New Amp: Hiwatt Lead 100R "Trinity"

I’ve been looking for a Hiwatt Lead head for a while, ever since one of my first online orders with Guitar Center was cancelled (a Hiwatt listed for $400, which they cancelled and told me it “caught on fire”). This one was listed all the way in Indonesia, which is a bit of a risk but the price was reasonable and the seller accepted my offer. It arrived extremely quickly - DHL international shipping - and well packed.

However, the amp made no sound when I first plugged it in, and I heard a whirring from the head itself. After a few seconds, the whirring escalated and I heard a loud “pop” sound - maybe a tube, maybe something else.

After spending a few days on my bench tracing the circuit, swapping out known good tubes, and desperately searching for a solution, I had to give up, and took it in to my local electronics shop for repair. I’m anxiously awaiting its return - I have high hopes for this amp and with a design not too far off the JCM800 split channel amps, right down to the same number of tubes and onboard spring reverb, I can’t wait to compare them.

This particular Lead amp is a 1988 model, which has the “Trinity” moniker which just means that the overdrive channel has a pull switch on the gain control to add more gain. This actually became a standard feature of all Lead model amps around 1990 or 1991 when they were being sold by Fernandes, so that makes this one fairly unique as far as 80s Hiwatts go. Of course, this is not a true Hiwatt from a purist’s perspective, but it’s still a very nicely assembled amp with an interesting circuit that evolved in the 80s era - a time of excellent guitar tones I’m very interested in.

I’ll update when I get the amp back from repair - hopefully it’s nothing too serious. I did get audio when probing the grids of the power tubes, but not the phaser inverter, so hopefully it’s something simple I just missed and not a major repair.

Update: A filter cap had exploded internally, causing other issues. The cap and a few others on the power supply board were replaced, and now the amp is fully repaired!

New Amp: Randall Thrasher 120

This is probably the last amp I thought I’d be talking about here, but I’ve been watching this amp sit in the Guitar Center listings for months now. After it finally received a discount - quite a large one - and reading about it online, I really had to find out for myself.

This is a much more versatile and impressive amp than I expected, especially reading some of the negative comments about it on forums. It does not specify where it is built, but the assumption is China - and I do see where it gets some flak, being over $3000 at the time of writing, pricing it above amps like the ENGL Savage Mk II and not too far off other handmade boutique amplifiers. The argument is that the Thrasher was designed by Mike Fortin, who has a well renowned name in the metal amp community with his own line of amps - I’ve played a Fortin Cali - and they indeed sound fantastic.

I have to say, this Thrasher is no different. It’s a great sounding amp and can do a lot more than just metal, and it actually has less gain than one might expect from an amp of this style. On top of that, the clean channel is also a stand out quality sound I would argue beats out quite a few other high gainers in that area. The key to that channel, and really the overdrive channel as well, are the 3-way “Shift” switches, which have a drastic effect on the sound. The clean channel can go from a mid-scooped spanky tone, great for fast funk chords, up to an overly thick jazz tone by flipping that switch alone - with an appropriate in-between sound of course. The distortion side has this same ability, but even further, this amp has two controls I’ve never seen on any other amp; the “LF Gain” and “HF Gain” controls. These allow you to adjust the amount of overdrive of both high and low frequency ranges separately, along with a more standard overall gain control. Now that I’ve played it in person, I don’t think it’s necessarily a must have game changer in amp design, but it is very effective at tonal shaping. The most obvious use of this is to lower the gain on the low frequencies to tighten up and make a more clear bottom end, which I probably would notice the benefits more if I played a very low tuned guitar through it - something I plan to do very shortly. On the other hand, you could even turn that control up higher than the high frequency setting to thicken the saturation up a bit - probably not desirable for metal level distortion, but setting this channel up as a classic rock crunch channel gives that control a lot of power. Overall I’m extremely impressed with this channel and if anything, my biggest criticism is that the amp isn’t just two copies of this same channel, or even better a 3-channel amp. There is a footswitchable boost function, the amount of which is adjustable on the overdrive channel, but it’s not quite the same - I would love to set up a crunch tone and a metal overdrive tone on the same amp but I’d have to switch between two amps to pull that off as it stands right now. Yes I know the Randall 667 exists, but it’s just not the same as this.