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10 High-Gain Lunchbox Amps That Will Melt Your Face

10 High-Gain Lunchbox Amps That Will Melt Your Face

Need big-time tones without the heft? Here's a good place to start.

It's no longer necessary to break your back lugging around a huge, heavy amp just to get your high-gain fix. This collection features lunchbox-sized heads that offer a wealth of big-time features in handy and portable packages.


Orange Dual Terror

Packed with two individual Tiny Terror circuits, this 30-watt outfit is loaded with EL84 tubes, individual tone, volume, and gain controls, and a half-power mode. Around back you have a switch that allows you to move between using 2 or 4 power tubes.

$899 street

orangeamps.com

Diezel VH-Micro

Based on the famed circuit that was favored by Adam Jones and James Hetfield, this mini-sized version packs 30 watts. Naturally, it includes Diezel's popular deep and presence controls, along with an effects loop.

$329 street

diezelamplification.com

Revv G20

The flagship feature of this lunchbox amp is the built-in Two notes technology that allows you to use a variety of different virtual cabs, mics, and effects–and even load your own! The 2-channel 6V6 setup features a 3-band EQ plus aggression and wide voice switches to give added dimension to your tone.

$1,299 street
revv.com

Bogner Ecstasy Mini

A pint-sized version of, arguably, the company's most beloved model. In addition to the 3-band EQ, volume, gain, and presence controls, this 30-watt monster features a switchable variac control. A trio of switches also affects the gain, mid frequencies, and post-EQ options.

$329 street

bogneramplification.com

Marshall DSL1HR

The famed purveyors of British-style crunch offer a mini 1-watt amp that punches well above its weight class. It comes loaded with onboard reverb, classic gain and ultra gain channels, line output with cab emulation, and two different power modes.

$399 street

marshall.com

EVH 5150III LBXII

King Edward's arena-sized tone from the green and blue channels of the company's flagship amp have been squeezed into this 15-watt package. Both channels share a 3-band EQ but have individual gain and volume controls.

$699 street

evhgear.com

MESA/Boogie Mini Rectifier 25

The sound of '90s metal becomes way more portable with this EL84-based, 2-channel/4-mode monster. Each footswitchable channel has independent controls, power scaling, and a shared buffered effects loop.

$1,249 street
mesaboogie.com

PRS Mark Tremonti MT15

Designed in conjunction with one of modern rock's biggest gearheads, this 15-watt head houses two channels (clean and dirty) and is powered by a set of JJ 5881 tubes. Each channel has individual EQ controls, while the dirty side includes a built-in boost.

$749 street
prsguitars.com

Peavey 6505 MH

The company's flagship metal machine carries on with this mini version that features an all-tube preamp and power amp. It can scale between 20 watts and 1 watt and can also record direct via USB or feed FOH with a cab-simulated output.
$599 street

peavey.com

Blackstar HT-5RH

The latest iteration of the British company's mini head offers digital reverb, direct out with cab emulation, USB, effects loop, and an aux input. The 5-watt package can scale down to .5 watts in addition to independent voices for both the clean and overdrive channels.

$529 street

blackstaramps.com


Ethnomusicologist Frances Densmore records the song of Mountain Chief, head of the Blackfeet Tribe, on a phonograph for the Bureau of American Ethnology in 1916.

Once used as a way to preserve American indigenous culture, field recording isn’t just for seasoned pros. Here, our columnist breaks down a few methods for you to try it yourself.

The picture associated with this month’s Dojo is one of my all-time favorites. Taken in 1916, it marks the collision of two diverging cultural epochs. Mountain Chief, the head of the Piegan Blackfeet Tribe, sings into a phonograph powered solely by spring-loaded tension outside the Smithsonian. Across from him sits whom I consider the patron saint of American ethnomusicologists—the great Frances Densmore.

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Need more firepower? Here’s a collection of high-powered stomps that pack plenty of torque.

There’s a visceral feeling that goes along with really cranking the gain. Whether you’re using a clean amp or an already dirty setup, adding more gain can inspire you to play in an entirely different way. Below are a handful of pedals that can take you from classic crunch to death metal doom—and beyond.

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Paul Reed Smith shows John Bohlinger how to detect the grain in a guitar-body blank, in a scene from PG’s PRS Factory Tour video.

Paul Reed Smith says being a guitar builder requires code-cracking, historical perspective, and an eclectic knowledge base. Mostly, it asks that we remain perpetual students and remain willing to become teachers.

I love to learn, and I don’t enjoy history kicking my ass. In other words, if my instrument-making predecessors—Ted McCarty, Leo Fender, Christian Martin, John Heiss, Antonio de Torres, G.B. Guadagnini, and Antonio Stradivari, to name a few—made an instrument that took my breath away when I played it, and it sounded better than what I had made, I wanted to know not just what they had done, but what they understood that I didn’t understand yet. And because it was clear to me that these masters understood some things that I didn’t, I would go down rabbit holes.

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Featuring the SansAmp section, Reverb/Delay/Roto effects, and OMG overdrive, with new additions like a switchable Pre/Post Boost and Effect Loop. Pre-configured for the RK Killer Wail wah, this pedal offers versatile tones and unmatched flexibility.

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