Guitar Amp Blog

I first came across this amp at Shannocks in King, NC while browsing around for a vintage Fender Princeton. I’ve only owned one Marshall, had a pretty bad experience with it and have never really thought about buying another one. Prior to checking the Marshall DSL 401, I thought Marshall amps were overpowered, overpriced and ridiculosuly overrated, but this little amp has definitely changed my mind. Running 4xEL84 power tubes generating 40 watts into a single 12″ Celestion, this lightweight combo creates an overdrive tone that definitely will turn a few heads.

I like the full tube sound, both clean and distortion channels are good. When running through my powered mixer witht the DI line out, I can really make it as big as I want. I have two 15″ black widow wedge monitors that give this amp a huge bottom end, and I can use the mixer to adjust the highs through the crossover. It’s like having any size amp you need for any gig. If you haven’t used the DI, be sure to do so at some point. It’s easier than using a close mic, and avoids the clutter.

Although this amp sounds great, there is one issue that has got a lot of discussion and it’s completely valid - heat. The heat this little combo generates is not properly ventilated and can lead to problems like bad solder joints. The heat that tube amps generate is unavoidable, you just have to give it a place to go where it won’t do any harm. I am considering installing both a fan and a top grill like the big heads have, to let the heat out. Probably will wait until the warranty runs out to make this mod, will use a remote fan until then.

Overall, the construction is acceptable and it’s easy to tote around to gigs. I believe the speaker is a little thin, a greenback would probably give it a nicer edge, especially when running OD2 for heavy metal songs. I think Marshall should have done a better job of anticipating heat related issues and made better ventilation arrangements to the cabinet or chassis. The chassis is open at the top, so to put a vent in the top of the cabinet would have helped, but then dust and moisture intrusion has to be monitored (no brews on top of the amp!) I’m not big on using my amp as a drink holder anyway, it warms the beer to quick!

Overall, I think this is a great amp for it’s price and size. I have a Marshall MG30FX backup practice amp, but I prefer the all tube sound. I’ve tried a lot of amplifiers and processors, but ultimately “I hear dead people” in those things! I can literally hear the processor doing it’s thing and it’s like listening to someone on a digital cell phone, it’s real close but it’s not the natural voice of analog cell signal.

Orange Amplification is a British electric guitar and PA amplifier manufacturing company, famous for its distinctive bright orange tolex covering on amplifier heads and speaker cabinets. It was founded in 1968 by Clifford Cooper of London. Orange amps and P.A. (public address) were made by Clifford Cooper.

The Orange range has evolved from the oldest 4xEL34 non-master volume amps (described as Graphic amps) to the current range that has types from a 1xEL84 amp that puts out 5 Watts to a 200 Watts Bass amp with 4×6550 tubes.

From 1995 until 2006, Cliff Cooper made Orange amplifiers in England, with the exception of the small Crush Practice Combo amps, which are made in Korea. The completion of a new manufacturing plant in the United States signifies that only the US-distributed Oranges cabinets are made in the States, while valve amps are still manufactured in England.

Orange amplifiers are primarily high-gain valve (or vacuum tube in North America) amp heads, designed to be coupled with a matching speaker cabinet. Their most popular guitar amplifiers were the OR120, usually referred to as the “graphic” model for its use of graphics instead of text to indicate each knob’s function, and the later OD120 overdrive model which was equipped with a master volume control. Most guitar amps were based on output circuitry which used the EL34 tubes popular among British manufacturers like Marshall Amplifiers and Hiwatt, and were available in the separate amp head and speaker cabinet format.

The Orange factory closed down some time around the disco era, but production was restarted in the early 90s. The “Graphics” models were fitted with Standby switches and a few new models were developed. In November ‘98 the “Class A” combo’s were launched. However they are most likely not really Class A in the electrical meaning of the word since they are push-pull amps. This range of amps consists of brand new 2xEL84 and 4xEL84 amps that are considered to be worth their money (and they’re not exactly cheap). The AD5 (April 2000) is probably the only real “Class A” amp.

New in January 2001 were two twin channel amps: the AD30TC combo and AD140TC head. Somewhat more exclusive is the custom AD140 Lead that features point-to-point wiring. At that Orange also introduced the Orange Crush series. Orange also made a range of very successful all-tube combos, such as the AD 15/12 and the AD 30R. The AD 15/12, a Class A, single speaker, 15 watt model, is now out of production and highly sought after.

Orange Amps have been used and endorsed by many rock guitarists, including Jimmy Page of Led Zeppelin, Matt Sharp of Weezer, The Edge of U2 and Noel Gallagher of Oasis.

It is well known that Stevie used relatively few effects either in the studio or on stage. His stomp-box gear consisted of a pair of Ibanez TS808 Tube Screamers, a pair of Vox wah-wah pedals, a few Octavias, Univibes, Fuzz Faces, and an Echoplex. It is interesting to note that Stevie never used digital or rack-mounted effects.

Some specific amps which Stevie always used were a pair of 1×15 Fender Vibroverbs. This pair of amps was a constant in Stevie’s sound. One other set of amps that Stevie regularly used were a pair of 100-watt Fender Super Reverbs. A few other amps that he used throughout his life included a Marshall 100-watt Super PA, a Marshall 200-watt Major, and a 200-watt Marshall Town and Country Combo.

Later on his life Stevie replaced the previously mentioned Marshalls with a Howard Dumble Steel String Singer. The Marshalls were replaced due to the fact that the proper tubes could no longer be found.

Another type of cabinet which Stevie owned was a Fender Vibratone. This was a Leslie-style speaker cabinet, but unlike the Leslie, this cabinet had a slotted, rotating foam cylinder around the stationary speaker, instead of a rotating speaker.

Stevie’s on-stage rigs changed a number of times throughout the years. Between 1981 and 1983 Stevie used the following setup. A 200-watt Marshall Combo 2×12 JBL. Two Fender Vibroverbs 1×15. And for pedals a Tube Screamer and a Vox Wah were used.
The following setup was used in 1984. 2 Vibroverbs with 2 Super Reverbs. The effects used at this time included a Tube Screamer, Vox Wah, and a Univibe.

In 1985 Stevie changed his stage setup yet again. He was now using 2 chained Vibroverbs, one of which was driving a Vibratone cabinet. One or two Super Reverbs and a Dumble Steel String Singer, which was driving a Marshall 8×10 cabinet. The effects used during this period included a Tube Screamer and two Wah pedals. This rig was used until sometime in 1988, upon which it was changed again.

The stage setup which Stevie used from 1988 until the time of his death in 1990 was made up of of two Vibroverbs, one driving a Vibratone, two 4X10 Super Reverbs, two Marshall heads driving 2 Marshall cabinets, a Dumble Steel String Singer driving a Marshall 8×10 cabinet, one or two Tube Screamers, a Fuzz Face, and an Octavia.

After going down to the local blues jams here in town for several months, I’ve made some pics on the best amps I’ve heard for playing the blues. These are my personal choices and I’m sure add to the list as time goes on, but for now, here are my pics.

1959 Bassman
The late 1950s tweed Fender Bassman combo remains the classic blues amp, an ultimate tone monster. It is a 45-watt tube amplifier with four 10-inch speakers and a four-input design. The tweed Bassman combo was, and still is, a preferred amp of countless guitarists, including Stevie Ray Vaughan, Buddy Guy, B.B.King, T-Bone Walker, Jeff Beck and many others. The original Bassman combo was discontinued by Fender in 1961. Overwhelming demand for this classic prompted Fender Musical Instruments to produce a very convincing reissue: the Fender ‘59 Bassman. Highly recommended.

Super Reverb
Introduced in the 1964-1965 Fender catalog, the blackface Fender Super Reverb combo grew out of the tweed Bassman design of the 1950s. Basically it provided a bigger, more rugged version of the same four-speaker amp with reverb, the mid-60s black tolex/black panel cosmetics, and a two-channel design with bright switches. It has become a definitive blues guitar amp, favored by Stevie Ray Vaughan, Muddy Waters, Mike Bloomfield, Johnny Winter and many others. This amp is configured for 45 watts into 4 10″ Jensen speakers.

Deluxe Reverb
One of the most recorded and gigged amplifiers on the planet, the Fender Deluxe Reverb is a classic amp for blues, rock and country. Introduced by Fender in 1963, this popular model was produced through 1982 finally being replaced by the ill-fated Deluxe Reverb II which only last 4 years. In 1993, Fender brought back the classic version of this amp in the Deluxe Reverb ‘65 Reissue which has remained in the lineup ever since. The beauty of this amp is a shimmering clean tone at lower volumes and a classic overdrive when pushed a little harder. This amp is a favorite of countless players, but Eric Johnson is a well-known devotee. This amp is configured for 22 watts in a single 12″ Jensen speaker.

Vibroverb
Fender introduced the blackface Vibroverb amp in the same 1964-1965 catalog that presented the Super Reverb. The Vibroverb was closely related to the Super Reverb, containing the same electronics (wattage, controls, fifteen tube performance) and cosmetics, differing primarily in the use of a single 15-inch speaker instead of four 10s. Stevie Ray Vaughan alternated between blackface Vibroverbs and Super Reverbs throughout his career.

In Blind Faith, Eric used a Gibson Firebird through either Fender Dual Showman or Marshall amps. But, at the band’s debut performance in London’s Hyde Park, he played a Fender Telecaster with a Stratocaster neck.

While with Derek and the Dominoes, Eric switched to maple neck Fender Stratocasters (primarily “Brownie”). During the band’s UK Tour, he would still play Gibsons. The Fender Champ was his main studio amp used in recording “Layla and Other Assorted Love Songs.” On stage, he used Fender Dual Showmans or Marshall amps with Fender cabinets.

In 1976, Eric used his Cherry Red Gibson ES-335 for slide playing. It was strung with Ernie Ball Super Slinky’s .009 - .042 and he used an Isis medium slide. He utilized Modified Music Man amps (HD 130 Reverb) with the bias up all the way and special open-back cabinets. He also used a Leslie cabinet with JBL components and had a special foot switch with fast/slow and on/off positions so that the guitar could go either through the amp, through both the amp and the Leslie, or just through the Leslie at either fast or slow speeds (as in the song “Badge”). Eric also used a Crybaby wah-wah pedal. His Fender Stratocaster of choice was Blackie, with the tobacco sunburst Brownie on standby.

In his first band, The Roosters, Eric played a double cutaway Kay through a Selmer Futurama III Amplifier. During his tenure with the Yardbirds, Eric played a Fender Telecaster through a Vox AC-30 amplifier.

While in John Mayall’s Blues Breakers, Eric played a 1960 model Les Paul Standard through a 45-watt model 1962 Marshall 2×12 combo (JTM 45). The amp was stock except that the output tubes were replaced with KT66s which have a more refined mid-range and clearer top end than either EL34s or 6L6s. The amp was usually turned up full volume, even in the studio. When the engineer complained that his amp was too loud, legend has it that Eric replied “That’s the way I play.”

In Cream, Eric switched to 100-watt Marshall heads and 4×12 cabinets using two full stacks. He also used a Vox wah-wah pedal and occasionally a fuzz effect pedal. For a while, he used Les Paul guitars exclusively. Sometime in 1967, he started playing a 1964 Gibson Les Paul SG. He had it painted by The Fool and it is as famous for it’s paint job as for its association with Clapton. The Fool Guitar is not a 1961 model as commonly believed as it has six screws on the scratch plate. This number of screws came into use in 1964. During the Spring of 1968, he switched Gibson Firebird with a single pick-up. He then alternated between the Firebird and his now-famous Cherry Red Gibson ES-335 guitar for the US tour through Cream’s farewell concert.

In Blind Faith, Eric used a Gibson Firebird through either Fender Dual Showman or Marshall amps. But, at the band’s debut performance in London’s Hyde Park, he played a Fender Telecaster with a Stratocaster neck.

I’ve been using Peavey amps way back in 1978. Since then I’ve owned a succession of Peaveys; Studio Pro, Delta Blues, Classic 30 and a Rampage. Currently, my amp collection includes a tweed 4×10 Classic 50, and a compact Classic 30 - for the past 10 years of so, these have been my main gigging amps because of their portability, durability, flexibility and great tone. Despite being a big fan of Peavey, until I started developing the Peavey section of this website, I had no idea the breadth of the company’s offering.

The Bandit 112 and Envoy 110 solid-state models are perfect for practice, rehearsal or stage use, with plenty of power and tone at wonderfully affordable prices. For low-volume practice, the 10-watt Backstage or 15-watt Rage just can’t be beat.

The Peavey TransTube series, including the Transtube 100, 112, 212 and 258, bring the reliability of solid-state to amazingly authentic tube tonality. Built-in digital effects make the is series the complete on stage solution to great guitar tone.

For singing all-tube tone, check out the Classic series and brilliant Delta Blues series - amazing vintage tone in a rock solid package. To take that all-tube performance to the boutique level, you need the ValveKing, which as hot rodded sounds that can sweep between Class A and Class A/B power amp configurations.

If you’re after serious rock or metal crunch, then prepare yourself to experience the awesome 120-watt, 3-channel Triple XXX head and matching 4×12s cabs. I recently saw Ted Nugent playing one of these pups at a concert and it was definitely balls-to-the-wall. Another great rock amp is the Peavey Penta, a single-channel amp with five totally different personalities derived from it’s selectable EQ/gain voicings.

If you’re after your favorite artist’s tone, check out Dweezil Zappa inspired Wiggy or one of my favorites, the shredder-approved Joe Satriani JSX model.

Like a lot of players, I thought power attenuators were a bad thing because of the color they added to an amplifier’s natural sound. My opinion changed when I sat down with a AirBrake power attenuator built by Dr. Z. Although Dr. Z builds this unit,the technology is actually licensed from Ken Fischer of Trainwreck fame. I bought this unit in the summer of 2003 for use in my home studio so I could crank up a number of amps that sound their best when pushed hard. I’ve owned and tried a number of other amp attentuators over the years (including the Marshall Powerbrake and the excellent THD Hot Plate), but this unit is certainly one of the best.

The Dr. Z AirBrake is a dream for using tube amps in project recording studios or smaller live venues where pushing the volume to “11″ may not be an option. This unit gives you virtually all the sonic characteristics of the power tubes pushed to the brink, but at any volume you want.

Although the Air Brake is great for typical rock amps like Marshalls and Mesas, I’ve gotten some fantastic tones out of Fender amps like the Deluxe Reverb and the Super Reverb with this unit. Most of the recording I did with this unit was with a THD UniValve and a Dr. Z Mazerati head (see my other auction) with great results. Surprisingly, even though the UniValve is a low-wattage amp, running it full out with an EL34 power tube is REALLY loud into 4×12 cab - the Air Brake worked just like a master volume to get that amazing tone at any volume. Note: Yes, the UniValve does have a built-in attenuator, but it really colors the tone, IMHO. The Dr.Z Air Brake is clearly superior.

For amps under 100 watts, you can attenuate the output all the way down to 1 watt. It’s very simple to use too - just use a speaker cable from the amp and another to the speaker cab. The main Attenuator dial does the major volume reduction and the Bedroom Level dial lets you fine tune the output. In summary, easy to use - sounds great! What more could you ask!

Back in the late 90s when the Line6 AX2 hit the market, the hype was big, but the tone didn’t always live up to the discriminating tastes of the seasoned tube fanatic.  Sure, there was something really cool about the idea - physically modelling classic amp tones and then recreating them digitally - but would the real tone freaks be fooled. Absolutely not.  Not by a long shot…

That said, it sure didn’t stop us from rushing out to the local music store to check’em out.  Like a lot of players, the promise of this technology was just to much for me to ignore.  What if the geeks could actually deliver the goods on this deal?  One minute a Super Reverb and the next a screaming Mesa-Boogie.  Daddy Like.

Well it kinda worked. I mean this patch sorta sounded like a ‘65 Blackface Twin and that patch sorta sounded like a Plexi, but it also sorta didn’t.  Buying into the promise, I bought a couple of Flextones and a Line 6 POD before I finally gave it up and bought the next best thing to a tonal chameleon - a THD Univalve with a big assortment of tubes.  That was back in 2001.

Fast forward to 2005 and I started hearing about a new line of amps from Fender, the Cyber Series.  In my opinion, Fender was smart by not trying to sell emulations of specific amps, but rather, the promise of single amp that could simply cover a lot of tonal ground.  I heard this first hand one night at a club hosting a touring blues man - I forgot the guy’s name, but he was wailing through a Fender CyberTwin with tone that almost made me cry…I could feel the G.A.S building before I even left the club!

After some research, I decided the CyberTwin was a bit too much, but the Fender Cyber Deluxe was just about right.  After performing my due diligence on the web, I located a nearby dealer, Shannocks in King, NC, and gave this pup a workout with my Jeff Beck Stratocaster.  What I had been dreaming about with the Flextone was finally here in the Fender Cyber Deluxe.  An AC/DC Plexi one minute and a spanking, sparkly Fender Twin the next. Daddy Like.

I think of the years I played in cover bands when I would have killed for an amp like this.  With the programmable patches, you can dial-up almost any sound you want faster than the drummer can steal your girlfriend.  Stay tuned for a full review, but forget everything you know about amp modelling, ’cause the technology is finally catch’ up.

After putting it off for to long, I finally got around to upgrading the XML engine of the site to use eBay’s new modified schema for accessing auctions.  It turned out to be less work than I first envisioned and I think the code is a lot cleaner too.

Don’t forget to check out our sister site for guitar effect pedals.