this will occur. But, as someone who has been in the repair and modification business for more than 25 years, I can tell you there’s a very good chance it’ll happen to you sometime if it hasn’t already. Sans a crystal ball and the ability to see into the future, the best way to prepare is to practice preventive maintenance and be prepared for the inevitable with a little bit of basic knowledge and the proper contingent of tools and parts to back it up. To that end, this article will furnish you with must-know information that will help save the gig and allow you to execute basic troubleshooting and repair on your amplifier.
Tube-Amp First-Aid Kit Essentials
Every guitarist who plays a tube amp, whether it’s a combo or a head and cab, should have the following tools and spare parts on hand to address low level first-aid needs:
- LED flashlight
- Small, inexpensive multimeter
- 1/4" female-to-female mono adapter
- Extra speaker cable
- Small flat-blade screwdriver
- Standard-size flat-blade screwdriver
- Philips screwdriver (for removing rear panel)
- Spare fuses
- Spare rectifier tube (if applicable)
- Spare set of matched power tubes
- At least one spare of each type of preamp-type tube in your amp
- Oven mitt or ‘Ove’ Glove
- Electronic contact cleaner without lubricant (for cleaning tube sockets)
- Electronic contact cleaner with lubricant (for cleaning 1/4" jacks)
- Spare amp, head, or power-amp pedal (for emergency gig triage)
- 1' speaker-extension cable with 1/4" male and female
- 1/4" connectors OR a 1/4" female-to-female mono adapter
Gig-Meltdown Triage
If your tube combo dies on a gig, a pint-sized solid-state head like the Orange Micro Terror or a small, mic-able solid-state amp such as the Roland CUBE-80XL—perhaps paired with your favorite overdrive/distortion pedal—will get you through the gig and avoid the embarrassment of cancelling mid-show.
The first and most important tip I can give is to bring a spare amp to every gig. If you notice, quite a few of the players you see in television performances have two amps of the same make. This is generally not for increased volume, tonal variety, or to look cool—it’s life insurance. There’s no time to change out or troubleshoot an amp in that situation, and it would certainly be an epic fail if you were performing on a latenight talk show and your one and only amp failed during the performance of a lifetime.
I know some of you will say you either can’t afford or don’t have room for another amp in your car, band van, or on your stage, but your backup doesn’t have to be the same model you normally prefer. If you don’t have another tube amp that’ll suffice, many solid-state options on the market offer an affordable solution. Remember, your backup doesn’t have to blow minds with its peerless tonal ecstasy—it just has to get you through the gig.
Stompbox-sized amps like the Electro-Harmonix Caliber 22 (above) and Diago Little Smasher (below) are an easy-as-pie lifesaver when your tube amp melts down on the go.
Whether you play a combo or a stack, you just need a spare head or combo with a speaker out. Something like an Orange Micro Terror head ($149 street) or a Roland CUBE- 80XL combo ($379 street) and an overdrive pedal will do—and if the volume isn’t raging, you can just mic the cab. Or, if most of your tone shaping comes from pedals and outboard gear, something like the überportable Electro-Harmonix Magnum 44 ($150 street) or Diago Little Smasher ($190 street) can be a godsend—even if you still need to mic your cab.
With most tube combos, you can use a 1/4" male-tofemale speaker cable or female-to-female mono adapter (which costs approximately $2 street) and another speaker cable to connect the internal speaker to your backup power amp. (Note: Because most cable adapters, whether male-to-female or female-to-female, aren’t up to the same specs as quality speaker cable, you should only resort to using them for short periods such as during an emergency onstage meltdown.) All of the aforementioned options are light, portable solutions that can be kept on hand with minimal inconvenience so you can do a quick swap and troubleshoot your main amp during a break or after your gig—when you’re not under performance pressure. That’s much more expedient than troubleshooting onstage—and it will keep your bandmates and audience happy.
Troubleshooting After the Gig
Because fuses can often appear good to the naked eye, it’s best to test them with a multimeter set to read continuity in ohms.
Now let’s move on to actual first-aid measures. It goes without saying, that if you think your amp may have issues, it’s probably either because it doesn’t sound right or isn’t making sound at all. Although it’s a bummer to deal with this at all, hopefully it happens at home or during a rehearsal, so it doesn’t interrupt a gig.
The first step to take when you think there’s something wrong with your amp is to make sure it’s actually the amp that’s faulty. To do so, first, plug directly into your amp, bypassing any pedals or effects gear. If the amp functions properly, look elsewhere in the signal chain to pinpoint the problem. If it still won’t work, try a different 1/4" cable, and if that doesn’t fix the problem, use a different guitar. If the problem persists, it’s probably your amp. The following sections detail some of the most common issues that the average guitarist should feel comfortable detecting and rectifying (forgive the pun) without going to an experienced amp-repair tech.
Is the Indicator Lamp Illuminated?
Some fuse holders are integrated with the line-cord receptacle and require a small flathead screwdriver.
If not, it’s probably because of a blown fuse. Usually a fuse blows due to a failure in the amp, but occasionally it’s due to something as simple as a power surge. Because fuses can sometimes look good to the naked eye even when they’re blown, the best way to check is to use a multimeter. Set the meter to read continuity in ohms (Ω) and measure across the fuse. If the meter indicates continuity or an almost zero reading, the fuse is good. If not, you’ll need to replace it.
To avoid buzzkill during a productive home jam session or band rehearsal, I recommend you get to know the fuses in all your amps and carry extras so you can pop them in and keep rocking. Some fuse holders are easy to find and as easy to operate as a push and a turn. Some require use of a flat-blade screwdriver. Others are an integral part of the line-cord receptacle and require you to remove the cord and use a small flat-blade screwdriver to pry out the fuse holder. Whichever type your amp uses, check the value of the fuse currently installed—especially if you’re not the original owner—and make sure it’s correct. If your amp has multiple fuses, such as a high-tension (aka “high-voltage” or “HT”) or output fuse, make sure you have multiple replacements for each.
One point that’s crucial to keep in mind is that you should never replace the fuse with a substantially higher current rating just to keep the amp running. If a fuse of the correct value continues to fail, the amp has a problem that needs to be addressed.
In such a scenario, possible causes for repeated fuse failure could be:
- A faulty rectifier tube. If your amp uses tube rectification in its power supply, a shorted rectifier tube can cause a fuse to repeatedly blow. To see if this is the case, locate the rectifier tube in the amp—it’s usually the tube closest to the mains (AC) transformer, and it’s typically a 5U4, 5Y3, 5AR4, GZ34, or 6X4. (Side note: It’s a good idea to know what kind of rectifiers are used in all your amps and to keep one of each necessary type in your spares kit.) After you’ve located the rectifier, install a new fuse and a new rectifier tube and try the amp again. If it now functions properly, you’ve found the cause of the failure. If not, replace the original rectifier tube and continue troubleshooting.
- A faulty output tube. This is an especially likely culprit if the fuse(s) failing is an HT or output fuse. If you suspect this is a problem, install the new fuse(s) and replace the full set of matched power tubes. If this corrects the fuse-blowing issue, you’ve found the cause of the failure. However, this unfortunately does not mean the amp has a clean bill of health. Some tube failure can cause internal components to fail. If you replace the power tubes and notice lackluster performance, an increase in hum, or one or more tubes glowing exceptionally red, the amp will need to be serviced by an experienced tech, because more than likely the grid or screen-grid resistor(s) have failed. If replacing the output tubes has not alleviated the problem, re-install the original tubes and have the amp serviced by an experienced tech.
Tube Tip
Whether they’re preamp or output tubes, valves of the same type (e.g., EL84, EL34, GZ34, or 12AX7) from different manufacturers do sound different. Whenever possible, make sure the tubes in your spares kit are from the same manufacturer as those currently installed in your amp. This is especially true with regard to output tubes: While preamp tubes from different companies can result in differences in tone and gain, output tubes from different manufacturers tend to bias up quite differently. So staying with the same manufacturer—and, if the tubes are graded, replacing with the same grade—should avoid having to get the amp re-biased.
In a pinch, you can replace power tubes of different brands or grades to get through a gig, but be sure to have the bias checked and/or set as soon as you can for optimal performance, tone, and lifespan.
Is the amp making rumbling or glassy, high-pitched noises?
An ‘Ove’ Glove or an everyday oven mitt is a handy tool for dampening hot preamp and power tubes to determine which is bad, as well as for removing them once you’ve isolated the offending valve.
If so, narrow down the source of the noise by turning down any internal effects such as reverb or tremolo, as well as all volume controls. With the amp in operating mode, hit the top of the amp with your hand or fist using moderate force. If this produces the noise in question, read the steps below:- If the noise is of a rumbling nature: It could indicate a faulty output tube. For a quick fix, replace the amp’s power tubes with a full set of matched output tubes. If this alleviates the noise, you’ve isolated and repaired the problem. If the problem persists, replace the original tubes and continue troubleshooting.
- If the noise is of a glassy or highpitched nature: It is likely due to a faulty preamp-type tube. Starting with the preamp-type tubes closest to the output tubes, tap each one with your fingernail or the end of a pencil. If one in particular produces the noise in question, replace that tube. If this alleviates the noise, you’ve found the problem. If not, replace the original and continue this process with the remaining preamp tubes. If more than one tube produces the noise during the tapping process, a trick to narrowing down the possible offender is to attempt to dampen the adjoining tubes while tapping. This can usually be done by placing your hand on as many of the tubes as possible except the one you’re tapping on. If they’re too hot to perform this barehanded, use an oven mitt or ‘Ove’ Glove. This same technique can be used to find an offending output tube.
If tapping on the amp with all the volume controls set to minimum produces no noise, set all the volume controls to your typical settings and try again. If the noise in question is now present, go through the preamp-tube tap test once again, starting with the tubes closest to the input(s) of the amp—you’ve most likely narrowed it down to the first couple of gain stages.
If none of the above troubleshooting techniques produce the noise in question and your amp has a mechanical type reverb (i.e., a spring unit), turn up the reverb control. If the noise is now present, the reverb drive and/or recovery tube could be the cause. Unless you know the specific location of these tubes, you may need to go through the tap test one more time to find exactly which tube is at fault. (If your amp is a blackface or silverface Fender style, looking at the amp from the rear, the reverb-driver tube is generally a 12AT7 and it’s usually third from the right, while the 12AX7 reverb recovery tube is fourth from the right, just past the small transformer.)
Is the amp making crackling or popping noises when you’re not playing?
If so, this is can be caused by faulty preamp or power tubes. The best course of action here is pure substitution. One by one, replace each preamp tube and see if it alleviates the noise. If none of the preamp tubes seem to be the cause, try replacing the full set of output tubes with your set of matched spares. If no tube substitution alleviates the problem, the amp will need to be serviced, because there’s a good chance it has a failing plate or cathode resistor in the preamp.
Is the amp making loud, static- like noises when you play?
If your amp is making loud, static-y sounds when you play, you may need to clean its tube sockets with electronic contact cleaner.
This could be due to dirty, oxidized, or compromised connections in the tube sockets. To find out, while the amp is in operate mode, wiggle each tube, starting with the output tubes— which are usually the biggest offender. In order to avoid blurting out expletives in front of children or others with sensitive ears, be prepared for the amp to make a loud crackling noise. If it does, there’s a good chance the sockets are dirty or oxidized. More times than not, the fix is a good cleaning—and that’s something anyone can do.
Before removing tubes to clean their sockets, label the tubes and their sockets to ensure you replace them in the spots that were producing satisfactory results prior to the static problem.
To clean the sockets, turn the amp off and remove the tubes once they’re cool, being sure to take note of their locations in the amp. I recommend marking each tube and its associated socket with a Sharpie (“1,” “2,” etc.) while you’re removing them. One by one, spray a couple of shots of electronic contact cleaner, and then insert and remove each tube in the socket 8 to 10 times. (Note: Be sure your electronic contact cleaner is the type without lubricant— lubricant can attract dust and debris, which can become conductive.) Once you’ve cleaned all the sockets, leave all of the tubes out for 5 to 10 minutes so that the cleaner can evaporate. After the sockets are dry, replace the tubes and try the amp again. If the symptom has cleared up, you’ve taken care of the issue. If not, try the socketcleaning procedure again—sometimes it can take more than one cleaning to get the job done. If the problem still persists after a couple of cleanings, the sockets may need to be re-tensioned or replaced, which is probably best left to a professional.
Does sound from the amp cut in and out while you play?
If your amp cuts in and out during play, your effects-loop jacks may need cleaning with an electronic contact cleaner that has lubricant.
This can be due to quite a few things, one of which can be related to the tube sockets (see the previous section on cleaning tube sockets).
If your amp has an effects loop, the problem could also be that the contacts in its 1/4" jacks are dirty or oxidized—especially if you don’t use the loop. To remedy this, spray electronic contact cleaner—only this time use the type that does have lubricant— into each jack, and then insert and remove a cable 8 to 10 times. Afterward, leave the plugs inserted for 15–30 minutes— or even overnight, if possible. This will leave the jacks’ switching contacts open and give the cleaner a chance to dry. You can then remove the cable and try the amp again. (Note: As a preventive measure, it’s not a bad idea to perform this type of jack cleaning on your input and speaker jacks.)
Does the amp not make sound at all?
If your amp isn’t making any sound, it may have a bad speaker connection. You can test whether the speaker is getting a proper signal by connecting one multimeter lead to the sleeve (as shown with the black lead above) and the other to the tip.
This can be due to an open speaker connection. To check for this, unplug the speaker cable from the head (leaving the other end connected to the cab), and use your multimeter to measure the resistance of the speaker load. Set the meter to read resistance in ohms, connect one lead of the meter to the body (sleeve) of the plug, and then connect the other to the tip. A typical 16 Ω load will measure approximately 12–14 ohms, an 8 Ω load will measure approximately 6–7 Ω, and a 4 Ω load will measure approximately 3 Ω DC resistance with the meter. If you can’t get a resistance measurement, try again with a spare speaker cable. (Note: For testing purposes, a 1/4" instrument cable can be used, but you should not use one as a permanent substitute for a proper speaker cable.)
Although they may require a bit of a tug, the quick connects on many combo speakers can be removed to facilitate testing of the speaker’s resistance—which can help you determine whether the speaker cable has gone bad.
If you have a combo and you can’t get a reading at the end of the combo speaker cable, perform the resistance test right at the terminals on the speaker itself. I have seen numerous instances where inexpensive combo speaker cables with the molded plastic ends have failed, so it’s not a bad idea to replace these with an upgraded cable as a preventive measure—because an open speaker cable can cause substantial damage to a tube amp. If you happen to have a combo where the speaker is hardwired (i.e., it does not have a 1/4" jack you can disconnect from the chassis) and you still wish to check the speaker resistance, you will need to disconnect one of the leads coming from the chassis to the speaker(s). Luckily some amps use quick connects to attach the speaker leads. If this is the case, simply remove one connector from the speaker (this may take some force, but it will come off) and measure the speaker resistance by connecting the meter leads directly to the speaker terminals. If your hardwired speaker doesn’t have quick connects, you’ll need to unsolder one of the leads. (Note: Checking speaker resistance with the speakers still connected to the amplifier will result in a false reading. Because the amp’s output-transformer resistance is extremely low, it will cause your reading to look like the speaker(s) are shorted, which is almost never the case.)
Be Prepared—and Don’t Get in Too Deep
A number of issues with tube amps can be alleviated by even the most risk-averse and electrically un-inclined guitarist using the tools and methods discussed here. The most important thing is to have the proper instruments and supplies on hand and to follow the right processes. We recommend keeping this story handy (you can access it for free online or get the Premier Guitar app for Android or iPhone) so you can follow the steps outlined here precisely every time.
Hopefully your amp woes never become so great that these fixes don’t solve the problem, but if they do, be sure to document the problem well and get in touch with a qualified amp-repair person so they can help you get up and wailing again with minimal downtime.
[Updated 12/1/21]
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Follow some super-hip players and studios on the cutting edge and you’ll find a host of meticulously crafted boutique amps. And for the various flavors of road-dogs, there’s also the emerging force of modeling units that emulate everything under the sun.
Then there are the players who have to go to the source and are doing the tone-gods’ work by keeping vintage amps in the game. (There are a lot of us, and we take our work seriously.) At the highest level of stage and studio, you’ll find the elite vintage models—the tweeds, black-panels, plexis, and all their pals. Those amps command their fair share of literal and digital ink. Then there are the oddball selections that some new player will bring to everyone’s attention.
But there’s a less-hyped flavor of vintage amp that actually shows up much more often than those rare gems. These are the everlasting classics you’ve seen about a million or so times played by bands in every size of stage and lining the walls of your favorite studio. They’re the perennial workhorses whose reputations thrive because of some formula of tone, consistency, reliability, and—maybe the most important variable—price.
Brooklyn-based amp-repair guru Pat Kauffman operates Patrick Kauffman Electronics out of Main Drag Music, where he also teaches amp-building workshops.
Here are six of these vintage models, all priced to fit in a gigging budget, coming in right around $1,000 or less as of this writing. With a trio of experts on hand, here’s an idea of what makes each of these amps tick all these years after they were first introduced.
Silver-Panel Fender Bassman
A drip-edge era Fender Bassman head.
Photo by Pat Kauffman
The Fender Bassman is, of course, one of the most classic amplifiers. The tweed Bassman circuit is one of the most copied and modified circuits of all, serving as a platform for so many designs to follow, most notably Marshalls, as well as a couple more on this list. By the time the silver-panel era began, first with the drip-edge years starting in 1967, the Bassman circuit had evolved from those early days through the also highly coveted black-panel era.
“The silver-panel is not that different from the black-panel,” notes Brooklyn amp-repair guru Pat Kauffman, “and you can easily modify them to black-panel specs—they’re the same transformers.” Both eras kick out 50 watts—though there are quite a few variations, such as Bassman 100, 135, and more than a few others, we’re simply talking about the “Bassman”—and host a tube set that includes a pair of 6L6 power tubes, a trio of 12AX7s, and an ECC81.
“I think the right person can get their own signature tone from these, and it’s not gonna be one that will come from a Fender, it’s not gonna come from a Marshall.” —Jeff Bober on the Ampeg Gemini
This era of Fender Bassmans deliver plenty of headroom, but unlike the Fender “reverb” amps, Kauffman points out there’s an extra gain stage, which he says “gives it a little more grit that makes them kind of unique.”
Jeff Bober, former PGamp columnist and cofounder of Budda Amplification, adds that the silver-panel Bassmans “compress earlier, which might be a little opposite of what they were going for, so you can push the front end a little easier.”
Even better, Kauffman points out that they’re “easily serviceable. That’s key number one—all the parts are available.”
Ampeg Gemini
This Ampeg Gemini II combo includes a 15" speaker.
Photo by Pat Kauffman
If you feel like you’ve seen an Ampeg combo in most studios you’ve ever entered, you probably wouldn’t be exaggerating. And there’s a good chance that a lot of those were an Ampeg Gemini or Gemini II, offered starting in the mid ’60s, with a few variations over its life, from 22 to 30 watts, with speaker offerings ranging from a single 12" to a 15", and in later eras with more watts and more speaker configurations.
Because of their size, these are less common on stage than they are in studio, but Bober—who is a proud native of Ampeg’s hometown of Linden, New Jersey—says of the Geminis as well as the smaller, and also very cool, 12-watt Ampeg Jet, “They have their own unique sound, they’re not all that loud to start with so if you’re in a situation where you can crank an amp a little bit, these are really good to do it.”
Jeff Bober founded Budda and EAST Amplification and was the author of PG’s Ask Amp Man column.
These full-featured combos have onboard reverb and tremolo, and they use a set of 7591 power tubes. Bober points out these are “more of a hi-fi-sounding, very full-bodied tube” that he describes as “somewhere between a 6V6 and a 6L6 power-wise, but with a different tonality.” He adds, “I think the right person can get their own signature tone from these, and it’s not gonna be one that will come from a Fender, it’s not gonna come from a Marshall.”
While these amps are known for their reliability as well as well as their unique sound, Kauffman points out that the phase-inverter tube, a 7199, has gotten expensive in the modern market: “A lot of times, they’ve been changed out to different tubes, or they have a little converter adapter in, so that’s something to look out for.”
Traynor YBA-1 Bass Master
With two inputs per channel, it’s easy to “jump” channels with a patch cable to extend the voice of the Traynor YBA-1.
Photo by Thunder Road on Reverb
Beloved by both guitarists and bassists, the 45-watt Traynor YBA-1 circuit was the company’s first offering in 1963, when it was called the Dyna-Bass. By the next year, it was retitled the Bass-Master and the title stuck. While the company didn’t have the name recognition of a Fender or Ampeg, they developed an underground reputation that is still going strong. In 1969, Traynor provided the backline to 1969’s Toronto Rock ’N’ Roll Revival concert, where the Plastic Ono Band recorded their Live Peace in Toronto 1969 live album, and which was later celebrated in the 2022 documentary REVIVAL69: The Concert That Rocked the World.
The YBA-1’s simple 3-band EQ control set and 2-knob “range expander” make for easy tone-sculpting, and jumping the channels with a small patch cable opens its voice even wider. Kauffman calls the amp a “Bassman on steroids.” He points out that some models use 7027 power tubes—“basically a beefier 6L6”—and others use 6CA7s, plus a pair of 12AX7s and an ECC83. These amps are easily modified to replicate a JTM45 circuit, which is a popular change for some, but many players prefer to keep them unchanged.
“People who are Traynor fans are Traynor fans. They’ve either owned one and sold it and regret it, or they own three of them.” —Blair White on the Traynor YBA-1
Bober says that the YBA-1 is “built as good as any Fender or eyelet-board kind of design. They have probably the biggest transformers for their power rating of amps being built at that time. They’re very clean circuits, great pedal platforms, and they sound great.”
Blair White, owner of Nashville’s Eastside Music Supply, has witnessed the cult of Traynor firsthand and says, “People who are Traynor fans are Traynor fans. They’ve either owned one and sold it and regret it, or they own three of them.” Despite their reputation as well-made, reliable amps with a great tone, White notes that they’re still easy to get a hold of: “I don’t know if it’s just because it was not Fender or Marshall, but for whatever reason, you can still find those for $600 or $700.”
Sovtek MIG
This Sovtek Mig 100h is the high-gain member of the Mig family.
Photo by Brent’s Gear Depot on Reverb
Built in Russia by New Sensor starting in 1991, this head, which came in 50-, 60-, and 100-watt models, is another spin on the same tweed Bassman formula that begat the JTM45 and the Traynor YBA-1. Running a pair of 5881 power tubes and a pair of 12AX7s, the MIGs featured a solid-state rectifier and a slightly slimmed-down control set from the Bass-Master, with two independent volume controls (non-jumper-able), a 3-band EQ, and a presence knob.
In an A/B comparison with the modern EHX MIG 50, where both sound identical (or close to it), JHS Pedals’ head honcho Josh Scott has gone on the record and called the MIG 50 his “favorite amp in the history of the world.” The modern ones tend to come in a little less expensive than the vintage models, which Bober points out have an “iffy” build quality thanks to their Eastern Block components.
“They have a cascading input, so there is an extra gain stage like the JCM800s.” —Pat Kauffman on the Sovtek MIG
Kauffman agrees, “They’re a little awkward to service. A lot of the hardware is kind of cheap, so you’ll often find the jacks busting and the pots busting.” You might want to look out for a deal if you’re considering a vintage model, which could be well worth your time. Kauffman adds that the MIGs have their own cult and calls them “fantastic-sounding amps. They have a cascading input, so there is an extra gain stage like the JCM800s, so they kind of have this Marshall sound but a little more rounded.” If Scott’s comparison tells us anything, the modern version is also worth checking out.
Music Man HD-130
The powerful Music Man HD-130 in its oddball 2x10 form—that’s a lot of power to push through two little speakers!
Photo by Main Drag on Reverb
When Music Man amps hit the scene in the mid ’70s, they were unlike anything Leo Fender had set out to do with his previous designs. Gone was the simple, efficient circuitry of his earlier work. Instead, Music Man amps featured a hybrid solid-state preamp and tube power amp, with the clear target of maximum headroom.
The HD-130 was the most extreme of Music Man’s offerings, delivering a sizzling 130 watts via four 6CA7 power tubes and available in both head and combo form. (If that sounds too extreme, you could get it shrunk down to a small 2x10 combo… but with no less wattage!) The master-volume control set features two channels each with a 3-band EQ and a bright switch, plus combo models and some heads included reverb and tremolo.
Blair White, co-owner of Nashville’s Eastside Music Supply, is so passionate that he spoke to PGwhile movers were loading the store’s gear into their new location!
“Those amps are punishing!” says White. “They’re probably the most bang for your buck that you’ll get as far as power and wattage. Their unique formula certainly got the attention of some major players, and Mark Knopfler, Robbie Robertson, and Johnny Winter all counted on them at some point.”
These days, Kauffman says they remain quite reliable, but issues can arise with modern tubes. “They use high plate voltages, which tends to eat new tubes,” he explains. “If you get the electrolytic caps replaced and have the tubes biased correctly, they really should be reliable. But if you’re having a problem, it’s usually cooking power tubes because they’re a new set.” He adds that, while tube supply changes, he currently finds JJ EL34s to hold up well against the HD-130’s high voltage.
Peavey Mace
The 160-watt Peavey Mace promises extreme volume with high clean headroom plus onboard distortion and phaser.
Photo by Free Lunch on Reverb
No list of great-value amps is complete without a Peavey. Of course, their broad range of models over the years made it hard to decide which to include. At a whopping 160 watts, the Peavey Mace made the cut, if only for sheer power. It’s another hybrid amp, combining a whopping sextet of 6L6s in the power section with a solid-state preamp in both head and 2x12 combo form. Their clean headroom puts them in a class with the HD-130 and also put them onstage with Lynyrd Skynyrd’s Gary Rossington.
The Mace is less common than most of the others on this list, but late-’70s models are fairly easy to track down. Bober says, “If you want loud and clean, those are great amps.” But he notes that the Mace is “not the most accurate pedal platform. Drive or overdrive pedals tend to try and push the front end to get more juice, but things that have IC chips in the front end don’t respond the same way, they don’t agree to being pushed to their limits, and they don’t generate the same harmonics as a tube does.” The Mace has both a normal and effects channel, which includes distortion and reverb, as well as an onboard phaser.
Kauffman reports from his work bench that the Mace is “great and reliable.” He explains that these amps were built on a printed circuit board, and he tends to see bad solder joints when they come in for service. That’s nothing to be afraid of though. “If you have one,” he says, “you could get it cleaned up, change the electrolytic caps, and have it resoldered, and you should be fine.”
At 160 watts, you’ll want to make sure you have your earplugs handy.
We love “Cult of Personality” because it’s one of the hardest hitting riffs in the classic rock canon. Catch it on drivetime radio and it’ll get your heart pumping faster than an extra double-shot of espresso. But we also love it because it launched Vernon Reid’s guitar into the mainstream. We’re unpacking Reid’s playing—from his early days in the NYC jazz underground through his work with Living Colour and into supergroup superstardom—and his longstanding gear-acquisition-syndrome.
