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!

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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 Guitar: 1982 Kramer Pacer Imperial "Rootbeer"

I’ve recently been much more focused on collecting amps, and have been downsizing my guitar collection. When I ask myself which guitars are worth keeping - and which ones I still want to try out someday - early brass trem Kramers are always at the top of the list. A forum friend of mine was selling this, so I had to jump on it.

While most Kramers are known for their Floyd Rose bridges, early strat-head and beak Kramers could be had with a traditional brass trem like this one, as well as a schaller fixed bridge or a Rockinger tremolo. I’m a big fan of these brass bridges, I like the way they look and feel - similar to a classic stratocaster - but on a guitar with two humbuckers.

The neck is fully glossed, with vintage style frets with a high polish. The bends are effortless and the tone from the Schaller humbuckers thick and full without being too heavy in any frequency, and really let the character of the guitar’s wood shine through. Speaking of which, it’s not very common to see burst Kramers in any era. Transparent finishes are uncommon already, but they usually came in solid colors - blue, red, etc. so this brown color with a dark burst effect is one of the more unique Kramers I’ve seen.

It’s a beautiful guitar and the impeccable playability and tone backs it up. This will be a keeper for a long time.

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)

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.

New Guitar: Kramer Stagemaster Arch top

This one is truly special - an arched top, 7/8 “mach 2” style Stagemaster Deluxe in a stunning metallic blue finish. It’s a rare occasion that I truly splurge on something I have to have - most guitars I buy I collect with my mind squarely on whether or not it is a good deal, so when this one popped up on Reverb a day or two after Christmas, it was very out of character for me to buy it.

I have been looking for a Stagemaster with dot inlays for some time, and had some cash set aside for that purpose - this doesn’t quite meet that criteria but at the moment I have 3 other Stagemasters, two in transparent Rose and another in Champagne, and the idea of adding one with a nice cool blue color ultimately was impossible to resist.

It arrived in good shape but without a case, something I will remedy immediately as a guitar this nice certainly deserves a case! It plays incredibly, and while some may not like the swapped pickups, it works out nicely since two of my other Stagemasters have factory Duncans. I already have one with EMG’s, and this one with Dimarzios means I have all of the common pickup brands covered too. This is definitely a keeper for me and I’m very pleased - what a great guitar to end the year on. Now hopefully I can work up the willpower to sell some in 2023! Happy new year!

New Amp: Marshall JCM900 Mk III Model 2100

Well, this is now the 4th JCM900 Mk III I’ve purchased. I know that’s excessive, but I really love these amps - I’m just finding it difficult to find one in good condition for a reasonable price. I’ve had two other heads, both in extremely rough condition - just like this one is, aesthetically. I remember returning those heads before, as they both had internal issues as well (loose tube sockets, burned out traces on the PCB, etc). This latest addition is pretty ugly - but functionally it is in much better shape than those two so I’ll likely be keeping this one.

As expected, it sounds fantastic. I did a lot of A/Bing between this amp and my 2501 combo (same preamp circuit) and they sound extremely similar, and that’s exactly what I wanted. While I love that combo, my new studio is really built around shelving designed for heads and that’s what I’d prefer to have, so I’m looking to get rid of my combo amps, at least any combo amp that has an equivalent head version.

New Amp: Another Marshall JVM410H

I know - another duplicate Marshall head - but I happened to see this in my local Sam Ash for an absurd price, and I was able to convince them of a further discount on top of that! I’ve had the JVM before, and while it isn’t my favorite Marshall (I felt the TSL was just as good and much cheaper) it does have some unique features and some really great channel/mode switching abilities so it’s a great amp to have in the collection. Plus, I never had the chance to do a schematic review or tone comparison video with my original JVM410H, so now I’ll be able to do that.

It’s in very good condition, and the first year model, and also included the 6-button footswitch which allows you to switch channels, modes, reverb, and master volumes - very well featured amp for live performances. Each channel and mode also dictates which gain stages are used, so it can emulate classic Marshall sounds very well, although this amp does have quite a bit more background noise than something like a 1987x or 2203 has at the same distortion levels.

Grab one on Reverb here: Marshall JVM on Reverb