Kendrick 2410

I'm not wasting my time writing about this hunk of junk. Let my mistake be a lesson to all of you amp buyers out there. Avoid Kendricks amps at all costs. I would even recommend staying out of the same zip code area as a Kendrick.

This is an addendum to my last review. Because even though Cub Creek Audio did a good job the noises and funky sounds returned... I just resigned that this amp was a piece of bad luck and a pile of shit...

So it went back in the closet to hide in shame and stayed in there for a year...

One day and for nothing better to do I decided to call Dan Albrecth of Area 51 Tube Audio Designs to ask him about the BMT-60 Tremolo and to just shoot the shit... We ended up talking about everything for a good while... What a cool dude!

Read the overall rating...

VERY, VERY nice! I knew this amp had potential...

Absolutely reliable, now! I take this amp everywhere! I have a Juke 1210 C that is primo and was my main amp and I am five deep in amps, but now that this Kendrick has had some new and fresh life blood flowing it has become like my main tool now...

Dan is just the coolest! In all fairness I have been conducting business with Gerald Weber again... Its all cool now... And I wish I could retract any negative comments I have made. It was a very frustrating ordeal...

It has been a long ass road with this Kendrick 2410... I hit the lottery when I called Dan out of the blue almost a year ago... It turns out that Dan used to work at Kendrick so he knew all the idiosyncratic, foibles, and bad habits of amps like this one... Even though he doesn't advertise it he does amp repair also in addition to trems, wha pedals and amps...

So I sent the tweed '59 bassman clone to Area 51 Tube Audio Designs and to have the BMT-60 Tremolo unit wired up. Since I like tesing out different power tubes more often than most players I wanted some easy to do it yourself biasing test points in place, a recap, some rewiring, and a thorough and complete overhaul, as well as re-habbing the Model 100 reverb unit, (a lot of the noise was coming from that add on unit that Rob Hawkins must have missed when I sent it to him)...

Man, this amp now is what I wanted in the first place 13 years ago!
I am beside myself and plain tickled that the amp sounds so damned good!!! I love this 2410 a lot that I need restate that I use this amp as my main one now! I have NOS Tung Sol 5881's, a pair of Sylvania 5881's, some JJ's, some older Sovtek flat wafer 5881s and lately keep a pair of GT 6L6-GE in the amp... Man, the tones out of them are just what I want! I reall like the Tung Sol's and the Sylvania 5881 are just as nice but stronger to me...
I am very pleased! And the tone is a big 10!~

bought it 1993. amp is a modeled after the '59 bassman. My 2410 has (at my request) an "add on" model 100 tube reverb module and a tube drive FX loop. The FX has a line level control with knob and with a slide on/off switch. It has send and return with a foot switch to cut out the loop to turn it back to the original 59 bassman circuit. And a pre-amp out. I liked the features at the time I bought it. Incidently, I have had Mr. Rob Hawkins at Cub Creek Audio in Roseland, Va. install a pentode/triode switch and a simple yet very effctive attenuator at the same time that he repaired this particular amp. (He is on the www.steelbender.com list of links, by the way. Thats how important this REAL and competent "amp man" is!)

The amp itself sounded nice when I first got it. But then two weeks after it got here this amp began its life of making me miserable in hell. It made some terribly annoying noise (I won't even call it a "sound"). Just awful! I could compare it to a chainsaw in an old worn out radio, accompanied by rice krispies snap, crackle and pop, playing kazoos... Really wild!

It now sounds great.

Before the cool repair done by CUB CREEK AUDIO, I would have given this amp a ZERO!!! And deservedly so!

It is OK now. Even though it still crackles a bit when its warming up, it clears and goes away. Cub Creek Audio fixed 98% of the problem to where it is NOW and FINALLY usable.

I give NO credit to gerald weber and kendrick and they deserve none!

I sent this amp back to kendrick twice. The first time was still under the one year warranty. The second time I cringed for having to pay for the shipping back and forth and for parts and labor at kendrick.
LOL!!! el presidente?? gerald weber is an arrogant dude. And kendrick sucks! That dude writes for a magazine... BIG deal. So this cat can write, but he sure DON'T...uh make that WON'T listen when you have real problems with an amp that he built! Man, what is it with these dudes??? dan torres is the same way! These guys seem to like to think of themselves as Howard Dumble clones... In their wildest dreams! weber and kendrick didn't help me for shit by not fixing that (at that time) crappy amp while under warranty. And, it wasn't ever fixed the second I shipped it to them (a couple of years later) even when I paid!!!!!!!! Damn! I feel foolish for that whole bad experience! Why in the hell didnt they just find and fix the problem much less send a "GOOD" amp to begin with?????... After I spent hard earned dollars for an amp that was supposed to have been one of the best boutique amps made I consider it a joke... LOL! They suck!!! LOL @ kendrick... they deserves a flat out NEGATIVE 10!
kendrick still has me on their emailing list... LOL
One more thing about their customer support... kendrick doesn't answer emails. I emailed them with legitmate questions concerning 5881 power tubes as recent as two months ago... Not one peep from that outfit. HA!! But I still get his flyer/ news letter/ type of email trying to pawn their leftover shit (that he keeps finding stashed in a warehouse) and to trying to peddle tickets to his seminars for 300 bucks a pop... Unreal.

Honestly, I like this 2410... Now! After its been repaired by an authentic amp technician.
The first time it was sent back to kendrick I was given the run around and given a line of bullshit that there was nothing wrong with the amp. LOL!! OK... I should have taken the clue that kendrick is worthless when it came to customer relations. But true diehard idiot that I am I tried to persuade them that there IS something wrong with it... (after the warranty ran out of course) so they said to ship it back and they would give it a run through... They did something... I have no idea other than what they told me and what was on the receipt... But, they admit that there were defective components, in addition to swapping tubes. I honest don't know WHY! I couldn't even use the amp... So there was barely any time was logged in TO burn out any tubes. LOL!! This just cost me some more bucks and wasted time for that and labor plus shipping. The amp was OK for a while... one week! That awful noise was back! LOL!!
So I stuck it in closet and all it did was hold up boxes of junk and take up space for a bunch of years. I was tired of stumbling over it and actually thought of throwing it out or torching it because of it being useless, worthless junk!
After perusing the internet and discussing at times with one of the most coolest dudes, Jason Barker at Steelbender.com about my troubles with this amp he suggested Mr. Rob Hawkins at CUB CREEK AUDIO. So, I gave in to myself and did send the amp to Mr. Hawkins. The best action I could have ever done with the amp. (Every once in a while I do something good for myself)... I am very grateful to Jason and Mr. Hawkins for the sequence of events that led to this 2410 amp sounding as good as can get and for adding the pentode/ triode switch as well as building the attenuator. Incidently, prior to me sending it Mr. Hawkins I asked him if he COULD do the repairs and additions with my amp, he said there were no problems and was RIGHT UP FRONT with his bench work and parts prices... "Just to see", I talked to gerald weber (for the last time, BTW) if he could do all this, all weber said was "send the chassis in for consultation and and I'll give you an estimate when it is here". weber made my decision for me... LOL

The experience with kendrick is a flat out zero... My experience with Mr. Rob Hawkins is a huge 10!

It is made in 1991. Very early model with steckerd speakers. Extra gain stage and effects roop are great. 40W 2*6L6 powered. I use 2410B which is powered extra 410 cabinet for doubling my power. It's very hard to get matched sound with upper 2410 even though I tryed out different tubes and bias setting.

Fabulous sounds for a reissue model. 2410 and 2410B give me enough power for live because they are for crunchy sound (vol. is less than 9) OF COURSE, it's better than regular '59 reissue. However, if you compare with real deal 1959 Bassmans this 2410 sounds seems like modarn amp. I wanna try Victoria Bassman next time.

It got broken down a couple times (I play it real hard!). Every time I turn it up, it gets wired noise. I use 1994 Matchless HC-30 for solo channel, and it never had problems. In my opinion, kendrick is not well well amp like Matchless or Two Rock.

Gerald Weber charges good money, but it worth it.

I play with Fender '63,'69 strats, '63 Jazzmaster, '69tele and '62 ES-355.
I also wanna try out recent Fender's Custom Shop hand-wired Twin (I used to own 4212 too).
I wonder why he quit producing 2410B.

I bought this amp barely used at the Dallas Guitar show 2 wks ago. I have been looking at the for a year now but couldn't bear to part with the 3 grand plus that a new one costs. The previous player was into jazz and I'm sure it had a bit too much of an edge for him. NOT TOO MUCH FOR ME!! This amp is so transparent and shimmering that it sounds like you are in another dimension. The reverb is so tweakable that it almost doesn't sound like reverb - just depth. The knobs could be more accessable but once you get them set there's not much re-adjusting to do. The extra 12AX7 pre-amp section is perfect! I play through a Klon Centaur overdrive which sounds really natural ana with the pre-amp section is all that I need. Shoot-it sounds incredible straight through with no effects.

I play a Strat w/Barden pickups, a Parker Fly w/Humbuckers and a Heritage 535 w/Humbuckers. They all sound so sweet. The dynamic range is by far the best I've ever experienced. The amp is so touch sensitive that it's like 3-D. You can go from milking out soft love notes to screaming crunch just by pick attack. I replaced a '59 reissue Bassman and haven't missed it at all. I also play through a '65 Super and A/B'ing them is quite an eye-opener. I used to love the sound of the Super but now it really sounds flat. Not near headroom.

Since it is new to me I can't attest to the reliability but it's built like a rock.

I talked with Gerald Weber at great length at the guitar show and he was extremely helpful and didn't seem to mind a bit that I bought it used. He knew the previous owner and told me about building the amp. He said that the wood came from an old black whorehouse (ought to have plenty of soul, huh?) and was very high density pine that is critical for their sound.

The a difference that a handmade amp makes is hard to describe unless you've played it. I don't see how you could go wrong with one of these amps if you are playing blues, rock, country or anything with a lot of expression. It is probable not well suited for jazz although for some players it might be just right. I would certainly play one before you buy one to make sure that it suits your tastes (who would buy an amp unseen or unheard anyway?).

I bought the amp new in later 1999 or early 2000 (can't remember exactly). The control panel looks like a 59 Bassman. 2 Bright and 2 Normal inputs. 2 Volume controls. Treble, Bass, Mid, Presence. The amp I got is one of the series Gerald built with the aged pine cabinets...60 or 80 years old...can't remember exactly on this either. The tweed cover is exquisite. This is the most beautiful amp I've ever seen. I just fell in love with the look of it right away. It's a definite vintage retro feel. The circuit is a classic 5F6-A circuit with a couple of additions. I have the tube driven effects loop and the tube driven reverb. The speakers are Kendrick brand. The footswitch that comes with the amp is covered in the same tweed as the amp. The power cord is about 20 feet long. I had read about this previous to buying the amp. It's true...you should be able to plug in from anywhere in the house or on stage. 20 feet!! If I were going to complain about anything feature-wise it would be the location of the Reverb controls. They are located on the bottom of the chassis. To get to them you have to get down on your knees behind the amp to adjust the Reverb. It's impossible to tell how it sounds in that position. However, I'm not going to deduct anything for this since the retro outside look to the amplifier is unblemished. It looks like a 59 Bassman (better I think). I can put up with the Reverb control location. It's versatile fo my purposes. It's not going to give you the flexibility of a Bogner but it's all I'll ever need.

I like a lot of different kinds of music. I play around with blues, rock, metal, & country. The guitars I use are a Les Paul Catalina with '57 Humbuckers, Les Paul DC Pro with P90's, Gibson SG Standard with Humbuckers (I think the 490 series), Fender Mexican Strat with single coils and a reissue Danelectro 56-U2. Everything sounds good through this amp. My DC Pro with the P90's is a little noisy but that's because the pickups are noisy. This guitar isn't quiet when it's in it's case. All of the guitars have a distinct character through the amp. The P90's sound very bluesy. The DC Pro is the best blues tone. This guitar and the Kendrick really make a nice combination if you can put up with the P90 hum. I may try a set of P100's. I hear they sound just like the P90's without the hum. My next favorite through it is the LP Catalina with the 57's. These pickups are supposed to be like the Gibson version of a reissue PAF. You'd think they'd know how wouldn't you? Surprisingly this combination stays clean well over half volume. This is the best clean sound combination I have. The pickups are quiet and the amp and guitar make a great team. The SG's pickups are a little hotter so it drives the amp a little darker a little sooner. The Strat...It's ok...but honestly I just don't like the Strat. In fact, I'm sellng it. I like the Dano through the amp. It's very low gain but a very cool retro tone. As mentioned earlier...I got the effects loop and Reverb on mine. Although I don't use the effects loop often it can be used to color the tone a little. The Reverb I use ALL OF THE TIME. I LOVE reverb. I never use a dry signal. But I never knew what "REAL" reverb was until I got this amp. The Reverb unit they put in is just amazing. It literally shimmers. It's almost a sexual experience. It'll make your knees weak. They've obviously put as much time into developing a good reverb unit as a good amplifier. If you're looking to drive the amp into Marshall type distortion you're going to have to stand in another room. You have to really crank it to get it to break up unless you've got some really hot pickups. However, I like it that way. I find I am very satisfied at lower volumes using an outboard distortion device. In fact, I use a Marshall ShredMaster and it sounds great. You still get the dynamics of the tubes but overdrive at a more controllable level. I haven't tried using a Power Brake. That might be interesting. However, if you want to push it over into high volume power tube overdriven nastiness...it'll go there and just sing. Make sure you have everything off the shelves and the furniture bolted down.

I haven't had ANY problems. I haven't even had to change a tube. I ordered an extra set of tubes when I ordered the amp. Kendrick uses NOS for any tubes where that is possible. Gerald matches them himself. He puts a lot of time into obtaining the best tubes he can find and making sure they're right for the amps. The work he puts in here really shows. I probably would play without a backup if I had too as long as I had an extra set of tubes. In my opinion...anyone who goes out to play with no extra tubes and no backup amp is looking for trouble. Things can happen where the quality of the amp is really irrelevant. The quality of this amplifier I feel confident is second to none. If there was ever an amp I would play out with and not have a backup it would be this one.

I haven't had to have it repaired. However, I talked with them extensively before buying the amp. I wanted to buy my dream amplifier. I spoke to several manufacturers. I had good experiences with a couple of them. The Bogner folks were extremely nice and helpful. In fact, after they heard my description of what I wanted they told me the Bogner wasn't it! I tried several Bogners and I have to say they make a great product. However, I happened to call Kendrick on a Sunday. I didn't really expect anyone to be in the office. Damned if Gerald Weber didn't pick up the phone. He was in the office writing his column for Vintage Guitar but took the time to talk to me for about 30 minutes. I could tell he was under pressure to get hi article in so I asked if I could call him the next day. He said that would be fine. I called the next day and he answered the phone again! He and I talked about amplifiers for about 90 minutes. He's like a kid with a really cool hobby. You can tell he just lives and breathes amplifiers. You know how people are when they are really excited about what they do? That's Gerald. He didn't speak poorly about other peoples products. He gave me honest opinions. Finally after I felt like my ear was about to fall off I got off the phone with him. I called back a few days later and ordered the amp. Other than marrying my wife it's the best decision I've ever made. It took about 30 days to get the amp since they didn't actually build it until I ordered it. When it was ready Gerald called me to let me know he was about to ship it. We talked for about 60 minutes that time.

The price I paid for it looks a little high but I got the Reverb addition and a complete replacement set of tubes. Also, I got the soft cover. The cover is sweet as well. It completely encloses the amplifier and feels soft and think enough to sleep on. This amplifier will never be owned by anyone other than me as long as I'm alive. I couldn't be more satisfied. If there is anything I wish it had it would be easier access to the Reverb controls. But I can live with that.

I purchased this amp brand new in sept. 96. Differing from the amps below I DO have the three spring reverb module.I have owned dozens of amps and played hundreds of others(no exaggeration),and have to say I will never sell this amp!Why am I giving this rating for features? The reverb unit has the labelmatic stick on labels marking the dwell,tone, and mix(remember the label making gun grandma used to mark all her cannning jars every year?). Very cheesy! I cant believe they couldn't spend another fifty cents on a better label.

I am a blues influenced player that uses mainly strats for my sound. Les pauls sound unbelievable as well through this amp, hell any guitar can sound good through it.This amp is very quiet and has zero buzz or hum. As others have posted, it seems to be a sin to crank this puppy into saturation, the lean tone is the stuff gose pimples are made of. I dont use the boost/effedts loop simply because I like the sound of effects ran on the front end of things, especially the ts9.

In the past 5 years I have re-tubed only once (last month), my amp tech was quite impressed with its overall quality.Absolutely no problems to date.

The purchase was uneventful. Terry was the guy I dealt with and was kind enough to spend more than an hour answering questions prior to the purchase(on their dime by the way! MI.to TX).I have called a couple times since than regarding other products, have left messages and always had a prompt return call.

I have been playing since Peter Frampton Live was Live!(ok I'm old so what). I have to say the amp is worth every bit of dough I shelled out. I would like to own a twin also (a friend of mine owns both the twin & the bassman)and his sound awesome as well.I'm a bit disturbed about the fella who said his sounded flat. There is definately something terribly wrong and it is untypical of this company(it is possible with the texas crude series, but thats another type of amp). I agree there is risk in purchasing something with a no return policy, and it was a risk I dont regret obviously. I believe their return policy is something like 48 hours which is reasonable. If you buy one of these and have even a year of playing experience and the amp sounds like crap, SEND IT BACK! You got a dud on your hands.

This is a point-to-point, cloth-wrapped wired, dead on replica of a '59 Bassman. It runs 2 X 5881 power tubes, 3 X 7025(12AX7) and 1 X 12AY7 preamp, and 1 X 5AR4/GZ34 rectifier tube, singing through 4 X 10" Kendrick speakers. Mine is a late 1992 model, but that really is irrelevant, as a)There are only a few left for sale, and b)They are all exactly the same no matter when they were made. The 2410 has four inputs (2 Bright, 2 Normal) and shared bass, middle, treble, and presence knobs for both channels. There is a volume control for each channel. The only thing that sets this circuit apart from an original '59 is the underside of the chassis, where there are four jacks, a slider switch and a single knob marked VOL. The inputs are as follows: Send, Return, PO (preamp out), and FS (footswitch). Basicly, Gerald Weber has added a tube buffered effects loop (hence the addition of one preamp tube to the original) with a return volume control that can be switched completely in or out of the circuit. When switched in, it can be used in a number of different ways. As I only run a Vox Wah, TS-9 Tubescreamer, and a Roger Mayer Voodoo Vibe and they all go into the front end of the amp, I do not use it as an effects loop, and on such a vintage vibe amplifier, few probably do. This leaves me free to use the footswitch to mute the amp between songs by turning the return volume all the way down, use it as a master volume, allowing me to soak the 5881's, or to use it as a lead boost. I usually leave it off and use it only as a mute, but the flexability is there. The PO jack is sometimes fun if I want to run the signal to another amp, and mix in some reverb from across the room, but usually this goes unused as well. I am required to give a 9 in this category, however, because even though it does the Bassman thang better than anything else out there, the lack of reverb onboard is a little blemish on an otherwise perfect amp.

I use a Les Paul with soapbars for everything from funk and jazz to blues and rock, and this amp has never left me wanting. I've owned it for six years, and I get just as excited when I turn it on today as when I first got it. Simply put, I have never played another amp that was more sensitive to picking dynamics and touch than this amp. I like to play it wide open, with everything turned up to twelve, and to just back off on my guitar volume a very small amount, and lighten up my touch for clean tones, and then just dig in for some of the best pure power tube overdrive you have ever heard. It can be made to break up earlier or later depending on the power tubes you run. The 12AY7 lowers the amount of gain and gives it a really sweet sound that I prefer, but a 12AX7 definately gives it a little extra bite in the preamp. The clean tone cannot be touched! Huge, bell-like bottom end and all the headroom in the world! Holy@^@#! I don't know what the guy who wrote the review below is talking about, but having played a few of these amplifiers, I think he either a)Has no taste, or b)Got the only dud Gerald Weber has ever produced.

I depend on this amp as my sole tone machine and have gigged extensively with it without backup, though I always travel with a full compliment of backup tubes in my guitar case. My only gripe is that no one makes a 12AY7 any more, and NOS ones run on the slogan of "Buy a hundred, Keep a handful." Oh well. The price you pay for the best clean tone around. Other than that, never had a problem.

Gerald Weber got this amp into his shop shortly after I bought it used for a once over, and upon inspection, told me that the chassis was bent (probably from being dropped off the back of a truck or something), and promptly rewelded it, retubed it, and sent it back to me in good-as-new condition. All of a week and a half turnaround from Jersey to Texas and back again. Quick! I have also talked with him (GW) on the phone and over email, and he is always better about writing back or returning calls than any friend I've ever had. He is also very generous with his time if you need technical support. Great!

I would be lost without this amp. I've been playing for nine years, and most of that time has been through this amp. I spent my first few years searching in vain in NY and NJ for an amp that did what this one does, and when I found the 2410, dusty and forgotten by a collector, and played the first note through it, I knew I was in love. If you ever come across one of these amps, PLAY IT! You will like it! I give it a 9 here only because one of the remaining few would cost so much new.

Tweed cabinet,xtra gain stage,pre out 2 channel 4-10's. looks like '59 bassman.

this amp is the reason for my "won't buy it 'till i try it policy". my ass is still bleeding from this one. i really tried to get bassman tones out of this but i couldn't. this amp inspired me so much that i played it for about 40 min. the day i got it and then went upstairs to watch tv. conversley, 6 months later i bought a tone king imperial and played that first night 'till my fingers were sore.
the 2410 is probably the worst amp for the money i've ever used in 29 years of playing. i should have known better. about a month after ordering this amp i asked g.weber what we were going to do if i didn't like the sound. he said that it would probably be easy to sell it but they weren't taking it back. i should have asked for my money back right then but i had saved up for 18 mos and had read and believed all the hype. my fault. it sat at lark st music with a price of 900$ for 5 mos and everyone who tried it didn't like it. for a clean sound it was good. it basically was a silverface super rev with no reverb. at that time i could have gotten that for 350$. at home when i took it back, i would a/b it with a r/i bassman that i put kendrick transformers and nos rca 6l6's in and kept being drawn to that. go figure. i still don't know what the deal was with my kendrick except that it sounded flat. where was the chime? where were those vintage tones? had they defected on the ups truck and walked back to texas? don't buy an amp you haven't heard first. my tone king sounded the way i thoght the kendrick would sound.

even though the sound was dissapointing, the workmanship was second to none! everything on this amp was top shelf. heirloom quality.

i've been playing for 29 years, i gravitate toward les pauls but like strats when i play with just fingers. i usually use a tone king now or a marshall jtm 45 r/i or DSL50. i never thoght i'd get rid of the kendrick without loosing my shirt it took a year but i finally traded it even for a naylor 38 club which isold the same day i got it to a freind who dug it completely.

This is a hand-built, point-to-point wired single channel amp, which looks and feels like a 1959 Fender Bassman combo... a lot more so than does Fender's "re-issue" of that model. In breaking from this tradition, however, there is an extra gain stage which can be switched in or out via footswitch or a slider switche located under the chassis. There is a pot under the chassis which lets you tailor the amount of additional "drive" coming from this stage, and this setup allows you to use the gain stage as either a) a unity gain stage; b) a "master volume"; or c) a set volume boost for soloing. There is a footswitchable effects loop, also accessible from underside of chassis. There's also a pre-amp line output jack, which can use the 2410's preamp signal to drive another powered cabinet, such as the one offered by Kendrick. There are two non-switching channel voices, "Bright" and "Normal," and the bright channel works best at lower volumes... at higher volumes, it seems to be a bit too bright for my taste. Both channels share Treble, Bass, Middle and Presence controls. I play mostly blues, R&B and classic rock in a variety of club settings. This amp has one of the most sensitive "clean" sounds I've ever heard... it captures every nuance of your picking, and is actually "percussive" in its response. It doesn't get dirty 'til you crank it up (and when it does, it isn't oversaturated distortion, just "over the edge grit"), but when it gets there, its blues heaven! But again, the clean sound is so sexy, you almost don't want to drive it too hard... In a certain sense, this amp, with its strong "clean" range, is not as forgiving as something that breaks-up earlier - you distinctly hear EVERY note that's played. But it sounds so good clean, it makes you want to practice your chops even more! Overall, I'm very satisfied with it for my style of playing, although I'll probably want to add-on Kendrick's three-knob reverb module at some point.

The 2410 has a 2 x 6L6GC/5881 power amp to deliver 40 watts. There is a GZ34 rectifier tube, along with two 7025 and one 12at7 in the preamp section, as well as a 7025 tube driving the "Extra Gain Stage." Basically, this translates to classic (vintage) Fender sound at its best. I play through a variety of PRS EGs, Customs and Standards, as well as a Fender Custom Shop Robben Ford model, so it gets worked out with both single-coils and humbuckers. Both sound teriffic through this amp. The extra gain stage can add some audible hiss, particularly at higher volumes, but at those volumes, everything else on stage covers it up so it doesn't appear to be a problem. The lower register sound fantastic -- Kendrick literature talks about "piano string" bass resonance, and until you hear it in person, you think that it's just hype. But no, the lower strings REALLY resonate through this amp and the 4 10" Kendrick speakers. For what I'm doing (blues, R&B, etc.), it works extremely well.

The overall construction is flawless, both inside and out. The cabinet is clear finger-jointed pine, covered with aged lacquered tweed. The inside of the chromed chassis looks as if a lot of time was spent building it -- the wiring is neatly bundled, and there are no cold-solder joints to be seen anywhere. I've had no problems as of yet, and I regularly gig with it without a backup. The fact that this is essentially a new (1993) amp is one of the reasons that I chose the Kendrick over an "original" vintage Bassman.

As I said earlier, no problems to date. I've had, however, the opportunity to talk to both Gerald Weber and Terry Oubre at Kendrick, and they are both very aggreable people to deal with, so I don't anticipate any problems in the event I need service some time in the future.

Overall, this amp is a keeper! Aside from possibly adding-on a Kendrick reverb module, I don't envision ever parting with this puppy. I currently am playing through this and a Diaz CD30 combo, which has some of the most gorgeous distortion sound I've ever heard. But for a really sexy cleaner sound, the Kendrick 2410 has it nailed. Unfortunately, they've stopped making this particular model, so you'll have to look for used ones. But it's definitely worth the search!