If you survey the gear that shows up on stages and studios for long enough, you’ll spot some patterns in the kinds of guitar amplification players are using. There’s the rotating cast of backline badasses that do the bulk of the work cranking it out every day and night—we’re all looking at you, ’65 Deluxe Reverb reissue.
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.
- Silver and Black: Tips for Buying Vintage Fender Amps ›
- Ask Amp Man: Beefing Up a Vintage Fender Vibrolux Reverb ›
- The 10 Biggest Problems With Vintage Fender Amps ›
Keeley Octa Psi Transfigurating Fuzz Pedal with Polyphonic Pitch Shifting
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“I’m a fan of the riff,” says Jerry Cantrell. “I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into
Over the better part of an hour, only a couple of points of discussion seem to stoke his ire. One would be ’90s-era culture writers who felt compelled to brand a wide range of interesting bands from the same city (Seattle) with the same hollow tag (grunge). “It’s just a fucking label,” he says. “But I get it. You gotta have a fucking descriptor.” (When he gets miffed, or especially enthusiastic, Cantrell’s F-bombs can progress from steady punctuation to military fusillade.)
Another pet peeve: Those who seem bewildered by the fact that his solo work often evokes Alice in Chains. “It always trips me out,” he says, “when I hear comments or get questions all the time, like, ‘Well, this sounds like Alice.’ Well, what do you think it was going to sound like? I’m the guitar player and the songwriter of Alice. That’s what I do. Do you want me to not be myself? It’s just a bizarre, bizarre thing.” A big laugh follows.
“I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into. I look at it like depositing money in a bank.”
Cantrell, 58, has a right to feel irked by such exchanges. After all, he and the classic Alice lineup of vocalist Layne Staley, bassist Mike Starr, and drummer Sean Kinney invented a mesmeric, instantly identifiable sound that continues to stand alone in heavy music. On paper, the Alice formula doesn’t indicate multi-platinum success outright: off-kilter vocal harmonies shared between Staley and Cantrell, which can call to mind arcane American folk music or the classical avant-garde; parts written in odd time; lyrics about the most wrenching depths of drug addiction, a black cloud that followed the band throughout its ascent and tragically claimed Staley’s life in 2002 and Starr’s in 2011.
But Cantrell and Alice were also dedicated students of hard-rock history, who, along with their Seattle peers Soundgarden, helped to reinvent chart-topping metal for the alternative-rock era. To be sure, the guitarist ranks among the great riff maestros, and his solos, whether all-out wailing or comprised of a few bluesy bends, always had weight and meaning within the context of the song. And with all due respect to Extreme, no other hard-rock act explored acoustic music with more brilliant results.
Boasting nine tracks and coproduced by Cantrell and Joe Barresi, I Want Blood keeps the guitarist’s expert riffs and lyrical solos front and center.
On their masterpiece, the 1992 album Dirt, Alice in Chains managed to take Black Sabbath’s template for molten riffs into stranger, more artful, and more desperate territory, yet they also crafted tracks chock-full of hooks. A seamless meld of pop moves and bone-crushing heaviness is something of a holy grail for hard-rock songwriters and producers, and Dirt nabs it. Think of tracks like “Them Bones,” with its 7/8 intro riff and aslant vocal-harmony verses that resolve into a punchy, satisfying chorus—among the pithiest assessments of mortality in rock ’n’ roll. Or “Rooster,” an homage to Cantrell’s Vietnam-veteran father, with its left-field R&B harmonies and molasses-drip tempo. Somehow, these are songs that can rattle around in your brain throughout entire road trips or workdays; as of this writing, Dirt has sold five-million copies in the U.S.
“Let the players find their songs, and the songs find their players.”
Cantrell’s new album, I Want Blood, is his fourth solo release, and it’s a strong argument that he should continue to sound like himself and his legacy. Coproduced by Cantrell and hard-rock studio wizard Joe Barresi, its nine tracks tap into the Alice in Chains aesthetic in a way that will hit a sweet spot for longtime fans. As on the albums that Alice has released since Staley’s passing, with vocalist William DuVall, that indefinable sense of unease, that smoky ambiance of dread, isn’t so enveloping. But Cantrell’s most crucial gifts—the riff science, the knack for hooks, the belief that solos should be lyrical, musical, singable—are front and center, and razor-sharp.
What’s more, he’s recruited fellow hard-rock royalty to fulfill this vision. In addition to Barresi, whose credits comprise Kyuss, Melvins, Tool, QotSA and many, many others, the album’s personnel includes bassists Robert Trujillo and Duff McKagan, and drummers Mike Bordin (Faith No More) and Gil Sharone (Marilyn Manson, the Dillinger Escape Plan).
Through Alice in Chains’ rise in the early ’90s to recent years, Cantrell’s hard-rock presence has remained unshakeable. Here, he strikes a timeless rock 'n' roll pose.
Photo by Jordi Vidal/PhotoFuss
I Want Blood is a ripper. “Vilified” couples a chunky metal riff with wah and talk-box accents and a wandering, Eastern-tinged melody; “Off the Rails” matches a line à la John Carpenter’s Halloween score with a groove-metal thrust, before a radio-ready chorus kicks in. Ditto the chorus of “Let It Lie,” whose verse riff is pure Sabbath bliss. The earworm title track is the stuff music-sync-licensing dreams are made of. When he dials the tempo back toward ballad territory, as on “Echoes of Laughter,” “Afterglow,” or “It Comes,” Cantrell’s instinct for songcraft seems to get even stronger. As with Alice’s best LPs, I Want Blood stays with you and grows on you until it’s in steady rotation.
So what of that songcraft? It’s been over three decades since Cantrell debuted on record, and he’s still mining heavy gold. What’s the strategy, and what’s the secret? Does Cantrell’s work get harder or easier as he edges toward 60? “There’s a duality to it,” he says. “So in one way, I can answer that it’s pretty easy for me to make music. And then also, it’s fucking incredibly difficult to make something good. It can be both.”
He details the three-part work cycle that has defined his adult life: “There’s the demo process of writing. There’s the preproduction and actual recording of a record. And then there’s the period where you go out and tour it, along with all your other material, in a set. During that last third of the process, I’m really not writing, but through all the phases I’m always collecting riffs.” He’s also continually listening to great music, and allowing it to seep in. In the previous week, Cantrell says, he’d “rocked a bunch of Bad Company, UFO, AC/DC, some Maiden, some Hank Williams, some Ernest Tubb, some ‘Jungle Boogie.’”
Jerry Cantrell's Gear
This photo, taken from underneath the stage, shows Cantrell in his element, performing with Alice in Chains at Lollapalooza in the early ’90s.
Photo by Ken Settle
Guitars
- G&L “Blue Dress” Rampage
- G&L “No War” Rampage
- Gibson “D Trip” Les Paul Custom
- Gibson Les Paul Junior
- Gibson Flying V
- G&L ASAT
Amps
- Bogner Fish preamp
- Friedman JJ-100 signature head
- Snorkeler (Bogner-modded Marshall JCM800)
Effects
- Dunlop Jerry Cantrell Firefly Cry Baby Wah
- MXR Jerry Cantrell Firefly Talk Box
- MXR EQ
- MXR EVH Flanger
- MXR Smart Gate
- MXR Timmy
- MXR Poly Blue Octave
- MXR Reverb
- Ibanez Tube Screamer
- Boss CE-5
- Boss DD-500
- Strymon Ola dBucket Chorus & Vibrato
Strings & Picks
- Dunlop strings
- Dunlop picks
“I’m a fan of the riff,” he adds. “I’m always collecting ideas, and you never know when they’re going to come, or what they’re going to turn into. I look at it like depositing money in a bank. Like if I’m in a dressing room somewhere and I’m just warming up, and I see [one of my bandmates] react to something that I’m playing—put it in the bank. If I have a superpower, it is being able to hear something that might be a cool thing to work up and develop into a full-on song.
“When I’m slugging out riffs and just jamming out, if it feels good to rock out and your head starts moving and your foot starts tapping and you got something good—you know. It’s got to hit on a primal level first, and satisfy in that way.”
Writing, then, is often the more cerebral duty of assembling the best of what Cantrell has accrued and documented. “Like Lego pieces,” he says. “That used to be one of my favorite toys when I was a kid—Legos. Building stuff, block by block.” But, Cantrell points out, the process can also be more straightforward; he’ll start with a single riff and attempt to build the song’s infrastructure out from there, “throwing options at it, and ideas,” he says.
Cantrell, pictured here at 27, has carried on his hard-rock legacy with confidence, defying those who question his support and continuation of Alice in Chains’ influential sound.
Photo by Ebet Roberts
“I don’t necessarily know where I’m going a lot of the time. I just know that I have an intention to get there, and I’ve been able to take that journey to completion and make some pretty decent albums and songs over the years. And so I have the confidence to know that I probably can do this again—if I just put my mind to it and go through the process and work my ass off in concert with a group of people who have the same thought process.”
“There should always be the threat that the train is going to come off the rails.”
Cantrell is most certainly a “band” guy. For I Want Blood, he decided to play through a bunch of the material with his famous friends in preproduction, rather than simply assigning them one or two songs to guest on: “Let the players find their songs, and the songs find their players,” as he puts it. “It might’ve been with a little bit of frustration, because they got day jobs in some pretty impressive bands.” Time wasn’t exactly plentiful, but he did get in some living-room jams and other sessions with Trujillo, Bordin, and McKagan that ensured each track had its best possible lineup. Fortunately, Cantrell’s coproducer, Barresi, is similarly averse to cutting corners. Cantrell describes him as “a long-haul trucker” who “doesn’t suffer fools.”
“I’m an architect who is also a builder. You know what I mean?” says the guitarist, alluding to the relentless, often tedious work of record-making.“There should always be the threat that the train is going to come off the rails,” he says. For both men, Cantrell explains, “When you’re done with the record is when you think you couldn’t have done it any better.” Or, as Barresi likes to say, “How do you know you’ve gone too far unless you’ve already been there?”
Barresi also has a kind of encyclopedic recall of rock sonics. “He’s a guy who knows where all the bodies are buried,” Cantrell says, “and any combo of stuff you want to achieve: ‘Like, you know that song in The Departed, the Stones tune where it sounds like the guitar is going through a Leslie?’ [“Let It Loose,” off Exile on Main Street.] ‘Yeah, I know that pedal, man. Let’s grab it.’ You give him a reference and he knows how to replicate it.”
“I love working with a lot of different colors,” Cantrell says. “So I’ll use any guitar or any amp or any pedal to get a certain sound, and that all comes with experimentation. But it always starts with the basics.”
“When you’re done with the record is when you think you couldn’t have done it any better.”
If you’re a faithful reader of Premier Guitar, you may already know what that means: two mid-’80s G&L Rampages and the Les Paul Custom that Cantrell relied on to write his 2002 solo album Degradation Trip (the instrument with the custom blowtorch finish job). In amps, his go-to was the Bogner Fish preamp that he immortalized in Alice in Chains, in addition to his Friedman JJ-100 signature head. Cantrell also mentions the Bogner-modded Marshall sound he’s known for—aka the fabled Snorkeler—alongside tones from Orange and Laney. Among the guitars that made the cut: a butterscotch Les Paul Junior that was a gift from Billie Joe Armstrong a couple years back. When asked about effects, picks, and strings, Cantrell responds that he’s “a Dunlop guy”—which includes his MXR Jerry Cantrell Firefly Talk Box and Dunlop signature Cry Baby wah pedals.
YouTube It
Live at the Grammy Museum in Los Angeles in 2021, Jerry Cantrell testifies to his status as one of the most iconic guitarists in hard-rock history.
Cantrell is a fount of anecdotes, and talking guitar is a great way to hear some of them. He first saw the Rampage onstage in a club, after moving from Washington to Dallas, Texas, in the mid-’80s. Later, he began jamming with some guys who played Rampages, and picked up a job at a music shop that their father managed. The shop was a G&L dealer, so Cantrell paid for his instruments in part by working there. The Rampage, he adds, “just felt right.”
“The guy who built the necks and bodies that Eddie used to build his guitars was right in my backyard.”
“You gotta give a lot of credit to Eddie Van Halen,” he adds. “[The Rampage] was basically Leo Fender’s answer to Frankenstein, to the Charvel/Jackson model. One tremolo, one knob, one humbucker; that’s it. No-nonsense, just a meat-and-potatoes rock ’n’ roll guitar.”
A few years before the Rampage—Cantrell pinpoints 1979, because Van Halen II was out—he obtained a neck that was originally intended for EVH, and used it on a Strat he built himself in woodshop. The neck was payment from Boogie Bodies, the legendary guitar-parts manufacturer where Lynn Ellsworth and Jim Warmoth laid the foundation for the Superstrat era. “That shop was in Puyallup, Washington,” Cantrell says, “and I lived in Spanaway, which was right next door.The guy who built the necks and bodies that Eddie used to build his guitars was right in my backyard.”
Cantrell was barely in his teens when he got a gig helping out around the shop, and earned a “beautiful bird’s-eye maple neck” that didn’t make it to Eddie because it had a small divot in the 3rd fret. Cantrell recalls today that his duties included sweeping up sawdust. Then, as now, it was all about the work.
My Bloody Valentine has a short discography made up of just a few albums and EPs that span decades. Meticulous as he seems to be, Shields creates texture out of his layers of tracks and loops and fuzz throughout, creating a music that needs to be felt as much as it needs to be heard.
We go to the ultimate source as Billy Corgan leaves us a message about how it felt to hear those sounds in the pre-internet days, when rather than pull up a YouTube clip, your imagination would have to guide you toward a tone.
But not everyone is an MBV fan, so this conversation is part superfan hype and part debate. We can all agree Kevin Shields is a guitarists you should know, but we can’t all agree what to do with that information.
