Hiwatt Custom 50

I recently found a Custom 50 from 1982. It's been sitting in a guy's basement since then, and looks fantastic... It's a two-channel version, with the large-style rocker switches. It has all the usual knobs that amp heads have (vol and master vol, bass, treble, mids, presence, etc) but it does not have reverb (as far as I am aware, no Hiwatts ever did) - which is a shame, in a way. Reverb can be a problem playing out, but when in rehearsal it can really help.

This amp has enough power to kill a man at fifty paces. That will never be a problem at all.

I've used this amp with a number of different guitars, but due to the Floydian nature of the whole thing I've been mostly using strats and teles. It sounds fantastic with both - a very thick, rich, and LOUD tone. I never understood what people meant when talking about chords "blooming" before... Now I know. And they do. Even single line notes hit like punches to the chest - just huge sound. Of course, this is probably helped by the Hiwatt cab with four Fanes in it I'm running through... It pushes a lot of air.

There's plenty of headroom, but being a Biacrown Hiwatt you can get some serious gain too, if you don't mind the hearing loss. I prefer to stick to cleans and let the pedals do the work - this amp loves pedals. It does tend to hum with high-gain stuff, but it just lives for fuzzes.

I'm not sure if it's the cab, but it does seem hard to dial out as much bass as I'd like... And I am playing mostly strats through it, as I said.

Any amp that's this old is going to have issues from time to time. I'm pretty sure my preamp tubes are going, so I've got to get them changed. Otherwise, it seems solid as a rock.

Never talked to them.

Well, next year I'll have been playing for 10 years... I've also used my trusty old Hot Rod Deluxe (which I still love), a Mesa F30 (which was fantastic), and an AC30 (which, honestly, I never liked). This is certainly a unique amp - I wouldn't say it's for everyone... But if you want an amp that looks great, stands out from the crowd, and could shoot down an airplane with volume alone... You can't go wrong with Hiwatt!

1974 4 input Custom 50 head. Modified by Rick Onslow (4 channels at different gain levels and a send/return with Master pot). The Custom 50's power goes much beyond the rated 50 Watts, I believe; still, the Onslow mod takes it even beyond (if you can believe!!!).
btw: this is my second review. I was lucky enough to find this second Custom 50 + cab (a Hiwatt 4 x 12" Fane !!!) in exchange for a Marshall and change.
Again, this amp loves analog effect boxes. On the other hand, it hates digital (to my ear). I've tried Line-6 boxes, and although they sound good elsewhere, they just doesn't work with my Hiwatts.

Using it with a Strat with Lace Sensors, Tele with Stock pickups, Epiphone DOT with Stock pickups.
My rackmount effect box includes a Roland GP8 analog multi-effect, and a Roland SRV3030 Reverb unit. I sometimes insert an analog delay in the loop.
This amp sounds extraordinary in the "clean" mode, but can be brought to a light bluesy Crunch, a mean Marshall-like distorsion and a heavy heavy brutal-metal distorsion with the Onslow mod (not my usual style, but it's an option - and it gets attention!!!).
The 4x12" Fane equipped cabinet is unreal. I believe the speakers are good for 75 watts each, which makes it 300-Watt capable; it can be driven without restraint.
Unreal.

Yep... built in 1974 and still under warranty... like my car...

N/A nice web site...

My amp collection has shrunk a bit. I've got one Marshall left; I'd still go for a small combo like a Fender Champ or VOX AC15. If the Custom 50s were lost or stolen, I'd try to find similar models, but they are a bit hard to find. My insurance company might not like it very much... Great value. Big Bang for the Buck...
Important notice: to my ear, these amps do not seem to like digital effects. Beware !

La testata in mio possesso e stata costruita nel 1974 (seriale 5492), nel mezzo dell'epoca d'oro hiwatt di Dave Reeves e Harry Joyce, la testata e completamente originale (condizioni perfette) e riporta all'interno la firma di Harry Joyce. Monto Mullard originali nel pre e due ottime svetlana nel finale.
Come costruzione tecnicamente si puo dire sia l' "ampli perfetto", nel senso che e il massimo del suono diretto dalle valvole, assemblato con cura maniacale, con i migliori componenti possibili, tutta roba militare e trasformatori sovradimesionati partridge.
E' chiaramente monocanale a 4 ingressi (normal e Brilliant ognuno dei quali low e high), volumi di pre separati piu master volume del finale, bassi, medi, alti e presence. Tutto funziona in maniera sensibile e comunque si muovano le manopole la pasta sonora rimane sempre bella.
Dietro troviamo 2 uscite per cassa, selettore 4/8/16ohm e selettore del voltaggio.
La potenza e spaventosa, superiore ad ogni altro 50w che conosco, ma il bello e che anche a bassi volumi il suono resta armonico e meraviglioso.
Chi dice che non e versatile semplicemente non sa usare una testa monocanale, compratevi un engl....

Il suono e indescrivibile a parole, e definito, armonico e con un attacco che ti apre lo stomaco a ogni plettrata.
E' un ampli molto esigente, non aspettatevi la naturale compressione (vedi marshall, vox) e ammorbidimento di altri ampli quando tirati, qui piu tirare su e piu siete definiti, uscite di brutto e di conseguenza anche gli errori si sentono alla stragrande. Ti obbliga a sviluppare la mano.
Con gli effetti e vero quel che si dice, che li valorizza tantissimo. Ma anche qui e molto esigente, attaccateci un brutto effetto e lui vi amplifichera la sua voce naturale e non sara piacevole, quindi meglio se avete effetti buoni e artigianali.
Io ci faccio rock-blues anni 60/70, se vi piace il suono di townshend il risultato e garantito ;-)
La distorsione e meglio ottenerla con un pedale perche l'ampli ha una gra bella pulizia, tirato al massimo si scopre cos'e un VERO crunch, ma i timpani rischiano di cedere dopo pochi minuti.
Io ho trovato un suono magnifico usando un vecchio chandler tube driver, gia a 1/4 di master siete a posto (pero tirate un pochino il pre ovvio, io avevo a 3/4 il normal e un po meno il brill).
Come si e gia capito uso i canali ponticellati (il secondo normal col primo brill ed entro nel primo normal).
Uso una cassa framus 2x12 con 2 celestion vintage 30 e il volume e gia spaventoso.
Con una 4x12 hiwatt o una con 4 greenback o altro il risultato e ancora maggiore......se dovete suonare a Wembley.....

Indistruttibile.
In quanto a tecnica costruttiva non esiste un ampli piu ordinato, i cavetti sono piegati in maniera geometrica, da maniaco della qualita quale era Joyce.

Io non ho problemi perche ho 2 grandissimi esperti vicino casa.
Ma se doveste rompere qualcosa, affidatevi a gente con le palle, non al primo venuto.
Affidereste una Ferrari al carrozziere sotto casa?

Suono rock-blues anni 60/70 con strato 62 reissue (pu voodoo) una tele assemblata warmoth (pu sempre voodoo) e una gibson sg standard. Nel provare alcuni pedali con un amico esperto siamo comunque arrivati ad avere sonorita dal surf al trash metal.

Cosa amo? tutto! cosa odio? non poterci suonare in casa altrimenti i vicini mi impiccano.

This amp was made in 1978. It has 2 input jacks; one for the bright and one for the normal channel - each has a volume control. The 2 channles share the Bass, Mid, Treble and Bright controls. I'll spare you the details already mentioned by the other reviewers. It has everything I need. No more, no less. I mainly play covers with the band, but really enjoy my time alone with this amp. It really has a particular sound - as Marshall, Fender and Boogie has their own tonal properties, this amp has uncommon tonal qualities. The higher frequencies flow like a river, and the bass rumbles like thunder. A delicate sound of Thunder, might I add ;)

I use a Strat with Lace Sensor pickups, a Tele with very good stock pickups, an Epiphone SG and an Epiphone DOT with stock pickups. My main effect device is a Boss GP-8. I can get this setup to sound like anything I can imagine. We play Rock classics ranging from the Beatles to U2, from Cream to... well you get the picture. I particularly like Pink Floyd, and this amp really nails it. The pre-amp distorsion might not be the best on the market, but this amp LOVES analog stompboxes. If you dare push the output stage (and beware: the 50 Watts rating sounds more like 120!), it crunches like nothing I've heard before. It's got a 9 because I don't believe in 10's...

The amp was built by Military specs. I've never seen such a cleanly handwired amp. You have to see one to believe it. I thought that the pictures you found on the Internet were after a cleanup, but no - that's the way tey're originally made ! It's made to tour with the Who ! If it broke down, I believe it would not be a hassle to repair, since it's so neatly wired.

I've contacted Hiwatt for schematics and such, and they were kind enough to direct me to Mr. Huss' web site. Warranty's long-gone, but I'm sure that I would not have any trouble finding a Tech to look at it.

OK, here's the 10. I've been playing for arond 20 years. I own 2 Marshall amps, used to own a Fender 1962 Concert, 12 guitars, etc. If it was s tolen, I'd definitely try to find another one like it. I use a Marshall 1936 cab, but would possibly try to find a Fane-equipped cab. The one thing I don't like about it is the way the power and stand-by switches stick out - actually, my stand-by button is a bit crooked. That's about all - Whew ! it felt good to share that with you all. If you're looking into buying one of these, a pre-1980 model is apparently preferable, but I've not heard post-1980 models. Listen to it and if you don't agree with me, don't buy it - you may have different tastes, but this has become my "untouchable" amp. I'd sell my Marhalls, but not this one.

I bought this two-channel 1978 Custom 50 used about two years ago; all tube/point-to-point wiring. For a clean, all original piece like this, I would have paid a lot more. It is the loudest 50 watts on the planet. The styles of music I play are all over the board; I play in a instrumental prog/metal band, and I play in a pop-cover band to make some extra cash. This amp does not have 'features,' and you can't fake anything with it like you can with a new modern-digital-modeling-amp. What you play is what you hear. This amp is extremely punchy and clean, but will break up nicely when you start cranking the volume of each channel. Stompboxes are the way to go if you're looking for a particluar distortion or effect. You really can make this amp sound like whatever you put through it, but its certainly a classic by itself. I don't 'wish' this amp had any more features...Hiwatt owners have Hiwatts on purpose.

I play a 1988 SG-90 (bridge HB w/ coil-tap, SC neck), a newer Standard Telecaster, and a super hot dual HB Warlock (all over the map, I know) through this amp, and they all sound incredible in their own way. Different settings (obviously) are necessary for each guitar, but I can't imagine a guitar that isn't compatible with this amp. I've used a Marshall 4 X 12 in the past, and am currently using a custom-built 2 X 12 with Celestions run at 4 ohms. Any noise problems I've experience have been due to bad cables/connections or grounding issues...the amp has NEVER been a problem. I mostly use the clean channel pushed pretty hard for a very nice broken up sound, very sensitive to your actual playing. A good distortion pedal (I'm currently using an MXR Double-Shot) will give you BRUTAL sounds. I modded the bright channel to have extra gain, and it has a very unique, dirty tone.

This amp was previously owned by a musician who gigged extensively with it (although this amp was CLEAN when i bought it), and I have done the same with absolutely NO issues. I've been told you can drop these amps down a flight of stairs, and all you have to worry about is changing the shattered tubes. I do carry mine in a road case, and have changed the power tubes out twice in the last two years, so I really can't see any future problems.

If there was a warranty on this amp, it expired over 25 years ago. Hiwatt's a different company than they were back in the '70s, so I can't imagine ever dealing with them...I'd just take it to my local 'amp-guy.' Point-to-point means a pleasure to work with.

I've been playing guitar for about 8 years. I traded my Mesa Recto-verb for this Hiwatt two years ago and haven't looked back. If I found another one this clean, I would go even further into debt without thinking twice. I am always surprised by the attention this amp gets as well...its always known at "The Who" or "Pink Floyd" amp, so its surprising to see it in such a 'metal' context. For a great head you can be happy with forever, $1000 is a steal.

the amp is a 1984..i was looking for a older one but i try it out just to ear ..this amp is really versatile you want clean or dirty you got it for sure...the only thing is you gotta have a very loud drummer or a deff mother depend of your situation loll
actually i always played with my 63 vibrolux live caus of the size of the venues i do and now with the pa systems but when i want to blast my ear with some good tone i pull out my hiwatt...i dont know how it will sound with the original cab+speakers and i like someone to tell me if there is a big difference between green backs the original cones...anyways if anybody out there got any mods or tricks dont be shy to share them with me i would appreciate....

i use it with my strat( with custom 50 strat pick-ups lots of cop wire)and it sounds really punchy and tight and the sustain is all there when i crank the normal chanel and the master..for texas blues its great..with my 68 gibson sg standard its another planet..sweet lows,it just sings a creamy palet of tone but just a little arch on the high end...(it might be the green backs too!!)...it feed back easy too (it would be intersting to try it out with p 90 loll)

never broke up..but it needs a big warm up before it stop clackling..it might need some new power tubes or something....
and sorry i did not gig with it yet ..but i gotta whole bunch of amps who are a little smaller if you know what im talking about (small car=small amp)

i play for 20 years and if this amp disapear tommorrow i would try to find one with partrige transformers and point to point wiring instead..(can someone tell me if theres a "BIG" difference tonewise..if yes can you send me some mods,tricks to turn it back more classic british)

My hiwatt custom 50 is an 82 model dating it from the hiwatt site. I paid $400 dollars for it 5 years ago. It has 2 channels a normal and a bright. I have been told that it is a very rare one being as it is a single 12 combo. No it isn't a bulldog, it is a custom 50. I play mostly progressive rock to metal, and blues, with some neo classical rock(aka ingwie malmsteen) It has BIG sound! I wish it had reverb, but i can live with out it. It would also be nice if it had a line out as well as the slave output. I run it clean, but it can be dirty when bumping up the channel gain, but it is very loud! I rely on stomp boxes for distortion. the amp has such a pure tone though. I definately love this thing, it's easy to move, it has a fane 12" speaker, but sounds better running through a 4/12 cab.

I play a strat, and a gibson melody maker that has been modified with 2 humbuckers, insstead of the old single coil bridge pickup. Either guitar i use sounds great in this thing, and it seems that no matter how you set it up it sounds the same at any volume. it only changes when you get the channel gain up past 12 o'clock, and start getting some overdrive, but if you keep the master higher than the channel gain it's still pretty clear.

i have only had one problem with it, well 2 actually, i rattled a fuse one time, no big deal. the other was it needed tubes bad. the tubes were about 15 years old so they were definately shot! but after tube replacement this thing rocks like it was new! The amp has never let me down, I would say I let it down by not replacing the tubes sooner.

Hiwatt sent me a schematic for this thing, when I inquired about tubes, the ones in the amp had very worn markings on them, so they gave me a list and the schematic, very helpful.

I've been playing for over 30 years, if this amp was lost or stolen, i would have to order a new reissue. I do like marshall plexi's, but I would still have to have another hiwatt, it has become part of my family!

I paid 220 pounds sterling including the original 4x12 from the original owner. What a bargain!

1972 DR504 (if memory serves correct!) This EL34 driven 50 watter sounds really loud! It's really basic,it has one channel....how many channels do you really need? Get a great natural clean sound from the amp's one channel and throw an overdrive/fuzz/distortion pedal in front and voila....overdrive channel. When I first got it I wished it had reverb but I've gotten so used to it, I now hate hearing reverb on amps. When trying out gear in stores I immediately reach over and turn the reverb off. Go figure! I use this amp live and at rehearsal. It needs some volume to really sound good. The clean sound is amazing. Well balanced and musical, and pretty easy to dial in a good sound. I've found to illicit any overdrive sounds it has to be wide open, and the amp is so incredibly loud you'd probably need a power break. I just stick a tubescreamer or other distortion pedal to kick the input stage and overdrive the output tubes.

I have a 71 Gibson SG with really hot humbuckers, it sounds really great through the Hiwatt. My P90 equipped Les Paul Special and Single coil Strat also sounds very good. Very well voiced amp.

The amp is built like a tank. They were made to military specs and the guy who services my amp says Hiwatts are a pleasure to work on. I use it without a back up and it hasn't failed me yet. The amp has only ever broken down once but it only needed regular servicing. I purchased it from the original owner who used it as a keyboard amp. It had the original tubes in it1

NEVER DEALT WITH THE COMPANY

I've been using it for 5 years now and love it. I bought a Peavy Classic 4x10 because I got tired of carting around the 4x12 and it sounds really great.

I didn't know anything about Hiwatt when I purchased it. It was just a bargain at 220 pounds (under $500 Canadian) including the original celestion loaded Hiwatt 4x12! It did cost some money to ship the amp to Canada when I moved back.

I purchased this Wiwatt in the mid-80's. It had been sitting in a local store for
months and the price was a good deal less than half of what is being asked for current similar models. The Custom 50 has one bright and one normal input, a normal & bright volume, a master volume, presence, bass, mid and treble tone controls. I've also used the Custom 100 and the Custom 50 is identical except for power output. The Hiwatt is a unique beast: extremely loud (a 50 watt model will bully most amps of similar power rating) and very clean sounding until the power stage is heavily pushed. I have always played loud, crunching, blues-based hard rock and the Hiwatt is perfect for that style. Because the true potential of a Hiwatt is found in high volume use, unless the buyer plays on stages where it doesn't matter if one is powermad, it's extremely helpful to pair the amp with a power attenuator like the old Scholz Power Soak (very good results) or a Mashall Power Break.

For me, the Hiwatt has been the perfect sound. I have played Mesa Boogie, Laney's and Mashalls and while all were good amps, none could beat the Hiwatt for 1970-72 vintage Brit hard rock tone. Think "Live at Leeds" or Status Quo boogie and you are in the ballpark. To exploit the Hiwatt, it is best to get used to the idea of pushing the master volume to anywhere between wide open and 2 o'clock. With the pre-amp volume set low, the Hiwatt can go from sterling clean tone to an intimidating crunching roar simply by working the volume control on the guitar. The response of the Hiwatt is bold and dynamic, very responsive to right hand picking differences as well as fingering technique. It is at its best when asked to perform in a hard rock band where riffing and rhythm work are at a premium. The Hiwatt's distortion at high volume is thick and very present but those craving the sound of Slayer will be disappointed. The Hiwatt is well matched with overdrive pedals that add very little color or fuzz to the signal.

This Hiwatt has been bullet-proof. I have used it extensively on stage, on tour and in rehearsal.

Never had to have it repaired. Replace output tubes once a year. Occasionally, a pre-amp tube will develop microphonics and need to be swapped out with a replacement, a 15-minute operation.

I've played the Hiwatt for close to fifteen years -- it's part of my sound. The Hiwatt works extremely well with overdrive pedals that little or no color to the signal. I use an OLD EH Black Finger sustainer to push the Hiwatt to a slightly higher level of rage at volume. Wicked controllable feedback and 70's-era sustain are excellent with this set-up. Again, to get the maximum benefit from this premium amp, you must play loud or employ a power attenuator. It is not a bedroom toy. And it is best matched with a Fane (stock Hiwatt) speaker cab.