Burman Pro 502 Combo

I own two Pro 502 2-channel 2x12 combos. One I bought in 1979 for #475 and the other, which was ex-Status Quo touring gear, in 1984 for around #250.The jewel in the crown of this amp is the three gain channel. The other ( for which there is no switching provided) gives a sort of uninspiring flat clean sound. There is DI socket at the back and facility for extension speakers. The second amp I mentioned has been quite heavily modified from standard and has some extra connections for conecting lots of these babies together. It also seems quite a lot louder than the standard one.This is a built-to-last bullet proof unit with a no frills approach so don't expect bells and whistles, you're paying for build quality (circuitry and case construction) and sound. There are two EQ sections, one for each channel. The most comprehensive is the EQ for the three gain channel which works beautifully. B, M, T and Presence. You can hear the effect on the sound of the smallest tweak. The 'middle' setting has a very noticable effect and is very useful.

I have used these amps with various guitars over the years. Gibson Les Paul, Fender Tele. Custom-made instruments are my current choice. The guitar choice, to some extent doesn't really matter, the amp is so versatile that you can get most sounds with any guitar.The three-gain channel is the one to plug into. This offers a range of fat tones between a crisp clean sound or a full-on compressed-but-punchy creamy air-blast-around-your legs distortion, (although the out and out metal guys might want to use a bit of extra help from an external effect) The beauty of this gain control configuration is that you don't have to use any of the three in any order or as a conventional 'master' gain. You can tweak the gains in any order and combination to get the sound you're looking for. Gain 2 is particularly interesting, depending on where you set it, it has an effect on the attack sensitivity, the amp becomes very responsive to your playing nuances for colour and feel, ie during quiet passages. I also own a Boogie F50 and in my opinion, they are a very similar type of unit in build quality, approach and sound. I've tried different makes of output stage valves, Groove Tubes included, but I wish I could find some original factory-fitted GEC Gold Lion KT77's, they were the best. I unfortunately threw two of the originals out years ago..big mistake. The ex-Quo amp still has the original KT77's and it still sounds awesome (over 20 years old)

Being merely a reasonably busy semi-pro, my Burmans (Burmen??) have not had the full work out, although one of my units was owned by a well-known UK rock band of 40 odd years standing who, I imagine, do not tread on eggshells with regards to the use of their kit.Both the amps are mint apart from one or two superficial war-wounds and in full working order, though both could use a service now. I can't remember a serious problem with either.

None, Burman ceased production in the 1980's, but I wouldn't think there are any nasty suprises for a decent tech.

I've been playing since 1971, so I've had these amps for the biggest part of my playing years.I'd be gutted if I lost these,they're practically irreplacable.

Down side is the weight, they're back-breakers if you're out every night up and down stairs with them. But I guess that's the price of high build quility. There are two heavy duty handles provided on each side though which are well up to the job.

Reviews at the time billed Burman as 'Rolls Royce' amps. I wouldn't disagree.

Two channel (non-switching) combo amp rated at 50 watts. It's the non-Gold Lion version. Channel one is nothing to brag about, channel two is happening which is why I bought the amp in the first place. It has three gain controls which allows a great variety of sounds as discussed below. Speakers are original (red) XR015s (whatever??) and look to be in good shape. Grill is sturdy and no holes or dings which is surprising considering the amp is around 25 years old. Direct inject is present on the back, but haven't messed with it yet. Also, there is a voltage selector which was quite helpful. Transformers are these huge red things. Amp was received with Sovtek EL-34 output valves. The amp was fitted with KT-77's as stock which are too expesnive for my blood right now. Handles allow ease of transport, but the thing still weighs a ton.

Great clean sounds as this was apparently what Burmans were known for until the Pro series of amps. It's really quite loud for an amp of 50 watts. The spring reverb (Accutronics) is nothing special. Channel two is exceptional. The three gain channels allow for many variations ranging from clean to hard overdrive with many subtleties in between. Because of the lack of channel switching,I would like to A/B this amp with a Roland JC-120. This way I could get a great clean and overdriven sound. You really have to hear one for yourself in order to appreciate the quality and variation in sound. Still haven't found the opportunity to let the thing really rip yet as I live in an apartment.

This is my first valve amp after years of playing a Roland JC-120 and a Gibson L5. Reliability doesn't seem like it will be a problem. The only problem is the fact that Burman went out of business and parts will be impossible to find.

None. The best you can hope for is to take it to your local amp tech.

I've been playing guitar on and off for 15 years or so. I play mainly modern rock with an industrial/goth/brit-pop vibe to it. This amp suits my purposes well for overdriven tones. Because of the lack of channel switching, it will excel in the studio. Since I've only owned it for about 2 months now, I still haven't exhausted it's true potential yet. Nevertheless, I'm impressed with the quality of the sound as well as the construction. I became aware of this amp when I found out that the guitar player for Killing Joke used Burmans. I always liked their sound and tried hunting down one of these amps. It took an entire summer scouring online UK music stores and classified ads. I finally found one at Music Ground in the UK. I definitely overpaid, but they had the amp - and I didn't. Searching for this amp took on a life of its own - like trying to find the holy grail. We're talking one rare amp here, especially in the U.S. At this point, I just feel lucky to have found one in decent condition. If anyone possesses documentation on the gain settings (apparently the amp came new with some gain channel parameters) or any other useful information, please let me know - I'd be happy to hear from you.

I bought this amp new in 1977. And paid #310. It was receiving awesome reviews in Beat Instrumental and International Musician.
It's a two channel all valve 50-70 Watt combo 2X12. It has 3-stage gain on the lead channel and more simplistic vol. treb,bass on the clean ch.
I had mine modified to have an fx loop on the back panel,a feature the later models had. In the era of its build nothing had this sort of gain control- boogies had not made it to the UK at that time.The build quality was simply to Military spec.

The sounds available range from glassy shimering bell like tones, through edge of break up distortion to compressed high gain with no loss of clarity!

The amp failed once when a fuse blew. Other than that perfect for 23 years. It is built to a standard few makers have ever acheived-- I doubt compromise was a word Greg Burman was in the habit of using.
I messed about changing the valves to KT88s but no real difference was felt.

If memory serves me right I contacted Greg Burman himself just prior to buying my amp,he seemed friendly and knowledgable but I never needed after sales service

I guess if it were stolen I would buy something smaller and lighter eg a Mesa Boogie Subway Rocket. But I would miss it as its size and mass give a very solid sound