65Amps London Head

Year 07
Very versatile amp for rock, blues, jazz or country.
2 - different channels - Trem = clean to grind, very much of a marshall 1974. Colour as it is called is ef86 vox ac15 chime with dynamics and dark harmonic distortion. Channel switching via an aby switch - must get a phase switch to run both together.
Head - Trem Channel= vol, tone, speed & intensity; Colour Channel= 6-way colour switch, tone volume and the cut switch works for both channels. 2 x 12 cab = (1) G12H & (1) Blue Alnic in a 3/4 closed back cab which is solid wood....

Setup is a Fultone wah with a hughes tupe factor for more gian and a boss delay with tempo. Great transformers will allow you to run the volume at high levels with very little nois. We play gigs from 200 people to 2,000 and you get excellent stage volume and mic the 2x12 cab through the pa for the room. The amp tones are amazing using a PRS, Les Paul or G&L Strat. We play grass roots rock to Zep. The amp covers them all excellent...Good amount of chime to grind even without the hughes. Good amount of head room even for a 20 watt amp.
Remember it is class a, so the tone and volume are that of a 50 watt class ab.

No problems through 8 months of playing. Both the head and cab are profesionally built to with stand the road.

Had one question and was answered promptly. The dealer I bought the amp from is very helpful (Jeff at The Blue Guitar) Highly Recommend!

I would highly recommend this amp if you are professional player with chops or want a big sounding tone amp with good power levels and not blow your face off levels. Nothing to dislike about this setup.

Plug in and turn it up ! Channel 1 is sweet and channell 2 is sweet plus !

Wow this thing is Sweet !!!!! I use it for blues and rock and it does country too.Turn it all the way up and use your guitar volume to bring you in and out.It has a switch that bumps it up quite a bit . This is more of a good thing . Without the switch bump up {low switch} it still is pretty dern loud and SWEET. Did I say SWEET again ?

Built like a B S H !!!

Talked to Dan at 65. He emailed the day after I emailed him. Nice guy!

10 baby. A real nice amp.They make a 35 watter I guess but this 18 watter kicks butt > Just great !!

This is a brand new 2007 65 amps London head. Two channels both featuring high and low inputs. The EF86 or Voxy channel has a boost on it. The 12ax7 or Marshally channel, has footswitchable tremolo. Very verstaile amp, but not in the modeling sense. Versatile in the sense that you can get all the great british cleans to heavily overdriven and everything in between. Top notch!

With strats, les pauls, 335's, and a vintage Epiphone Casino has this amp thus far been used. I have the head version. The 2X12 cab with a Celestion blue and G12H complements the dual sides of the amp wonderfully. The EF-86 channel sounds very chimey and Voxey, and really satisfies my Vox AC-15\30 cravings whenever they come on me (almost daily). Amazing clean tones!! It is also a lot more flexible than the old Voxes with the boost switch and the color knob. With the color knob I can also get it to sound slightly Fender Tweed like, or even blackface fender like if I manipulate it to the correct setting- but it always has a Voxey thing going no matter what I do. This is what I bought the amp for mainly. The boost allows me to take it to higher levels of OD than I used to get from my Vox if I choose.....but I rarely use it. It sounds great though, never overly saturated or muddy, and always has a great vintage vibe to the OD. The Marshally side came as quite a surprise bonus to me. It really sounds incredible clean or dirty- with a lot more sparkle than the old 18 watt Marshall combos on the cleaner settings. It comes to life so much sooner on the volume dial than the old Marshalls- and sounds better and better as you turn it up. Overdriven- this channel is astoundingly good for lead work, and it really nails the old Marshall overdrive sound- although it sounds better than any Marshall I've played. I've never been a huge Marshall fan... until now! This channel is all that a Marshall should be! The tremolo is the most intense I've ever heard. In comparison to what I'm used to it seems almost TOO intense, even on low settings- but once I adjusted to it, I find it completely exciting to play with, and it allows for interesting riffs to be written using this intense trem as an effect to build a song around. If I want a less intense trem sound- I'll switch over to my original blackface deluxe reverb- but I rarely do these days. All in all- I have to say this is my very favorite amp to take to my gigs. It nails so many wonderful tones between the two channels that I rarely need anything else- and all at volumes that allow me to push the amp into its sweet spot at almost any venue. Mic it up at bigger venues, and it is more than sufficient. I have to give it the highest marks for tone!

I've only had the amp about 6 months- and so far have had no issues. I am fairly nervous about the EF-86 preamp tube because these are historically problematic for microphonics. So far- not a hint of that issue in this amp. I'll leave this a no opinion for now and update you after another 6 months or so. So far so good! Built like a tank and hand-wired, so should be easy to fix if any problems ever do arise.

Again- I can not comment on this so far as I have had no need to take the amp in or even call. They made a great product- which I bought from GO GO guitars in Long Beach- and haven't needed to call since.

I have to say that at this point I definitely give the amp a 10. It's been on a dozen or so gigs with me without the hint of a problem. The tones are absolutely stellar, nailing all vintage British tones with the highest marks! I do bring my old deluxe reverb out if I'm going to be playing a lot of tunes with reverb - which is the only thing this amp lacks. The amp was very expensive, but in comparison to picking up a vintage Marshall and a vintage Vox-was actually quite a deal. And while it may not possess the collector value or investment level appreciation of those vintage amps we all lust after- it does a hell of job nailing the tones. I'm at the point where the tone is all I care about- and have learned to live without the vintage Voxes I desire- thanks to this baby!! If you can find one of these- plug into it, and you'll see what I mean!!

I bought the London head and 2x12 cab in early 2006 from Dan Boul. There aren't many "features" to comment on, other than the fact that you are actually buying TWO amps - the head embodies the mid-60's Marshall circuit and also an early 60's VOX EF86 circuit. No effects loop (minor complaint), no EQ, just great hand-wired tone. You'll want an ABY switch like the Framptone if you get the London, because it is actually two amps. Building one into the London would be an improvement, since I never seem to want one bad enough to fork over the cash, yet wish I had it at times.

I cannot get a bad sound out of this amp. The tone controls all seem to be within usable range. I got the "house special" G12H/Bluebell speaker combo. It delivers classic British tone dripping with even-order harmonics better than any other amp I've played. I play mostly vintage strats, save for a Gibson SG,. EL84s are sweet for a strat player since it doesn't take much voltage to drive the tube, making them VERY resposive. This amp is easily the most articulate amp I've ever played. I play blues, classic rock and some fusion/rootsy stuff. I'm using the VOX side with a Holy Grail and an Analog Man KoT v4 (for lead boost/tone shaping) for blues and it is heaven. I like the Marshall side for heavier work, with Barber Direct Drive SS for leads/boost, and the usual wah/univibe setup. Other distortion pedals just make the amps sound bad. Oh yeah, the Aphex Guitar Exciter increases the even-order harmonics (if you could imagine bettering perfection?) on both channels. I run it last in my signal path. This is the most musical amp I've ever played (others include Budda 18w SD II, Marshall SLP, Carvin XV212, '64 Ampeg RR) hands down. The high end on the VOX side is piano-clear and always rings like a bell - never harsh or brittle. The G12H gives the bottom end a sweet thrust for power chords and classic rock. The strats absolutely sing thru this amp, while the SG delivers a very rounded, creamy distortion that is never farty or sloppy. In fact, the notes seem to sag a bit, then snap and sting like an elastic. I used to swap my 12AX7's for JAN military-spec tubes to get this smoothness. Even after a year of thrashing, the tone is still very tight and snappy. They really nailed the right OT transformers! I've used another 2x12 cab built by Avatar and loaded with G12H/Vintage 30. It's louder and the highs aren't as piano-like, but it is awesome for the heavy sounds. I would not suggest trying anything other than Celetions with this amp since it is designed to work with them for that classic British tone. If there was an 11 for this category, that would be my rating.

No worries there. This piece is built rock-solid. Get an ATA flight case and away you go. I always carry extra valves, especially the EF86, which are hard to get decent quality. I've had it for a year and never had an issue with it.

I live in CA, and went to demo and pick up the amp from Dan at his place. He is very friendly, helpful, and just wants everyone to get the best tone they've ever heard. 'nuff said and no worries there. He delivers. Dan offered to upgrade the circuit for free if he ever makes improvements to it.

I've been playing for 35+ plus years and have the grey hair to prove it, but thanks to this amp, I'm still "smiling with all teeth" If someone stole it, I post a reward and go buy another one. I was looking for a '63 VOX AC 15 when I found the London, and honestly, the London sounds better. I chose this amp for its incredible clarity and articulation. It makes me change my strings more often simply because it sounds so damn good. It shows up every imperfection, no matter how small. One caveat to my review - I am not a fan of Fender/American tone. The 6L6 tubes sound great clean, but I do not like how they break up (sloppy, harsh, and farty). I have always been an EL34/EL84 player, and the closest I've ever come to solid state was Carvin's Xv212, so I am "biased" to the "British" tone. The amp draws a LOT of attention, from "cool-looking amp, what is it?" to "that sounds incredible, what's in it?" This is a player's amp that is sharp enough to share the stage with the rich and famous. You gotta play it to believe it. If in CA, drop them an e-mail via www.65corp.com If in Austin, head down to Resurrection Guitar to feast your ears on this marvel.

Amp was made in 2006 - I have the cream and black head and matching 2x12 cab with celestion alnico blue and G12H30. Looks great and sounds even better. I play swingblues, regular blues, odd-ball jive, rock-a-billy and louisiana dr. john type blues in a 4-piece "big band in a small package" band. I had a Matchless DC-30, which was too loud and never reached its sweet point at reasonable volumes. I traded this down for a Matchless lightning, which sounded great but had fuzzy bass response at any usable volume, which doesn't work for the required rock-a-billy twang. I am a huge fan of Sheryl Crow and in particular the tasteful guitarwork that Peter Stroud delivers on their live outings. So when I read about 65amps being partly his brainchild, I had to investigate.
Features are great - lovely EF-86 Vox AC-15 channel with Volume, tone and 6-way color switch plus frontpanel and footswitchable pentode boost. THe other channel ventures into Marshall land, with volume, tone and tremolo with speed/intensity controls. A cut knob controls the high end for both channels.
Round the back there are the speaker outputs and 8/16 ohm switch.

I use the amp in my own studio, where I rehearse and record with my own band and on stage, usually pubs/clubs and festivals in the summer.

A reverb would be great, but everything you put in front of the amp seems to work fine, so a good reverb pedal or other form of reverb will work. No effects loop, but it's a classic amp, so there you go. Buy another amp if you want gadgets and bells and whistles, buy this one if you want great tone!

This setup has the same powerrating as the lightning, but the volume is truly unbelievable from this humble 18 watt amp - the transformers must play a big part in this, because bass is tight and highs are clear and bell-like but never harsh. My band complained about the volume at rehearsal, so that's a good sign! Plenty of power - maybe even too loud for rehearsals, but it sounds very good at low levels - it is still very versatile in an good old fashion kind of way - Hence still a 10 in this category.

I mainly play a beautiful blue custom build Heritage H-555, with Bigsby, TV-jones TVtron plus in the bridge and a Seymour Duncan Phat Cat P90 in the neck, a bit like a Gretsch on steroids (had loads of them, but wanted the feel of a good Gibson with the sound of a good Gretsch) that actually plays well. To continue the 'Gretsch but not Gretsch' theme, I also use a Fender Tele-sonic with hollowed mahogany body and deArmond pickups (Fenders take on the Duo-jet).
Apart from those, I use a Don Grosh Retro strat w/Suhr VLP-60's, a custom build Korina tele with SD custom P90's (my LP junior-clone) and a great Heritage Les Paul with SD 59's.

So, All pickups and all types of guitars - all have their sweet spots on either channel and more than one per guitar/channel actually.
The colour switch works very well for shifting the accent to less lows and more high mids and I like the way the amp was voiced with the tone controls on 10 - you simply roll back from 10 to tame the highs for overly bright guitars/pickups. Amp is very quiet.

As for sounds, I used to use 4 different overdrive/boost pedals with my lightning for colour/tone and levels of dirt. I kicked two of my pedalboard in order to make room for an A/B switch and reverb pedal after hearing the amp dry. When I played with my band last night, I found myself not using either drivepedal (Durham Sexdrive and Xotic RC booster).

Between the 'AC-15' channel with its switchable pentode boost and the rockier 'Marshall' channel, combined with the touch sensitivity of this amp and your guitars volume control - I could get any sound I needed!
My Carl Martin Delayla XL slapback delay pedal sounded great, and my much used Hughes and Ketnner Rotosphere II for my fake organ sounds has never sounded better. I will add a reverbpedal for the occasional surf-vibe, probably a holier grail or the new T-rex tube reverb pedal. Talking about surf vibe, the tremolo throbs and pulses like a sick donkey when required, but can also blend in with the sound on a slow/low sensitivity setting - my Rocktron BIG SURF pedal is now obsolete and I will post it on ebay soon.

I will probably keep my two drive pedals to add an extra clean boost (Sexdrive) and low level grit (RC booster) when the future situation asks for it but I honestly did not need/use them at last nights rehearsal. That is a true testament to the amps tones and versatility.

This is definitely a low to medium gain amp, but it's the touch sensitivity in which it excels. You stroke the strings:it purrs, you dig in and it growls but never gets harsh. It also has great punch and clarity, but it never sounds flat or sterile - there is always tremendous depth in the tone and the way the notes bloom (Can you tell I like it yet?)

For it's tremendous touch-sensitivity, it's different tones, it's depth of tone and the fact that there is no need to use pedals to get sufficient variety in tones, soundlevels and gain it definitely deserves a big fat 10!

I have no hesitation to gig this without a backup - just bring spare fuses and spare valves. Look at the inside of the amp on the pictures on the 65amps website to convince yourself of the bombproof build quality.
Only had it a couple of days, so I will not give a mark here yet - I'll come back after the outdoor festival season to comment on it's reliability. I will put the head in a case/gigbag for protection and get a quality padded cover for the cab.

Haven't dealt with the company - hope I won't have - but no marks in this category coz I simply don't know.

I have been playing for thirty years, for guitars see under 'sounds' also play in an acoustic outfit and own a Tricone, A Gibson Sheryl Crow signature acoustic and a Martin Golden Era 00-21.
I've had many amps and a large vintage guitar collection - sold all of them and just have 5 quality electrics to rival most of the collectors items I once owned.
If it was stolen, I would get another one as soon as it was available - I would probably have to wait a while, because this Amp is certainly to become a future classic for sure and once the word gets round, the waiting list will grow rapidly.
I love the looks, the touch sensitivity and the tones that are possible from this simple set-up. Nothing I hate, would love a reverb but that would probably compromise the stellar tones and/or drive up the price a lot. It is not cheap, but given the sheer quality of construction, the great looks and stellar tones - it's well worth the money - give one a try one as soon as you can.

I need to correct my previous (unfortunate) rating for customer support. The rating I gave was premature and certainly undeserved.

Dan at 65Amps is uncommonly kind and helpful. Other than designing and building an incredible amp, his mission is to make customers happy. My (former) rating of "6" was due to an unfortunate set of circumstances, circumstances that were not his fault. Since then, he has bent over sideways in an attempt to make me happier - he succeeded in that.

I wholeheartedly recommend the amp AND have no reservation over grading Customer Service with an unqualified ten.

Two EL-84 Class A, non-Master Volume, Point to Point wiring, 2 channels: Tremolo and Color. Tremolo has a Marshall 18 watt voicing, Color is voiced like a AC15. The tremolo channel has tremolo and the Color channel has a color control which dials in top end ? it also has a pentode/triode 1/2 power switch. External speaker out for 8 or 16 ohm loads.

I?ve had the amp for a while and to be honest, I doubt after hearing this amp that anybody would care about any extra features than it has. It sounds so good that anything else in the circuit would change the tone maybe not for the better.

This amp is a well considered design with nearly all the features that work for most guitarists. Looking at the construction you'll see that the builder of the amp scrutinizes it with his eyes and his ears - Nearly flawless construction.

Points off for the following: it would be nice if it had reverb, it would be nice if both channels could be foot-switched, it would be nice if it had more top end. For anybody reading this, the Janglebox compressor (or another good treble booster) is a must have pedal to give you all of the top end jangle you could hope for.

This amp supplies THAT British sound in 18 watts in two different voicings. Buy it for the clean jangle and find uses for the rest of the sounds that are there. The overdrive in the sweet spot (singlecoils 9 in either channel, ?buckers 7 in either channel) is classic British. This is NOT a shredder amp (note the period).

It is very sensitive to touch - a light touch and it sounds clean, a heavy down-stroke and it sings. The tone controls are responsive and never sound bad. The amp plays especially well with pedals ? pedals blend with the amp extremely well. The amp makes different guitars sound more like the guitar it is: strats are more stratty, ES-335s are more jazzy, Humbuckers are more gutsy and creamy.

This is a great amp for blues, but could be used for most styles except for Metal. The natural overdrive blooms beautifully when set at the sweet spot. The cleans are pure jangle. The distortion is mostly power tube saturation ? sweet sustain, with a transparent, warm grind to it. Lots of range with THE tone. Anyone who wants ultimate tone, this is it. I play blues and jazz and this amp does it all for me.

Add a Fulltone OCD, a Menatone Howie, or a Clark Gainster and you can get any natural-sounding overdrive sound usable in any application.

Tremolo Channel:
The Tremolo Channel is sparkling and chimey, with fantastic bluesy distortion when the amp is at the sweet spot - all delivered at (somewhat) reasonable volume. This is a great recording amp that can deliver the Marshall grunt without shattering the windows. The clean tones chime and shimmer while maintaining a clear and well-defined low end. When at the sweet spot, the distortion is 18-watts of joy.

With a Strat, there is warmth and good jangly headroom. With a humbucker, it breaks up earlier, but has a smoooooooth crunch tone - the tone is nicely balanced and warm. When cranking this amp up to about 7, it provides a singing sustaining tone that is really nice for rock and blues. All the characteristic mids are there with lows that aren't overdone and the highs are nicely tapered off so they don't pierce your ear drums - a beautiful sounding amp.

As for the tremolo itself, it may be historically accurate, but it doesn't have a lot of range. That could be because I don?t use tremolo as an effect with much regularity. The tremolo on my Deluxe Reverb seemed warmer and easier to control.

Color Channel:
THE Sound, WOW, what can I say? Its Voxy and it is awesome. In my opinion there is NOTHING that matches the sound of a Voxy clean ? this amp nails it. I've played all my guitars through it and it sounds amazing. Deep smooth bass and treble that most amp manufacturers could only dream about.

I've tried a ton of amps and nothing, I mean nothing, will beat the sound of a Voxy clean. This amp maintains a distinctive musical character, allowing for a more individual tone that doesn't make you sound like a clone. This is not simply an AC15 clone channel - the tone is probably more on the Matchless end of the spectrum than an AC15, but all the tones are there if you only look for them.

Being brand new, I've had no problems. It is well built so I doubt reliability is much a concern. It is certain to be more reliable than a Vox.

I called the company a number of times - twice with a simple question left on their answering machine. I never received the courtesy of a reply. Every time I called, I got their machine regardless of the time of day.

Even if there was a problem, I am sure my amp tech could handle it.

I?m not too sure about the CS sense of the company since they didn?t bother to get back to me ? points off for that.

I?ve been playing since 1971. I play this amp in addition to a Tone King Comet 40B. I have two custom strats, an ES-335, an ES-347, and a Godin LGXT. I use a Framptone 3-Banger that allows me to play both channels in this amp and the Tone King at the same time or each channel/amp separately.

PLEASE NOTE: The amp is EXTREMELY sensitive to the type of speakers you use with it. Play it through a cabinet with other than an Alnico Blue clone and a Weber C1230/Celestion G12H clone and you will be disappointed with the amp. Play it with the right speakers and you will be rewarded with the best EL-84 tone for the money.

I would definitely buy another one if this one left mysteriously. This amp flat-out kicks butt. There is no reason to look anywhere else for great tone, this is it.

This is an 18 Watt head with a Marshall style channel called the Tremelo Channel and an AC30 style one called the Color Channel. No master volume. Overdrive is obtained by turning it up.

The Tremelo channel has, you guessed it, tremelo! Two switches speed and intensity. Also, a single tone control which is very effective.

The Color Channel has a single tone control and also a 5 way rotary switch that shifts the emphasis from highs and lows to the midrange. This channel also has a cathode booster switch that pumps up the volume and, to my ear, adds a Matchless C-30 character to the sound.

There is a master cut control similar to an AC 30.

It also sports a variable voltage switch on the rear panel for playing in other countries and two speaker outs for 8 and 16 ohms.

It's hard to give a rating for features. Some amps have every feature in the world but they don't sound all that great. The London has a few really great and well thought out additions to the basics and most importantly- it sounds great.

This is one terific sounding amplifier. The tremelo channel sounds to me, like a great vintage Plexi Marshall with the addition of very nice chimey cleans at lower volumes. As you crank it it blooms into Marshall land very smoothly. At 8-10 on the volume dial it's quite incredible to my ears. The power tube OD is so natural sounding. The bass stays tight, ice pick highs are totally gone but some sparkle remains and a monster midrange beefs up the notes. The sound definitely reminds me of old school 60's early 70's marshall. It reminds me of 38 Special's Hold on Loosely tone but with a bit of bad ass attitude thrown in. If you play it lightly it sounds pretty but when you dig in it gets rude.

The Color Channel is a 63 Vox AC 30 circuit and sounds like it. I like this channel better for clean tones but the other guitarist in our band likes the Marshall side. With the cathode booster switch off you get a very vintagey sounding AC-30. When turned up all the way it's not as loud as the Marshall side and doesn't break up as much. I get an excellent low gain strat lead tone similar to Los Lonely Boys Heaven. Whe you engage the cathode boost switch the volume almost doubles and it seems to bring in more presence and high end. It sounds like my old Matchless C-30 except that it breaks up more quickly and sounds way better overdriven. Switch to bridge humbucker and turn the volume up to 8-10 and the lead tone is very fat and creamy with great low end and sparkle in the highs. Great old school overdrive.

The headroom on the two channels is different. The Trem or Marshall channel is not quite as loud as the Color channel with cathode boost engaged. With cathode boost off the Color channel has less headroom than any channel. This is handy when your trying to get to that ideal volume/gain structure. You can switch channels to better match the levels of the band you're playing with.

The folks at 65Amps are very customer service oriented and have responded quickly and expertly to my concerns about the tremelo. I think the intensity is, well a little too intense. I emailed Dan about it and he is sending me 2 different pots to try out.

The pix I've seen of the interior are impressive and many knowledgable people in the industry think they are extremely well built. As you can tell I'm not a tech guy.

See above for customer support.

The amp is so new that they are still working out the warranty stuff. I hear that they are going to offer a lifetime warranty, but who knows?

Guys in my band like to joke that I'm in the amp of the month club. They send me 10-12 amps and I send back the ones I don't like. Very funny guys...Serously, I have owned a Hot Cat, Kingsley Deluxe 30, Matchless C-30, Maz 18, Route 66, Carmen Ghia, Fargen Blackbird, Tone King Comet, Cowtipper, Underground 30, and a few more. I've been playing since the 60's and gig out with a classic rock band that does originals and covers.

I believe this amp has been engineered with the goal that it be a great small to medium club amp. Man does it suceed. By the way, the low end is excellent especailly for an 18 watter.

The London has excellent touch sensitivity. Even at 9.5 on the volume you can get kinda clean if you hit the note lightly enough. The flip side is that when you are playing around 5 which is about where my rhythm level is for band work, the chords are slightly distorted when hit hard. Not great if you need a super clean 9th funky rhythm thing where you have to hit the strings hard AND stay pristine clean. However, the overall structure of the gain and headroom is near perfect for me. It's closer to my ideal gain/headroom structure than any other amp I've ever played. The gain/headroom is not perfect-nor can any amp be that doesn't have a master vol. But then again I've never found a master vol. amp whose sound I liked as much. I have found that it's just a bit louder than I need for the band I play in. That means that I don't exactly hit the "magic" volume area 9-9.5, for lead work so I've been using a pedal to bring in a little more dirt. I think I'm going to get an attenuator to knock a few decibels off the top end. If that approach works the way I want I'm going to be real happy.

Sometimes something that is a strength has a little weakness inherent in it. This amp is so UN-harsh that it sounds amazing. A very small downside of this to my ears is that sometimes a little harshness helps cut through the mix. It cuts fine though-no worries there.


Also, I think the amp could be voiced to have a little more high end. It's capable of way more bass than I need and capable of about 90% of the treble I need. In other words, there are rare times when want a really bright sound out of my neck strat pickup and can only get about 90% there. This is really nit picking, I know, but it just seems a little heavy on the bass side COMPARED TO the amount of treble available. Other people who have heard the amp don't share this opinion. They think it's plenty bright so maybe it's just me.

I've owned this amp about a month now and have jammed with it about 5 or 6 times. I absolutely love it. There's something about the sound that is just so pure. I've never owned an amp that sounded great clean, low gain and medium gain until now. I've also never owned an amp with two channels where I loved both channels until now. The cleans are just about as good as any amp I've ever owned. I played with a friend the other night who is also a tone geek and has heard me for years. He usually doesn't have too many superlatives to throw out but after I played about 3 chords he turned to me and said "that's the best amp you've ever owned." At practice the guys have gotten pretty blase' about new amps I bring. They don't even take notice anymore. At the end of BP the first night I brought it, everyone was standing around listening to the other guitar player who adked to play through it. I had to drop a few hints to get him to stop so I could get home.

For my tastes this amp really does it for me. It's very rewarding. Every time I plug in feels almost like the first time. A very cool piece and future classic, I believe.