New Amp: ADA MP-1 Classic

I’ve had, and loved, an ADA MP-1 for a long time now - it was only my 2nd tube amp, and I used to run it into the FX Return of my Marshall TSL all the time for a change of pace. Later I picked up an MP2, which I still intend to spend some more time with - it sounds great, but the interface is a bit complicated so it takes a long time to program in the sounds I like.

The MP-1 Classic is the last one I’m missing, so when I spotted this damaged one online, I figured I’d try my hand at repairing it and getting it working. The MP-1 Classic was the last preamp ADA released before going under, and ran concurrently with the MP-2 for a little while in the 90s. In short, once the original MP-1 was discontinued, the MP-2 didn’t sell so well and the MP-1 still had a good reputation, so rather than release the same MP-1 again, the “Classic” was created, which has a handful of improvements over the original in terms of interface, but theoretically has the same core sound and simple programming.

I was able to get the Clean SS and Tube Distortion modes working, and in my brief play test, it does sound extremely similar to my original MP-1 at the same settings, but I haven’t spent a lot of time dialing it as I still have repair work to do. The MP-1 Classic has the same Tube Clean voice as before, but adds a new voicing called “Tube Brown,” which I’m very interested to try out.

Hopefully the repairs don’t take too long and I’ll get to put this through its paces soon. I also have a Yamaha SPX90 just aching to get used again on something, and this seems like the perfect combo (not that the built-in ADA chorus is any slouch).

New Guitar: Another Bent Pipes Pacer

Saw this one online for a fair price, and as I’m a big fan of this graphic I went for it. It’s very similar to my other “Bent Pipes” graphic pacer, except this one is an early Pacer Special model - single humbucker, and the input jack on the face of the body. This one is also equipped with a Rockinger tremolo, which was an early locking bridge design originally marketed as the “EVH Tremolo,” which he used for a while. Apparently it didn’t stay in tune that well, which led to the creation of the double locking Floyd Rose which is still common equipment even on modern guitars. Personally, I don’t mind the Rockinger but I’m not a heavy whammy bar user, and I’m glad this one wasn’t too heavily modified.

It has been modified though, mainly the Rockinger locking nut is gone, along with the original brass string trees. Instead, three roller string trees are installed, one using the screw hole from the rockinger’s locking nut. I may return this to stock at some point, but I will say these trees do keep it in tune very nicely and the strings feel very nice and slinky without the lock (as compared to my other Rockinger-equipped Pacer). It also has lost its original Schaller humbucker at some point, replaced with a Seymour Duncan JB.

New Guitar: 1984 Kramer Pacer Imperial

Picked up this ‘84ish Pacer Imperial sight unseen, but based on a description from a sales clerk at Guitar Center. I’ve had my ups and downs with GC, but this was an excellent experience - gave me the serial number, a good description of the condition and details, and made sure the case came with it too - the original for this era, with black piping.

Of course, when ordering any banana-headstocked Kramer, I was a bit worried about the condition of the scarf joint and I’m pleased to say it’s very good, with only the slightest feel of the joint and no signs of slippage. On top of that, the guitar is otherwise in really superb shape - hardly any rust or grime, frets have plenty of life, even the body seems barely used besides a few polishing swirls on the front and back. The original hardware is all present, from the floyd, tuners, and the schaller humbuckers - awesome. I usually don’t love R5 nuts, most of the other Kramers I have with these wide necks are not my preference, but something about this one feels much more natural. Action was a little high on arrival, but apparently it wasn’t played for years before being traded in - I can believe that, but a few tweaks to the floyd height and everything fell right into place.

It’s also extremely heavy, with a hard maple body, which has a subtle grain on the top and back but looking at the sides, you can see that tell-tale “squares” pattern of a quartersawn piece of maple - very unique, although the weight could be a bit fatiguing for some. Unplugged tone is bright and snappy, and for a heavy body it resonates really well, and the schallers sound great through my amps, no surprise there as I’ve always really liked these pickups.

New Amp: ENGL Special Edition E670

This top of the line ENGL Amp has always eluded me, but when I found this one online at Guitar Center I pulled the trigger. Sadly, the order was cancelled - I called the store, and apparently someone else had bought it first. Damn.

Lucky for me, it popped up, returned, at another GC several states away from its origin in Texas. I’m not sure why it was returned, but I ordered it again and it arrived a few days later in very good condition.

I’m still trying to wrap my head around why this was returned - it was expensive, but quite a deal compared to other E670’s on the market, and far cheaper than the new E670FE Founder’s Edition amps (effectively, a reissue of this amp with a few circuit tweaks).

Speaking of the newer E670FE, and maybe this is confirmation bias, but I’m glad I have this earlier amp - it’s a little bit more feature heavy. The new FE version does not have the high/low power mode (disables two power tubes, knocking the amp down to 50w), the cable tester on the rear panel, or the switchable output section. This original E670 can actually be connected to two different speaker cabinets, with different impedences, and you can set which channels, or which patches, use speaker output A or B. This means if you want to run your cleans through a cabinet with Jensens, and your drive channels through a cabinet with Celestions, you can do that! Super cool feature, but maybe underutilized or underappreciated in the real world.

There are other differences between the FE and SE, but they are harder to quantify - supposedly it has been revoiced, and the clean/crunch channels on the FE have a mid shift and bright switch, while the SE has a bright and ultra bright switch. However, based on my knowledge of other ENGL stuff, I think it’s more likely these switches do the same things on both amps and have simply be renamed - perhaps the exact value of the resistor or capacitor it puts into the circuit has changed, but it’s still going to be effectively the same function.

Ok, features aside, I am absolutely thrilled with how this amp sounds. All of the channels are absolutely superb - I can see how someone could get this amp and replace an entire collection of other amps - I very rarely feel that way about channel switchers, and looking at my collection of course in most cases I’d rather have multiple single channel amps than one channel switcher - so that’s especially high praise coming from me. Both of the lead channels are nearly the same, in a good way, with Lead II having a hair more gain, but a separate treble control which is very useful. The clean/crunch channels share the same layout, with shared bass and mid controls but separate treble controls. Even the “bypass” channel, which is just a raw tube drive with no shaping designed more as a straight through power amp channel, sounds great - and can be enabled with or without the EQ. It’s hard not to talk about the features at the same time - all four of these channels have a high and low gain mode and multiple switches that can color the tone - and even better, all of these switches can be controlled via saving the setting on the footswitch or midi controller. It really feels like you could do anything you desire with a nice 10 button midi switch and this amp, from all ranges of gain, voicing, power amp settings (there are 2 presence controls and 2 master volumes to switch between as well, plus depth and low punch, and more).

Some might think well, this amp isn’t for me - too much tweaking, and that’s fine - especially in contrast to the 3rd Power HLH100 I picked up last month, two amps with completely opposite design philosophies. However, I have to say, I spent about 2 hours dialing in this amp and saving 10 really great sounds to the Z9 footswitch, and I don’t think I’ll ever touch another control on the amp again besides the power and standby switches. Yes there’s tons of tweakability, but if you find some great tones you can just save them - probably an exciting new concept when this amp was introduced in 2008 but these days we’re a bit spoiled by digital modeling which accomplishes a similar goal… but this amp keeps the real tubes cooking. Definitely a winner in my book, I’ll have to compare it to my favorite ENGL (the Savage 120 MK1).

New Amp: VHT Pittbull 50CL with Graphic EQ

This is actually my second Pittbull 50CL from nearly the same time frame - this is a 2005 model, and I already had a 2003. However my 2003 has a spring reverb tank, and no graphic EQ - the classic early Pittbull CL voicing, a bit dark, but just a killer sound. Easily one of my all time favorite amps. So when the opportunity to buy what is essentially the same amp, but trading the spring reverb for a built-in 6-band graphic EQ, I jumped on it.

I’ve already done some extensive A/B testing between the two, and they definitely have the same core tone and feel. However I do feel the GEQ model has a bit less gain, and a little more brightness as well. The EQ is exactly as I’d expect - it can take the dryer, tighter feel of the amp from reserved to extremely aggressive and it works fantastically. I do occasionally miss the spring reverb, but I’m also perfectly happy to use a reverb pedal in the effects loop.

The interesting thing about the non-EQ Pittbull is that the feel of the amp is a little bit sloshier, a little more saturated. I love the way lead lines and gainy palm mutes jump out of that amp, and the “voicing” switch adds a little more highs and lows to fill out the spectrum more without sounding too aggressive - something about it still really speaks to me. The EQ model needs the gain up a little higher to achieve the same effect, although I suppose the tubes are a factor here too, but the ability to customize the tone with the EQ adds far more versatility than the on/off voicing switch. The EQ is also footswitchable, and there's not a huge volume difference on or off which is perfect the way I use it. It’d be impossible to pick a favorite between the two, that’s for sure.

New Amp: 3rd Power HLH100

I’ve heard great things about the Third Power Amplification line, and had eyes for a “Kitchen Sink” for a while - but it’s a bit out of my usual spending range. The Citizen Gain seems to be highly regarded as well, maybe I’ll find one of those someday - but today, I’ve added a very early 3rd Power amp to my collection: the HLH100.

The HLH100 is a hand wired, point to point on turret board, British style amp, complete with a full set of Mercury Magnetics transformers and choke and the top of the line components. The front panel has a little bit of a Silver Jubilee appearance - an LED light over a lead master, another volume, and a preamp gain control. However, it’s not like a Jubilee at all - either in tone or function. Instead, you have a single channel - no rhythm or clean modes, and the two volumes are simply different levels so you can footswitch to a louder or quieter sound for leads or rhythm - gain remains the same as you set on the preamp gain control.

It’s pretty light on features, but definitely not on sound - the single channel design has tons of touch sensitivity at lower gain settings, and it can be dialed from near clean to fully saturated distortion with ease. A player who isn’t much of a tweaker would love this amp - dial in a great tone, set and forget.

Of course, there is one switch on the amp to add some versatility, the “Smooth” or “Bold” switch near the guitar input jack. The smooth mode is modeled after the 60s Marshall Plexi sound, and I actually prefer this voicing even with the gain turned up well past what a Plexi can do. The bold setting is a bit more direct feeling, dryer, punchier, but a little less fluid feeling to me. The amp also has a series preamp out and in jack - effectively an effects loop.

According to the previous owner, this particular amp was used on tours with Katy Perry, Janelle Monáe, and even played live on the 2011 Grammy Awards with Bruno Mars. Back then, it was paired with its trademark triangular guitar cabinets - you can actually spot it in the background of this video clip, stage right:

This model evolved later into the RPO100 Head, which has the same basic look but with a few additional features such as dual mids voicing switches and a “push” control which affects the low end in the power amp.

New Amp: Mesa Dual Rectifier Rev G

Yep - another one. I couldn’t resist the price, plus the opportunity to compare the Dual vs my old Triple Rev G. It’s in really great condition as well, unlike my Triple which is on the rough side visually.

This one is from roughly the same year as well, only a few hundred away in serial number, and equipped with the tell-tale knobs with the pointers. It sounds like it should - crushing on the red channel, super smooth and articulate on Orange variable high gain, and even the clean channel on these is endearing to me. I can’t wait to do some more comparisons with it, Rev F vs Rev G Dual for example.

I’ve since cleaned off the previous owner’s settings marks, but it is interesting to see that they ran this amp on the red channel with the mids and gain absolutely maxed out. I tried these settings and it was pretty good, although not how I normally use it.

New Guitar: 1987 Kramer Baretta CAR

Another no-pictures purchase from GC, but at the price it was listed, I didn’t have time to wait for the store to open to call and ask about it. Luckily, the risk paid off, and a super minty ‘87 Kramer Baretta arrived in beautiful candy apple red metallic finish.

Most of the original hardware is present, but the original zebra seymour duncan JB is missing - too bad. However, it has an old EMG 81 in the bridge, but no extra holes or modifications since the battery fits just fine, and I actually like EMG’s so I’m perfectly fine with this. It also lacked a case, which is always a bit scary when shipping a guitar with a pointy headstock like this, but it arrived just fine and I immediately put it into a nice hard shell case.

It’s a pretty simple guitar, and I do like this one a bit more than the other solid black ‘87 Baretta I had, both in sound and feel, so I plan to keep this one around for longer. It has a very interesting serial number as well - E09872 - and on these plates the leading zero is actually printed - not something that was done for the Fxxxx plates or earlier plates. I actually have two of these odd E0xxxx serial number guitars now, the other being a champagne Pacer Imperial.

New Guitar: Gary Kramer Guitars RR-2 Violex

This is a fairly rare guitar, and one that I remember a lot of buzz about within Kramer collector circles but basically forgotten anywhere else. When Gary Kramer returned to the guitar making scene, a number of models were made, many in the more traditional stratocaster style, but quite a few very uniquely shaped guitars like the Turbulence.

Sales seemed pretty good at the time, and with Gibson/Musicyo Kramer starting a line of USA made guitars around 2004, and arguably reaching peak form with the 2008 Pacer Imperial Reissue, Gary Kramer Guitars launched a factory direct, USA made guitar, called the “Russian Roulette.” This was a limited run model, introduced in 2009 and shown at the 2010 NAMM show (check out the Kasha Rockmod half stack in the background haha!) and made in the USA, treated like a custom shop model including a packet with specifications and the name of the person it was built for - see here. These came with Seymour Duncan pickups (Alternative 8 and ‘59) and were available in four colors (black, white, red, blue). Sadly with the old KramerForum going offline, a lot of good information about these guitars was lost.

Skipping forward a year or two, GKG released the “RR-2,” or essentially “Russian Roulette 2.” This time, the guitar is Korean made like many of the other GKG guitars, more of a regular production line model and priced very aggressively at $899 brand new, factory direct. A few differences between the RR-2 and the previous USA Russian Roulette:

• RR2 has an ebony fretboard, original RR was rosewood

• RR2 has Korean OEM pickups, original RR had Seymour Duncans

• RR2 has a plain black neck plate, original RR had a unique revolver cylinder plate

• RR2 has 24 frets with the last few scalloped, original RR had 22 frets

• RR2 has white GKG headstock logo with matte finish, original RR had a gold logo and gloss black, like an 80s era Kramer

• RR2 has an R2 nut, original RR had R3

• RR2 has 3-ply binding, original RR has standard binding

• RR2 has “GKG” 12th fret inlay, original RR has a large “saber tooth” 12th fret inlay

• RR2 body shape is slighty different, lacking the rear lower horn cutaway that the original RR’s had. This is very similar to very late model Kramer Pacers and Proaxes, which had a rear horn cutout while the Japanese/Korean models never got this feature.

• RR2 came in two colors, original RR had four

Personally, I think the original Russian Roulette is the better looking guitar - I’m partial to the gold headstock logo and I find the 3-ply neck and headstock binding on the RR2 to be a bit cheap looking. It’s all academic anyway though, as now almost 15 years later, you’ll probably never see one of these for sale, let alone two at the same time.

One other thing, the RR2 colors are pretty great looking. This example is called “Violex,” which is a bright purple with a very interesting texture, almost like the holoflash of 80s Kramers, but without the reflectivity or prism light effect. There is also another color called “Meltdown” which is yellow, with the same textured effect.

New Amp: Stephenson Lead 30R

This Canadian made amp is a very unique, point to point wired… Plexi-ish head. I’d hesitate to call it a Marshall clone of any kind, despite the visual appearance.

It’s equipped with both a pair of 6V6 and a pair of EL84 power tubes, and each tube can be individually switched on and off from the rear panel - including down to running the amp on a single EL84 or a single 6V6, or asymmetrically with one half of the waveform being say, a 6V6+EL84 and the other half a 6V6 alone.

Going further, the phase inverter utilizes a 6SN7 tube, and the spring reverb is driven/buffered by a 6SN7 tube as well. This amp has no effects loop, although there are other similar Stephenson amps that do.This tube has a gain of “20” when compared to a regular “100” 12AX7, and has an octal base - that’s one less pin than a 12AX7, more similar to octal power tubes like a 6L6, 6V6, or EL34. How this affects the sound exactly… it’s hard to say without knowing more about the circuit. Either way, it’s very unique - I can’t think of any other guitar amps that use this tube type, especially in a phase inverter position. It also has some very unique looking transformers - this one has one large round cylinder, a “toroidal” transformer. More recent Stephenson designs feature two of these, for both the power and output positions.

The front panel has some other quirks. The gain control is self explanatory, but the EQ section has the mids control 3rd in line, after treble and bass - like a Hiwatt (well, sort of, a DR103 goes Bass>Treble>Middle). Maybe I’m reading into the control positions too much, but I wonder what the reason for that is, or if there’s something unique about the EQ circuit.

Going further, there is a Reverb mix control, which works as expected, but then a Drive, Fat, and Powerscale knob. These three controls are very interactive, the power scale works as an overall amp volume and can get down to whisper quiet, or crushingly loud. The Drive control is meant to retain the full volume tone at lower settings, and the Stephenson website recommends matching your drive setting to the same as the power scale control. However I’ve enjoyed tweaking this a bit, higher drive settings add a bit more of a saturated, elastic feel for solos which I really enjoy, although it can get muddy if turned too high while at lower volumes.The FAT control stands for Feedback Attenuation, which is just a way to control the power amp negative feedback circuit, to increase tightness in the low end, which works great alongside the drive control.

There are also a few switches, such as a 3-way gain, 3-way bright, and a 2-way cut switch. The gain control takes the amp from more polite, nearly clean plexi tones, up to what I’d call “classic high gain” sounds, and plenty saturated depending on the gain, drive, and FAT controls. The bright switch has an “off” setting (center), as well as two different values in the up or down position, which change the frequency that is most prominent in the gain - likely great for cutting through depending on the rest of the band, or the room you’re in, or the cabinet you are using. The cut control chops off some of the upper mids and highs, pushing the low end and low mids forward in the mix a bit - useful for low volume playing, but I find the amp sounds its best with this switch off (down position).

On the rear panel, there is an EQ bypass switch, but this doesn’t have as big of an effect on either tone or volume compared to the EQ bypass of the Hook Captain 34 I acquired a few months ago. It’s more subtle on this amp, adding a little bit more grit and punch but preventing some fine tuning of the core tone. Also on the rear is an Ultralinear power mode - I’d love to know what this actually does, it sounds a bit like the Class A/AB switch on some other amps, so I suspect it is doing something similar in the power amp section.

This amp is no longer offered, but it’s a great sound. I suspect the current Deluxe is the most similar to this, and I’m intrigued by the Dual-Plexi, which is similar but with separate “Normal” and “Bright” volumes, like a jumpered 4-hole Marshall. Neither has Reverb, and they’ve all gone down to 3 power tubes instead of 4 - considering how much I like the all-four-on sounds from this model, I feel lucky to have it.

See https://stephensonamps.com/ for more information about current offerings.