New Amp: Marshall 6100 Limited Edition + Matching 6960LE Cabinet

Finally got my hands on this beautiful piece - a mint condition 1992 Marshall 6100 and the matching cabinet. These special amps were limited to 800 heads and 500 combos worldwide, and the story goes that they sold out within minutes.

These amps were originally designed as another model in the JCM900 series, following the 2100 (single channel), 4100 (two channels) and then 6100 (3 channels). Instead, is was separated from the 900 series into its own unique model, although some of the 900 DNA is clearly still present. The 6960LE Cabinet is equipped with UK-made Celestion G12T-75 speakers.

These special edition amps came with polished brass front panels, logos, and even the internal chassis, transformers, and tube covers! They also came with a signed certificate of authenticity and manual in a special blue folder.

It has one of the best clean channels of any Marshall amp, with a tone stack positioned prior to the gain stages a la Fender, plus a switchable mid shift and bright for more versatility. Channel 2 is a real highlight, and has aged very well even compared to more modern channel switchers. This channel has two switches, which can be combined to use “Modes” A, B, or C. Basically, each mode is supposed to replicate a classic Marshall sound, with a tweak to both the amount of gain and voicing, although it won’t be a substitute for the real models. Mode A is a JTM45, Mode B is a 1959 Super Lead, and Mode C is a JCM900, although the manual does not specify which 900 model - either way, it has a lot of gain, and it’s all tube (no diodes) so more of a precursor to the SL-X than anything made at the time of this amp’s introduction (The SL-X came out one year later in 1993).

Channel 3 is the lead channel, which fits somewhere in between Mode B and Mode C, with a substantial bass boost, especially noticeable on a Marshall. This channel also has a switchable gain boost and EQ contour, which is very usable - a scooped feel, but not so extreme that you get lost in a mix (depending on your treble/middle/bass settings). It can start to get a little flubby in the low end with the gain turned up too high, so I find it’s best to keep it a little over halfway and for more saturation, use a boost if required - or just use Mode C on channel 2 for metal rhythms. Later 6100’s introduced the “LM",” or “Lead Mod” which adds a lot more gain as well as some more aggressive shaping for more modern tones on this channel. Some 6100LM’s were modded back to this original 6100 spec, while some 6100’s were modded to the LM spec - best to check internally for that. Both amps I own are unmodified. I enjoy the 6100LM Lead mode, especially for high gain chugging and 80s metal rhythms, but the standard 6100 lead channel does have its own appeal, especially for more bouncy, thicker, solos and fills.

It’s a feature heavy amp as well, with MIDI channel switching, an effects loop with a front panel mix control, as well as an overall master volume (affects all 3 channels, very useful) and master presence. There is also a “high” and “low” compensation mode at the input for use with single coils or humbuckers, and these have a slight effect on the tone, but I usually leave them both off - same for the low volume compensation, which adds a little extra thickness and reduces treble to mimick a little more power section saturation but at lower volumes (note that the power section is not being driven at low volumes, it’s just a slight EQ adjustment).

On the rear panel, the amp can be switched to either Pentode or Triode power tube operation, a high and low power mode, as well as a speaker damping control (low, auto, or high). Rounding out the end of the features is an XLR line out and 1/4” line input/output jacks.

For more photos of this amp inside and out, see this page.

I also need to give Guitar Center of Oakland CA credit for this one, excellent packaging job on both the head and cabinet (boxed separately, thank goodness). I was really worried that this special piece would be damaged in transit from CA to FL, all the way across the country, but it arrived in top shape. Even the casters for the cab came separately packaged so they didn’t get broken either. Thanks!

New Amp: Framus Cobra V5

I remember when these were all the rage for a little while, but I never got one when they were popular. This one popped up for sale at a good price and in superb condition (including the frequently damaged metal front panel).

It’s a 3 channel amp, made in Germany, and definitely geared towards high gain tones. That said, I find the clean channel to be very snappy and elastic feeling too, so it’s no slouch when it comes to versatility. Channels 2 and 3 can get plenty gainy, although they do have a slightly loose feel in the low end and can get dangerously flubby if you aren’t careful with the EQ, but bringing in a boost helps keep the saturation with a tighter feel if you prefer that. Each channel also has a switch, bright on the clean, and notch on channels 2 and 3. The notch function is more of a novelty function to me - it is far, far too scooped, to the point where it lacks all punch - but I think it might be useful for double or quad tracking, or maybe paired with another amp set to a more mids-forward tone.

There are a few odd quirks about this amp. The easy one is the effects mix control - even without any effects or cables plugged in, this has a noticeable effect on the volume of the amp and to some degree, the tone as well. Setting the mix right in the middle is the loudest and punchiest, and turned to either end makes the amp a little quieter, although that means you can turn the master up to compensate and I feel the tone is still nearly the same - at least, on my amp, I’d need to reamp some a/b clips to hear the difference. This might be more of a pain if using the amp with effects, but playing the amp dry it’s set-and-forget.

The next quirk is that the EQ on this amp uses a very non-traditional configuration. It’s commonly called a “Baxandall” EQ online, but technically that requires an active EQ section which this amp does not have. Instead, it is a “James” type EQ. This type of EQ is popular in hi-fi amplifiers, and some older Ampeg, Sunn, and Orange amps use a similar EQ arrangement which contributes to those signature sounds. Frequently, this design only has a Treble and Bass control, but this amp does have the appearance of a traditional amp with a middle control as well. Basically, this EQ arrangement provides a much wider “Q,” or range of frequencies affected by the control, while reducing the interactivity between them. The mid control of course steps on the frequencies of the other two controls a bit, but just from my first few days with this amp I can already tell there are some great sounds to be had with very strange looking EQ settings.

Note that this unique EQ design is only used on the Crunch and Lead channels. The Clean channel uses a more traditional Fender-style EQ design.

New Amp: Peavey 6505 USA Made

I already have a Chinese made 6505, but when I spotted this one online at GC for a mere $549, I went for it immediately. The way prices are these days, a full size 6505, especially a USA made one for under 600 bucks is a steal.

I did some A/B testing between the two, and while this one is a little more beaten up aesthetically, with a few tolex tears and a cracked plastic grille vent, this is the keeper. It is several pounds heavier than the non-USA model, so I suspect the transformers or chassis may be different. As far as sound, I can definitely tell a difference in the room - I’m not saying it will be better for everyone, but to my ear, I prefer this one, even in a blind test (I didn’t know which one was the USA model, to remove that bias). It just has a little edge in the low mids, where I really feel the palm mute chugs, and that’s one of the main sounds I want from a 6505. Of course, both amps are fantastic and the internal construction appears to be similar quality.

If you’re interested in this sort of thing, I have photos of the internals and transformers of both this USA model (2010) and the Chinese made version (2018) over on the Peavey section of the site.

New Amp: Hook Captain 34

Spotted this one online and didn’t know very much about it. After a little research and listening to some clips online, I figured it was worth the risk and pulled the trigger.

It’s an amp made in the Netherlands, and a quite expensive one at that. Early versions of the Captain were point to point wired, but this one has a PCB - it is a “V2.” The current production version is the “V3.”

It’s a 3 channel amp, but it’s not a super gain monster. It’s much more in the classic Marshall-esque territory in terms of available gain. Channel 1 is clean, but with separate gain and volume controls does a passable gritty crunch. This channel also has an EQ bypass switch which I find to be extremely useful - it does make the amp much louder, but I love the tone. Channel 2 and 3 are both overdrive channels, with a tiny bit more gain on channel 3 but both are fairly close - which is a little limiting since they share an EQ section as well as the “boost” and “edge” switches. It does mean the transition from channel 2 to 3 is not disjointed, so it’s great for setting a crunch and lead tone that makes sense. The drawback is it’s a little less versatile than it could be, for example I’d love to have the boost/edge switches only affect channel 3 so I could keep channel 2 as my lower gain/smoother sound, and channel 3 as my more aggressive tone - better to think of it as more of a “2.5” channel amp in my opinion.

As for the tone, it’s a bit on the dark side, smooth, and full sounding. The low end is a little loose without a boost, but very polished sounding. I wouldn’t call it American or British sounding really, it has its own thing going on. Presence and “Balls” controls are on the rear panel, along with a switchable effects loop.

New Amp: Mesa Triple Rectifier Multi-Watt

I saw this amp on Guitar Center’s used listing for a good price, and pulled the trigger. The store actually notified me that it was a return due to some damage, and waited for my confirmation before shipping it out - very much appreciated and I hope that continues in the future. GC has notoriously sent me some very damaged/broken equipment so this is a big step in the right direction.

Anyway, I got some photos from the store and decided to go ahead with the purchase. Upon arrival, the amp is in very good condition and the only damage is the plastic power socket was punched through into the chassis - if I had to guess, it was shipped with the power cable plugged in and it hit against the inside of the box, pushing it in. This did damage the socket itself, but a replacement plastic socket is only $3 online, and better yet it’s simply spade terminals, no soldering required - but of course, have to be very careful due to the high voltages. I’ve already ordered the replacement part.

Otherwise, it sounds and works great so far. I have some thoughts on the tone which I’ve posted on the amp’s page here: 2015 Mesa Triple Rectifier Multiwatt

My only complaint really is that the footswitch is missing, and Mesa charges $165 for a replacement, plus another $36 for the cable ($201 total for the footswitch system). You can manually change channels from the rear panel, but one of the highlights of getting a versatile 3 channel amp like this is being able to change channels easily! I’ll see if I can find a used footswitch somewhere, somebody has to have one.

New Amp: Mesa Royal Atlantic RA100

This amp was a bit of a long time coming. I played this head, a TA15, and a TA30 all the way back in 2011 or 2012 when they first came out at my local college town music store. I was playing a Marshall TSL at the time, and while I was impressed with the sounds they had, I was a bit of a gainiac and I really was just lusting after Dual Rectifiers instead.

So now in the present, I’ve learned a few more styles, rolled the gain back a bit, and I spend a lot more time doing mid gain rock tones and so on. I’d kind of forgotten about the Transatlantic series, and it seems they never quite took off or sold that way. Since then, Mesa had moved on and started a new “British” styled amp series with the Triple Crown, of which I have a TC50 model. It’s hard not to compare the TC’s with the RA100 since they share quite a few similarities, and it’s easy to see how the design of the TC evolved from the RA, but also how it is aimed a little more at versatility for a wider appeal, which is where the RA was lacking.

I’ve written more about my thoughts here: 2011 Mesa Royal Atlantic RA100

The most notable highlight to me is the built-in power soak, which can be set to a different level per channel. This is a true, speaker load attenuator between the power amp and the speaker, just like an external attenuator box (like a Weber or THD Hotplate etc). The amp is clearly aimed at vintage tones, and the power soak works amazingly for this - you can get some power tube sag and drive at reasonable volumes, or use it to get a little grit out of the clean channel. The only thing that I suppose would be on my wish list for an amp like this would be a switchable tube rectifier, in concert with the power soak that would’ve be absolutely fantastic to play with.

New Amp: Mesa Dual Rectifier early "Revision F"

This is definitely one of the best finds I’ve had in a while. I’ve wondered just how different the earlier revision Mesa Rectifier amps sound from each other, but I always figured any early revision is out of my price range. Luckily, I spotted this one at a local shop (Jimmy’s Vintage Music, if you’re in Florida I’d highly recommend you swing by his shop) and was able to get a very fair deal on it.

My favorite rectifier is my Rev G, which I preferred over the 3ch and Roadster’s I’ve had in the past. I only have a little seat time with this Rev F (it needs a little going over, it has some channel switching issues I want to clear up before I play it more) but my impression is very positive, especially in more mid-gain tones. It feels more saturated on the palm mutes, with a little more punch, but it doesn’t do the “wall of sound” thing quite as well. I read somewhere that these Rev F’s sound a little like if a boost was on all the time, and while that calls to mind the most awful of solid state amps to me (I started playing during the Line6 era after all) I kind of hear what they mean. There’s some shaping going on that just makes the mutes and lead lines a hair more punchy than the Rev G, with a bit more mids.

I also was reading that earlier revisions were geared a little more towards hair metal and where they thought that musical style was going next, and I definitely see that too. The story goes that when Rev G came out, it was voiced in a way that reflected the grunge craze taking off as more of a heavy rhythm amp. Either way, I think both revisions sound great.

This one also has the very cool chrome chassis and black faceplate, which looks great especially on top of my more standard black chassis/chrome faceplate Rev G. My serial number is in the 900’s and it does have the original Mk III spec transformers (Part #562100 and #561136). These transformers ran from the start of Rev F (around SN 500ish) to around SN 1300-1600, before changing out to a different model (#562105). Supposedly this is the more desirable, early configuration. I don’t have a later Rev F to compare, but either way count me very pleased with the amp. Now to give it a proper clean up and touch up a few solder connections so it can last another 30 years!

More Details Here

New Amp: Orange Rocker 30

My collection of Oranges is ever growing, and this is an amp I played once over ten years ago that stuck with me for years. I kept turning my nose up at the increasing prices, and finally I was able to grab one for a good deal.

This amp shouldn’t be confused with the Rockerverb series amps. Those amps are fixed bias, class AB amplifiers with 4 gain stages on the lead channel, and an clean channel with 2 stages and an EQ, plus spring reverb. I have a Rockerverb Mk III, which has EL34’s (same as Mk II), but Mk I Rockerverbs had a very unique 4x 6V6 tube configuration.

This Rocker 30 however is quite different. It is a cathode biased amp with a class A power section (well, as “Class A” as any guitar amp gets), with very few bells and whistles. No effects loop, no reverb, and the clean channel is actually just a single gain stage with a volume control - no EQ circuit whatsoever. Of course, no EQ circuit on the Natural channel, with the Class A EL34 power section, means it gets plenty loud.

The Dirty channel has a lot of gain on tap, but it’s a very classic sound. Much closer to a classic Orange than the Rockerverb’s more modern, tighter tone. With the gain set in the middle areas, it nails old school rock tones with solid low end thump. The cathode bias gives a unique texture to the gain tones, with lots of harmonic overtones increasing the fullness of the sound quite a bit. I’m really enjoying playing it and comparing it with my AD30, which has a similar power section but a much different gain structure and a tube rectifier. This is definitely an amp I want to talk about in a video, since the circuit is unique for an amp of this gain level and it has a really great tone to boot, and I want to do some comparisons to the classic sounds you can get from the OR50 and AD30.

New Amp: Diezel Herbert Mk 1

After picking up the Diezel Einstein last month in a trade, and being thrilled with how great it sounds, I was keeping my eyes peeled for others. I initially was hoping to grab a VH2, but after reading many many comparison reviews, I went for this Herbert.

And just… wow. This has got to be one of the best amps ever designed, the high gain tone is just absolutely unbelievable. The mid-cut control adds something to every channel, and with the level control it can be used for a volume boosted lead tone, or the opposite (mid cut for rhythm, turn off for a mid-heavy lead with more volume). On top of that, it also has switchable master volumes!

Channel 2 has a + and - switch, for more and less gain accordingly. This is not footswitchable on this version (but is on the current Mk III), and I can see why it is such a common request. The minus mode sounds killer for classic rock, or even rolled down to a slightly dirty clean tone. There’s also a lot of great crossover tones between minus mode with the gain near max, and the plus mode with the gain rolled down - similar tone, slightly different flavor. Like Vanilla to French Vanilla ice cream. Of course, no surprise that I find Channel 3 to be the highlight, with tons of gain on tap. Even with the controls mostly at noon, it is great for shreddy leads and does classic metal spot-on. Kick in the mid cut and or play with the EQ and it can do any modern heavy style with amazing proficiency. I’m not really the expert on clean tones, but the mid cut works on Channel 1 too - and I find that channel to be really great sounding, nice and full with snappy highs to cut through a mix. Definitely one of the better clean channels on an amp otherwise focused on gain tones.

Of course, 180w is incredibly loud, but I’m surprised just how well it can be played at my studio volume. Of course, the lows shake the floors so I’m not sure I’d ever call it bedroom/apartment appropriate, but the master is still a very smooth taper that makes it usable at almost any volume level. Another amp I’m glad to have in the arsenal!

New Amp: Rivera KR7

After the debacle I had after ordering a used Rivera KR55 (which never arrived), I really wanted to add a Knucklehead to my collection. It’s a little overkill, but when this amp showed up for a pretty good deal, I decided to pull the trigger.

I generally don’t like signature gear, or at the very least, I don’t really pay attention to who the endorser is. For example, I like the way my EVH 5150 sounds, but I didn’t buy it because of EVH, and this is the same situation. This amp is Mick Thomson’s signature model amp, of Slipknot fame. The story goes that they used early 2-ch Knucklehead’s (likely boosted) and maybe some Knucklehead Reverb’s on the early Slipknot albums, which have a very unique, characteristic tone. Don’t get me wrong - I enjoy those albums and think Mick is a world class musician, but this amp is not limited to that style of music. Underneath the signature, it’s still roughly the same circuit as the regular Knucklehead Reverb’s and can do just about anything those amps can do. The difference is the voicing of this amp was custom tuned with Mick’s input for the type of music he plays, and it really makes a lot of sense. While I don’t own a KR100 or KR55 (the base of this amp), I have spent a good amount of time playing them. The biggest difference I hear is that the KR7’s lead channel in particular is brighter and more aggressive. I could be wrong, but I felt Ch2 and Ch1 are very similar to the non-signature models, but I’m sure if I had them all in the same room I’d be able to pick out some differences.

Anyway, I’m very pleased with the amp. Each channel has a built in boost, a very wide EQ sweep, and the clean channel has some push pull switches for even more shaping. As an added bonus, the FX loop can be used as a master for the whole amp, making it sound pretty good even at home levels.

If I had to critique, it’s that the transition from Ch2 to Ch3 is quite drastic. If you love Ch3’s metal rhythm tone and want a lead tone, you’re either forced to use a boost, or a pedal, to keep that tone - Ch2 does not have enough gain or a similar enough tone. On the other hand, Ch2 doesn’t have the cut and aggressiveness that a metal rhythm tone needs, it’s really more of a heavy crunch channel with rolled off highs. Of course that’s just my opinion, and with a few pedals you can make it do anything, but straight out of the box, it does have some limitations. While it would’ve killed its versatility, I would’ve liked it better if Ch2 and Ch3 were identical, so I could set up a rhythm/lead tone on either with some continuity. That said, Ch2 makes for a killer classic rock channel, and reducing the gain of Ch3 is perfectly fine for leads in that vein, so I’m speaking strictly about heavier styles when I say it has some limitations.

The biggest issue is that now I still feel like I need to get a regular Knucklehead Reverb! (And a 2ch Knucklehead, and a Knucklehead II… it never ends)