Peavey Classic 30

Two channel, Boost(useless,)Effect in/out, External speaker output make use of this feature. All tube epoxie board. The boost sounds solid state like a cheap fuzz box. But a good amp for the money.
I tried several preamp tubes when I first got it new in 1992, The triplet of tubes tested in the high 90's and have served well. the output tubes are unchanged.

I tend to think of it as having a marshall sound. Though I've never owned a Marshall, I have Jamed with a few Guitarist who used them and so you may or may not agree with that point. Anyway I mostly play an ESP mirage custom through it but it sounds pretty good with a Strat or Tele as well. I've played a guild DV-52 (trayed that for a 67 pointac) with a seymore duncon soundhole pickup through it and it sounded fine.

You can depend on it! I would you use it on a gig without a backup. The amp never broken down. People gripe about the tube retainers. I hauled it 1500 miles (just once) in the back of a chevy truck. I ment to remove the tubes, I forgot, no big deal, no damage.

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I would replace this amp. After all I got it to give my vintage black stripe super a break. I've been Playin' 26 yrs. I would consider another low end Peavy to drag around.. It is a little noisey and thin with single coil pickups. It sounds better on the humbuckers or realy fat single coils. Lots of bang for the buck!

This is a 'posthumous' review of an amp that I sold- I needed the money...I should be shot...
It's just your basic two channel tube amp featuring 3 12ax7's in the preamp and 4 el84's in the power section, reverb, 3 tone controls shared by each channel, and a completely useless boost switch (which may prove to be of use if one runs the amp through an extension cab. Otherwise, it really just seems to add some mud and a 'boxy' groove to the tone).
I used this amp for jamming at my house, but it's definitely loud enough for small to medium gigs. As a Boogie owner, I feel qualified to make that comment. I would have loved to take her to some of the smokey bars here in New Orleans and just cranked her up...*sigh*

I ran a 2000 model ErnieBall/Musicman Silhouette Special(a quality handmade American Made axe)with h-s-s configuration through her with stock picks. I would have loved to hear her with a good bridge single, though- or conversely, a good neck hummer. But, I'm realizing now that I'm a single coil guy- and that's alright.

Take those stock tubes and throw them away. If you don't, then you will never know what this amp's potential is. With the stock glass, she's harsh and compressed, brittle when driven and bland when clean (blarghh!). Go to torresengineering.com and educate yourself about vacuum tubes and buy some Sovtek 5751's for the pre and a matched set of Sovtek 'green' el84's for the power section. If you want more clean headroom, get the Sovtek "blue's". I'll dispense with the tube reviews-but wouldn't it be nice to have a tube review section here at H.C.??
That being said, with the new tubes in place, what you get is a super-duper clean channel. I hate to use this cliche', but it's fender-like, or quasi-Fender, if you will. It's warm, deep, and inviting. Spanky too. When pushed, it's clipping is smooth and buttery. On the overdrive channel, you'll get that super smooth classic rock tone that I never admitted to liking in front of my 'Dual Rectumfryer' friends. Switch on the neck pickup and dig in hard, and you are rewarded with a super 'chirpy', low-down, smokey bar, greasy chittlin eatin', raunchy fingernail havin', yellow eyed, scruffy blues tone that'll make make you run to the mirror to see if you turned into Alber King. Seriously, you have got to crank it up to believe it. I know it's a Peavey and I've owned, sold, and traded Fender, Mesa, and others, but it's just a good amp. It belongs alongside of a good Fender or Mesa Sinc Mesa can't get that glassy, sparkling clean- and anyone that says that it can is obviously a tube virgin...where has time gone?
3 with stock glass, 8 with new glass, 10 with new glass and Fralins.

I don't like the way the tubes are exposed in the rear of the amp. Thast power cord is just waiting to lynch one of them. I also don't like the stock tube retainers, though they are functional. All in all, you can't beat the bang for the buck on this amp. Real tube tone, real tube feel, and if you get bored with the tone, you can change the glass real quick. Still seems solid. Bring xtra tubes with you on gigs becasuse you never really know...an 8 because she served me well for 2 years before I sold her. I know the new owner will be happy...*sigh*

Never dealt with 'em.

I've been playing for 12 years. When I was in highschool, I went through my Slayer, death phase, but as I mature, I'm noticing that I'm buying guitars with less and less humbuckers on them and amps with less and less gain in the pre stages. Kids, don't make fun of your fathers music, for soon, you'll be playing along with the classic rock station-yep, living in denial as I once did. Then one day, you'll turn around after hammering out that Credence Clearwater riff only to discover your friends staring at you in disbelief (shit, how'd they get in here??)and you thought you were still home alone! It's like getting busted when your 'choking the chicken'!
I love playing it, I love the sounds, blows my friends hotrod out of the water, so screw it, I give it a 9. I'm going to go buy another one.

Here's my pre studio mixing review of this amp following some basic tracks I've been recording. This amp is a winner.

On some tracks, I'm using an SM57 close mic aimed at the speaker cone and slightly off axis, with a second condensor mic with the 10db pad kicked in at a 3:1 distance ratio with a cardoid pattern aimed dead center at the 12" speaker. This amp loves the studio and I've had it running day in and day out, including rehearsals. The basic tracks sparkle and I'll probably mix the project at Stepbridge Studions on a vintage Neve BCM 10 sidecar synched to an SSL 4000 G series w/Total Recall. This is where I'll track the final lead parts on Neve, then bump it to SSL and mix. That's right, I'll be using this amp for lead parts.

Pick any current production tube amp from $1,000 down and the Classic 30 smokes all of them. When I'm finished mixing the project I'll send a CD to Peavey. As some of you know, I originally replaced the bass cap with a Sprague .022 uf 600/VDC orange drop and noted no difference in bass response, and the cap required precision bending to fit it into the eyelets, then had to be tucked in so it would not hang over the top of the PCB, because of its size. Well, the Sprague .047 uf 600/VDC orange drop cap is 25? to 30? TIMES the SIZE of the ORIGINAL .022 original cap that comes with the amp. So, for those of you contemplating dropping one of those in, GOOD LUCK! LOL.

See below.

I've been very hard on this amp since I bought it. Only because I'm interested to see if it will hold up. Usually leaving amps on for hours on end is not good. So far this one doesn't care and hasn't crapped out yet.

Don't know.

Recording presents a true picture of the source you're recording. When you have an excellent sounding source, you don't have to EQ it to death, process it, or fix it in the mix. So there you have it *)

I love it!! I play blues,&rock. It has two channles and a boost switch.(Distortion and clean) It also features an efx loop. It has an equalizer(bass,middle,and treble) It's all tube combo.

I own a Fender Stratocaster, and a Telecaster. The pickups are strat single coils, and an single coil Lace Sencer(High Output Humbucker). The sounds are really full and warm on the clean channle,but on the overdrive it's real ronchy.I love it!!!!!

I can depend on it. I would use it on any gig without a backup. The amp. has never broken down.

The warranty is up.

I have been playing for 8 years. I would buy it again if it were stolen. I love the look and especialy the sound.

All the features are listed in the reviews below. The 9 rating is in comparison with the Fender Blues Jr., which doesn't have overdrive.

I have 14 electric guitars of various configurations and styles that I play 14 electric guitars thru this amp. The amp can't do miracles but has a good clean crisp sound if not overdriven. The reverb is deep and pure. The built in overdrive sounds just as it should; gravelly but not grungy. If there is a disappointment, it is the 'boost' button which is unnecessary.

To soon to tell, but my other Peavey amp has been a workhorse.

Its great not to have ever needed them!!

After comparing the Classic 30 to a couple other small tube amps, there was no question as to the best value.

Before anything else, I just like to mention that I haven't used this amp extensively simply because I just tried it several times in the store. Anyway, the amp has 2 channels (clean and OD) and a Boost channel. 3 Chinese-made 12AX7s in the preamp and 4 Russian EL-84s in the power section. Did I mention reverb? Pre and Post Gain controls for the OD channel, effects loop, TWEED COVERING AND OXBLOOD GRILLE CLOTH for that Classic look, 12" speaker.

Using the stock tubes, I think the amp sounds a little bit middy and a bit noisy. The clean channel is fine; dark but not as much as a Marshall. The reverb is cool. The distortion is kinda fuzzy at higher gain settings and I think it gets a bit tinny. I don't know if it is because the stock tubes are kinda inferior, or is it because I am used to the fat sounding tube overdrive of my Mesa Boogie amp. The boost channel is very boxy, thanks to its mid boost characteristic, unfortunately it sounds too nasal.

I guess the observation that there is some kind of RATTLE when the amp is cranked up. Maybe the chasssis ain't that tough, or the components on the PCB are not that secured.

I have plans of buying this amp for the reason that I like tube amps. Been playing for nine years and I have been a tube tone worshipper since I have owned my first tube amp, and I have pondered on buying another one. The Classic 30 seems to be a good option since it is relatively more affordable than most tube amps in the market. Furthermore, I wanna have the amp with the vintage vibe. But due to some of the weaknesses of the amp on my first few tries with it, I might consider changing the tubes when I finally decide to buy it. As stock, it sounds well but not perfect. Many recommend changing the tubes and the tone improves by 30-40%. I just can't wait till I get one of these soon. I have tried a lot of other amps and this is one that belongs to the upper 25%.

This is my final review of this remarkable amp, in relation to which, I hope to fully clarify my previous reviews below. I want to thank many of you who have sent me e-mails; however, as I spend a great deal of time on recording projects, I do my best to respond to everyone. Thus, let me proceed: 1) the Classic 30 will offer you a transparent picture of your signal source. Thus, if you are using a cheap guitar with inferior electronics and shielding, don't expect the Classic 30 to perform a miracle, as no amp can possibly do this. 2) I don't recommend modifying this amp. For one thing, Peavey has delivered a solid product, and although I initially entertained the idea of upgrading the caps directly above the tube sockets from V1 through V7, where a great deal of heat occurs, here's why I didn't: a) the small round caps directly above the tube sockets will divert heat, as opposed to a larger cap which will not dissipate heat as quickly; b) although I replaced the cap for the bass EQ with a Sprague .22 uf 600vdc, this cap is 20 times the size of the original cap, and required precision bending and fitting the wires which barely fitted through the PCB eyelets and had to be tucked in so it would not extend beyond the top section of the PCB. Did I notice a significant difference in bass tone after the mod? No! I did not, which is why I did not replace the middle and treble caps; c) Fuses: the reason manufactures adopted internal fuses was because many of the vintage amps with external fuses were swapped out for fuses with much higher ratings, usually resulting in an amp frying and, moreover because of the much higher AC voltage being rectified into DC voltage, resulting in dangerous amps, since most of them used two prong chords plugged into sockets with an open ground. Rather than complain about internal fuses, look to the receptacle you are plugged into at the gig! GE puts out a 3 prong tester that when plugged into any receptacle will indicate: open ground; open neutral; open hot; hot/ground reveresed; hot/neutral reversed; and CORRECT. Likewise, if the receptacle you're plugged into is kicking out above 120 AC voltage, then YOUR POWER FUSE MAY BLOW! So consider using an inline voltage regulator, rather than worry about internal fuses. The Classic 30 uses an internal fuse on the power side, and an internal fuse on the circuit side. Fuses don't just blow! c) although I don't use reverb since I use close and distant miking techniques in the studio, resulting in natural room reverb, I removed the reverb tank. But, Peavey was correct in placing the reverb tank at the bottom base of the combo, as opposed to placing the reverb tank in the chassis, alongside with other components. Very smart move. Bottom line there is no perfect amp, but the Classic 30 is a winner. I don't work for Peavey, so I don't care what they think. I am only concerned with the sound and the artist or band I am working with in the recording trenches.

I'm going to be using the Classic 30 on an up-and-coming recording project. My hunch is that that it will kick some serious ass, but I'm not going to jump the gun, until the results are in. To date, this amp
is serious business, but I'll know more after the project.

Refer to reviews below.

Refer to reviews below.

Refer to reviews below subject to my clarification above. Take it with a grain of salt, as all sounds are subjective.

1995 with two channels, clean and dirty. Reverb/ common 3 band EQ.
Footswitch for reverb and channels. Effects loop and external speaker output. All tube!

I have a 91 Les Paul and a 91 Strat modified (pickups ae Texas Specials in the bridge and middle position and Lace Sensors Humbucker with single coil switch. I play anything from Jeff Beck to Allman Brothers and everything in between. I use the amp mainly in my studio (due to the power) but I have used it live and also a 50 watt version.
I don't use the clean channel much or not at all. It's great for any kind of music depending on what you use with it and how you set it. I put a tube screamer on to get really good sustain and a bit of crunch.
If you want natural sound that sounds like YOUR axe buy one of these!
Ive used my 50 watt with a Mark 4 boogie live but I always go back to the Peavey. It sounds really good for recording especially leads.

Never broken down. Ever! I played with other people who used them, they got dropped and kicked around, you know what happens when it's late and the club owner stiffs you! No problems, after all it is a Peavey.

never used it.

I have been playing for over 20 years and have owned numerous amps of different makes, but this to date is the best amp Ive owned and the biggest bang for the buck. It gets the vimntage tone at a VERY reasonable rate. Actually it's just right, every other company rips us off.

This is an update to my previous review below. I've put this amp through some rigorous testing since purchased. As a producer and mixing engineer, I am very picky about sound. Because I get to hear many different amps in the studio, I've been around the block. I highly recommend this amp.
It is versatile in that you have a wonderful clean channel and the second channel delivers a vintage Marshall tone! If you want metal, add a pedal! Most amps featuring channel switching either have a great clean channel or a radical overdrive channel. This amp is balanced and has both. What more could you want? Need more power? Try a Classic 50 it is similar to the Classic 30: 12AX7 in V1, V2 & V3 handing off to a quad of EL 84's, save for the larger trannies in the Classic 50, and other slight variations.
All combos rattle as vibration is transferred to the chassis. So, run a half inch bead of Permatex on the top and sides of the chassis, let it fully cure, re-install chassis, and it will act as a shock absorber and avoid the usual combo vibration syndrome.
There's a nice sweet blank spot where the PCB folds into three pieces behind the chassis. I drilled 1" holes for ventilation and park a fan behind the amp. It is super quiet compared to many other high dollar amps currently being produced.
I have added one Sprague .022 uf 600 vdc cap to the bass EQ. I do not recommend modding it to a .047. There's already plenty of bottom even when running single coils through it! The middle and treble are fine.
I like the metal corners, the construction, and I've had this amp running 24 hours at a time in the studio.
Now, for those of you freaked about the fuse. There is a fuse on the power side and an internal fuse rated a 1 amp. POWER FUSES DON"T JUST BLOW! They will blow when you have a bad power supply which is why we use voltage regulators on high end studio consoles. So when you hook any amp up in a club setting, check the receptacle to see if it's grounded, and if it's kicking out too much current.
Consider adding an inline voltage regulator rather than worrying about internal fuses. Also consider a adding a surge protector when playing any venue.
I would never recommend anything I do not believe in. I don't care who the company is, the bottom line is sound. I will never compromise an musician's sound in a recording situation.
As someone who has produced and mixed records for mega-platinum songwriter's and artists, I HIGHLY RECOMMEND THIS AMP. I will continue to post my opinions in connection with any company that puts out junk. So, if anyone has a problem with that, zap me with an e-mail.

Refer to my review below.

Refer to my review below.

Refer to my review below.

I experiment with a variety of equipment. Most of it is unremarkable. Most company's are run by bean counters who know nothing about music much less what it's like inside the trenches of a recording studio. The Classic 30 smokes most of the competition, is very quiet and a pleasure to record. Kind of like a vintage Vox AC30 (clean) without the noise, and with channel switching for a classic Marshall sound.
Nicely made.

Just got my first opportunity to use this amp when we played in Montreal this weekend. I purposely brought it, even though it was in a small to medium sized hall, just to see what it could put out. I guess when one or two fellow band members tell you you're too loud, in a venue of that size, (on a fair-sized stage), then that's a pretty good sign! For the price, (Come On!!), it simply does not get any better than this for a tube amp! I didn't half to turn up the clean channel more than half, and around that point I began to lose the nice clean headroom. But remember, this is a little 30 watt combo. The gain channel sounded pretty good, but I didn't really get a good chance to experiment with it, (we do African/Worldbeat fusion whatever), so I didn't get to really make it "rock", so to speak. I used my Gibson Les Paul for this gig. I consider this the "baby" of my amp family. Ialso have a 60 watt Marshall JTM60 series amp, and my favorite, a 100 EL34 powered Marshall JCM 900 2x12 combo. But the Peavy makes a great "club-sized" amp. I'm happy!

Pretty good.