Peavey Classic 30

Dad bought this little amp eons ago (back when they first came out)...used it for years on almost every weekend. This amp is not very versatile but it does it's job well. It does Blues, Classic Rock, and Southern Rock quite well...these are it's specialties. Then after many years of well play he bought a Fender Hot Rod Deville and a Peavey Classic 50 4x10 and sold me the Classic 30 and the 1x12 extension speaker. It's setup is quite simple...treble, middle, bass, post (gain channel volume), pre (overdrive), and volume (clean channel only), boost switch, and channel switch. Has a channel switcher that switches between channel 1 and channel 2, and a switch for turning the reverb on and off (many reviews have stated that the reverb switch should be for turning on and off the boost switch, however, they go on to complain that there isn't enough of a volume boost for it to work as a "3rd" channel. In my experience the boost switch is used to give the amp a little more "umph" when playing at lower levels...allows for more gain and compression at lower volumes while adding little to the over all volume). I mostly play small blues clubs and bars and the boost switch is always in so that I can have the fattest smoothest tone possible. Power?!?! does it have enough power?!?! This 30 watt monster isn't a high end volume amp by no means...but it has enough volume to work as a good gigging amp as well as a practice or studio amp...as long as the player is willing to do with a little bit of natural power amp overdrive and more compression (oh shucky darns on that!!!) The effects loop works well for only one thing though...digital delay...and that is all I run through it...the rest is right out front...even the chorus...which is analog...so that is where it should be. The only real thing that I wish was different is maybe a little better of a reverb (the one in the amp does a find job but as others have said...it is no Fender by any means) and seperate EQ's for both channels.

I use a Fender Mexican Standard strat with a rosewood fretboard...you know...the lowest end Fender you can get without going squier (which I have one of those too...unfortionately), and an Epiphone Korina SG most of the time...so I have low level single coils and low level humbuckers (not that they are bad...just not top of the line equipment). But with these two guitars (mainly using only the strat) I get great tone for blues, classic rock, and southern rock and mix well with the other guitar player in the band; he plays a PRS standard 22 into a Boss OD-3 (for overdrive and compression) into a twin reverb. His tone is BIG, MONSTROUS even...but I mean...he is playing through a twin here...and my tone is F A T!!! We use similar settings but have tones that aren't the same and work very well with each other for playing different parts...bass around 6-7, mids 8 (him) 12 (me) (12 on peavey is equivelent to 10 on fender so not that much difference), treble 5-6 and loads of gain on when dirty (I set Pre all the way to 12 and Post anywhere between 6-9 depending on the club's size, he almost maxes the drive knob on his OD-3). With these settings I get a smooth, F A T, very distorted tone with controllable feedback when positioned anywhere with 5 feet of the amp and a few seconds patience...depending on distance...and sustain for as long as I am willing to hold the note. Keep in mind that I play stock single coil pickups from Fenders lowest nonspuier strat...so this thing makes lots of noise with the maxed out midrange and gain knobs on channel two. The clean channel is very nice, has a sweet clean tone up around 6 on the volume knob and the guitars volume down a little...but anywhere after 6 with a maxed volume on the guitar gets that natural power amp overdrive (keep in mind this a 30 watt amp...it will distort fast because it has less wattage to burn) but it sounds so sweet though not as smooth as channel 2. The distortion is not very harsh on either channel, both are perfectly suited to blues, classic rock, and southern rock...gets great vintage rock tones and nice comtemporary smooth overdriven tones (even at the same settings...just depends on either your pickup selection, pick attack, and where the volume and tone knobs are set on the guitar). I am also running it through the 1x12 extension cab so I can boost the amp a little and get more of the "good stuff" without having an overbearing volume...also kind of hard with a Twin on the other side of the stage...hehe.

Can I depend on it? Well, let's put it this way...I was leaving practice one night with this thing bungee corded to the bed of my dad's truck (I know...stupid stupid stupid...but he wouldn't let me put it in cab for a while...until we figured out how to fit in there without tearing anything up) and going over some railroad tracks (I am a slow driver believe it or not so it was very slow) and it slipped out from the bungee cords and slid to the tailgate. I stopped and gave it a thorough checkup for damage, broken tubes and the like...of which there was none visible. When I got back to my house, I plugged it in to check for any sound change...and it sounded exactly the same. Anything but that...it has only needed to have it's tube sockets cleaned and a new set of tubes from being run on 9-12 volume wise by Dad for years on end. Backup?!?! what is that...I am a college student (might find that hard to believe after you read about my guitars though...but that is all thanks to that wonderful guy called Dad!) but I do have a Marshall 65 watt Valvestate...the Classic 30 is much louder, fatter, and for my style...better.

I have never dealt with the company personaly, but Dad used to know the guy who started peavey (not personaly, no first name basis or anything)...his bass player would always blow his speakers by running a bigg muff pi into his cab...so the guy from peavey was having to fix this on a regular basis...I dont' know how he took to it...I just know he had to have hated seeing that one cabinet.

I have been playing for a little over 5 1/2 years and I own the previous mentioned guitars...spuier included it is a korean model from around 85-86, named the Squier II stratocaster (if anyone knows why there was II after the name or anything like that...or whatever...please e-mail me) an epiphone Dot, a Clapton strat, and a late 70's Martin Sigma acoustic. I also use various effects...wah, od (for a less smooth sound), distortion (this thing ain't a whole wad o' gain nor is it thin by anymeans or metallic, so I have this for extra umph with the guitar volume rolled down), micro-vibe (I'm a Robin Trower nut...those hypno uni-vibe tones are soooo cool!), a ce-5 chorus ensemble (got to have Leslie tone and a tone from a guy in florida named Steve Hucker...univibe tone if it was a chorus pedal...only way to explain it) and delay (love that echo). If this amp were stolen, I would probably cry for a week, but seriously, I would have to have another one...not anything else...the other models have different tone and different settings. I really love how fat and compressed this amp gets and to all of you who say that it does not have enough gain...then you have ht ewrong amp...for mine distorts quite a bit...and it has the sovteks in it...and will sustain for days (or until it blows up...if that kind of thing happens)! It has a beautiful smooth tone and is very pleasing...doesn't have very harsh tones or abusing...can get aggressive but that depends on how the guitar is played...not the amp. The only complaints I can seriously think of is the fact that it doesn't have that "bell like" quality that fenders do on the clean section...but hey...it feedsback at about 8 on my clean section, and it could use a seperate EQ for the clean channel. Keep in mind...this is more a tone specialist amp...I don't how it does with scooped midrange or even with moderate midrange...never tried it...like fat fat fat tones...so you would have to try that. For the fatness though...it hits that nail right smack on the head!

Made in 1998 good clean sounds decent reverb and good treble boost I only use mine for practice not for gigs but i have recently bought a les paul and intend using it soon in small venues miked into the bands PA .If you are considering buying one please change the tubes it makes a big difference to the amps tone. 2 channel amp with both channels avalable via a f/s as is reverb

Good basic rock sounds with not to much gain really a blues sound the clean channel is very good godd with both humbuckers and single coil guitars

Tube are very exposed and I have already damages 3 tubes with the power cord catching the other than that no issues

N/A

I have been playing 35 yearsI also have a Strat ,Gibson Les Paul Tele Gibson 335 and a Takamine LTD 1998 ,Amps are Peavey Classic 30 ,Marshall 265 effects Boss compacts, Zoom 2020, Boss GT3.I wish that this amp had a DI facility

Purchased new in May of '99, so I assume it was manufactured earlier the same year. There are lots of reviews with the features listed, but briefly - 30 watts, 12" speaker, 3 preamp 12ax7 tubes, 4 EL84 power tubes. Neat 50's retro styling with tweed covering and rear mounted control panel. Clean and Drive channels, reverb, effects loop.

First of all, let me say that I've found that switching out the cheap stock tubes and replacing them with some quality NOS tubes makes a BIG difference in the tone of this amp. It came with Chinese and Sovtek tubes that didn't sound bad, but this little amp really wakes up with some decent tubes in it. I put RCA and Sylvania 7025's in the preamp and some Hitachi 6BQ5's in the power section. It has a very rich, almost "woody" tone with my old Strat (single coils) or my Les Paul (hummers). Nice, clear sound across the spectrum. Loud enough to play out with in the small clubs I gig at. My only kick is that the OD channel seems to have a real narrow useable band. Not a big deal to me, as I mostly play it clean for blues.

No problems so far. It does seem to get pretty hot, so I usually keep a cheap little desktop fan blowing on the back side for insurance. The fact that the tubes are hanging out there in a semi-exposed postion kinda bugs me, so I'm real carefull when I'm moving it around. I might go ahead and stick a plywood strip across the back to give 'me some cover.

Haven't needed it.

I alternate playing this and a Fender Blues Deluxe when I'm gigging. The Fender is louder, but the Classic 30 is a lot lighter and more compact. Both have great tone. Either does a good job in the small clubs where I play. The rest of the band uses smaller amps too, so it cuts through the mix real well. This isn't something you'd want to use alongside a bassist playing through a 400 watt stack, obviously. But it's a cool amp that serves well for small gigs and rehearsals. Won't pull your back out of joint when you lift it, either. I like it.

It's a very simple and sweet 30w 112 tube combo with EL84's for the power tubes. It has a clean and a lead channel (pre and post gain), which both share master EQ and reverb, there is also a bright switch which boosts the mids. The channel and reverb are footswitchable, the bright switch is not. The one thing this amp lacks that would have been nice is a standby switch. It's nothing special, but it really doesn't need to be.

I'm using a Carvin DC135,which is S-S-H, through this amp. This amp is seriously a solid amp for blues and clean enough for jazz. It does a nice job with older classic rock, or any style that doesn't require too much gain. The clean channel is crystal transparent, rivaling Fender's best. The lead channel is voiced for blues, and southern rock also flows out of this amp. This amp was not designed for a high gain style of music, so if that's what you're after, look elsewhere.

Peavey has a solid warranty, and this amp doesn't look like it's ever gonna quit on me. Still.. it a tube amp and therefore isn't as reliable as solid state.

Peavey's customer service has helped me out considerably with various things. I've never needed anything for this amp but they're been helpful when I had other questions I needed answered.

I bought this amp because I wanted a small tube amp for Jazz/blues work, and it didn't disappoint. I think if it were stolen that I would buy a Peavey Classic 50 212 instead, because that amp has more power, but it really depends on what you need. I play many styles of music and this amp performed much better than my other amps for the blues/jazz sound that I bought it for. This amp has very sweet tone, and at the price I picked it up for, I couldn't go wrong.

I have nothing to add to the previous descriptions of the features: they've not changed since 1993 or so.

I like the sounds better after the Tweed Bassman Mod (see below). This rating is for the post-Mod sounds; I'd give it a 6.5 for the pre-Mod sounds.

My amp has been reliable both before and after the Mod.

I have obtained parts from Peavey reliably, but they seem to use the slowest, cheapest postage option available. Materials take a long time to arrive.

This review concerns the "Tweed Bassman Mod" for the Peavey Classic 30, described on the Blue Guitar website (maintained by Steve Ahola at http://www.techassessinc.com/blueguitar; the Tweed Bassman Mod is described at http://www.techassessinc.com/blueguitar/c30twdbm.txt. If you want to see what you might be getting into, download the "C30"'s schematic diagram and circuit board layout from http://www.techassessinc.com/blueguitar/c30schem.gif and http://www.techassessinc.com/blueguitar/c30layg1.jpg, respectively. (If these don't download directly, try aiming your webbrowser to the "Schematics and Links" page on the Blue Guitar website?maybe I don't have the URL right. Also, the Tweed Bassman mod is on the Blue Guitar website on the section titled "Articles on Guitar Amp Mods" on the "Articles on Guitars and Amps" page.)
For those who might want to know, "Tweed" refers to the late 1950s Fender amps which were coverd with "tweed" cloth covering, also called "luggage linen". Tweed circuits were notable for relatively low "headroom": the amps distorted at high medium volume, and also tweed circuits are notable for the absence of reverb. There's probably more to it than that !
You must be aware that the filter capacitors in tube amplifiers hold charge which can achieve dangerously hold voltages, even when the amplifier is turned off and unplugged !! The proper way to deal with this is to put alligator clips attached to test-probe wire on the terminals of the filter capacitors, so as to short-circuit one end of the "cap" directly to another. It's best to do this with a high-power, high-resistance resistor soldered in between the ends of the test-probe wire. This is discussed at http://members.xoom.com/BoxerAmps/discharg.htm.
The Tweed Bassman mod involves opening the amp up and disconnecting the circuit board, then removing the circuit board from the chassis, in order to perform "microsurgery" on it. The procedures for removing the amp are more time-consuming than you would reasonably expect. Taking the chassis out of the amp is pretty straightforward, but you also have to remove all the chickenhead knobs, and then all the nuts and washers holding the pots (potentiometers) onto the chassis. Then you unscrew eight machine screws holding the bottom panel of the chassis to the circuit board.
Once you're this far, then you have stress the circuit board to push the shafts of the pots back inside the chassis, as well as pushing the circuit-board-mounted tube sockets, in order to extract the board from the chassis. Plan on spending at least sixty to ninety minutes to get this far, unless you're experienced, and not very cautious, and quite lucky.
The circuit board is about the size of an 8 * by 11 inch piece of paper, but FOLDED into thirds, as if you folded the paper into three equal parts, making the folds parallel to the long sides of the paper. Hold the piece of paper in front of you with the folds making 90-degree angles, making a "gutter-shaped" assembly: that's what it looks like. One side of the circuit board is right under the control panel of the Classic 30, where the pots are; another side of the board is on the bottom of the chrome-plated chassis, where the tube sockets stick through the chassis.
The three glass-epoxy pieces of the circuit board are connected by about twenty wire jumpers. You could pretty easily break (or detach) the wire jumpers which connect the three parts of the circuit board if you pushed too hard while trying to remove the circuit board from the chassis.
I think you'd be unable to do this mod if you didn't get good desoldering braid. This product is fine, braided copper wire, which when applied to solder on the circuit board, soaks up the solder metal and takes it away from the solder joint altogether. The hot solder metal literally soaks up into the wire

Four EL84's, 3 12ax7's, reverb, effects loop etc. The remaining features have been stated extensively enough in this context so no need to specifically reiterate. The fact that there is no master volume for clean is condidered to be a great feature in my book and prompted me to purchase.

The clean sound is specifically why I purchased this amp. I use no distortion or effects in a majority of my playing and was reasonably pleased with the warm, slightly overdriven clean sound. I have tried the distortion just out of curiosity and was not very fond, however, don't care for distortion period. I play mostly jazz and latin jazz and occasionally some funk and the amp has done a respectable job for these styles. I recently repurchased a Vibroverb reissue which I had previously owned and after two gigs with that reverted back to the C30. I use it for anything from solo gigs to gigs with a 9 piece band and have used it with a 17 piece. I go through the house PA in larger venues but don't need to in smaller ones. I have had no problem cutting through despite an excitable trap drummer, 3 additional purcussionists (djembe and congas,)a loud piano player, bari sax and trumpet (always miked). I have not had to put the amp past 4, and although not 'twin' clean, stays reasonably clean with a slight tube overdrive (think Wes Montgomery - very nice). Groove tubes (4's) were purchased at the same time as the amp and immediately inserted despite the fact the GT's are generally not my favorite. The stock sounded ok, however, heard the rattles and decided to replace post haste. The GT's sounded good despite the inability to do any type of bias adjustment, which is concerning. Another note, unless using for solo to trio gigs, I purchased and consistently use the 112E cab (used $80) which greatly rounds out the sound and volume. I would recommend using this or a similar cab to anyone using this amp. I have used a Mesa cab with an EV, however, it doesn't sound nearly as good as "Sheffield" equipped ext. cab with this amp. The clean sound is full and warm with the this combination and with the mid turned down to around 3. I use a Gibson 175, washburn HB-35, both equipped with a Benedetto S6 in the neck and a am stnd strat with stock p/u's. They all sound fine. The rattles have been minimized by routine tightening of the screws and power tube replacements every 4-5 months. I may explore the weather stripping mod previously mentioned. The rattles can be very annoying in your practice room, however, inaudible when playing with others. It is also imperitive that the amp not be on the ext. cab and they be side by side or preferably separated by a few feet. The amp is very quiet with no hum despite the ancient wiring in my house. My fenders are much noisier (radios, hum). This is a warm sounding amp with a nice amount of tube overdrive at volumes 4 and above. If you need super clean, get a sterile JC 120. I have yet to hear a '10' and have played most of what's out there. It is a nice sounding and very reasonably priced little amp.

I have owned it for 9 months and have used it on approx. 80 gigs without a backup. Actually, prior to reading some of these comments, never considered the need. The fuse is problematic, however, I have screwdrivers, fuses and tubes with me at gigs. I have not had any failures with this amp. Tube protection may be achieved for about $4.00 by adding an oak or similar strip to to the back. I agree that it should have been done at the factory, but the amp is inexpensive and is very easily remedied by the user. My power tubes are replaced at least every 6 months and preamp tubes will be replaced annually unless needed sooner. The "fixed bias" is concerning as you may buy incompatible tubes. I will likely stick with the GT 4's despite the fact that their 6l6GC's and 6v6's, and EL34 have disappointed in some of my other amps. They are working and if you believe GT, will continue to if replaced with the same rating. An 8 is given as it hasn't let me down, however, fuse replacement would be a difficult and annoying task if were to go at a gig.

Sent in the warranty card. Checked out the site. No experience beyond that.

I have been playing 15 years. I own a 69 super reverb, deluxe reverb reissue, vibroverb, some polytones and a pv special 112, and music man rd65. I have owned a JC120 (hated). I love tube amps and have been very happy with this one despite its faults. If it cost more as much as a vintage or reissue fender, I would have to say 4-5, however, you really can't get much more bang for your buck for a new tube amp. If anyone is looking for a nice sounding and inexpensive tube amp, this would definately be worth checking out. Another huge asset is its reasonable weight. Altough a twin is a great amp for the styles i play, and the Super sounds great, I don't like hauling those things up and down stairs three times a week. I was skeptical and wanted to hate this amp. I can't.

one 12" speaker
reverb, effects loop, clean and gain channels
all footswitchable
very simple.

I use it with an epiphone 335 w/ humbuckers. The sound is awesome. Very full
and loud enough to play in a band with. Good Fender-like tone. Not good if you
want to sound like you have a Marshall stack.

Never had a problem. I'd be careful with the tubes i the back. They are exposed.

never needed

I used to have an old Fender twin Reverb. Nothing sounded better, but it was too damn big.
This surprisingly sounds pretty good in comparison, and doesn't weigh a ton.
I think this is better than the new Fender combos and a lot cheaper.

I really like the sound of this amp. I've had it about 7 years. Good compromise amp if you live in an apartment with bitchy neighbours

Distortion is a bit weak but definitley acceptable for blues etc... Clean is very sweet.

This my only complaint. I'm currently struggling with this. It's losing power and crackling on both "channels" when it's warm. It only does it when the strings are vibrating. I've brought it to two different shops for repair, but both times I've brought it in, they can't get it to do anything wrong. Quite annoying. The tubes (Sovteks) are probably 4 years old now

Never dealt with Peavey

Overall this is a great little amp. I just wish it would work better. I like to play Big Sugar, SRV, Hendrix etc... I've got a Strat (japanese) and a shiny new ES335. I get pretty much what I want from it. Of course Id like something bigger, but I've really got nowhere to put a Marshall stack so...

Just to add on to my original review that is further down the page. Speakers and tubes make a huge difference with this amp. I have turned my Classic into a true beauty by replacing the Sovtek tubes in the power section with groove tube EL84S' with a hardness of 7(these tubes are made by JJ)
I replaced the preamp tubes with beter ones also...tube 1 (Clean channel) is a JJ 12AX7A Tube 2 (drive channel) is a Jan Phillips 12AX7A and the third (driver) is another JJ.
I think the moral is STAY AWAY FROM SOVTEK TUBES. Spend some money and get some tone.
I replaced the stock Peavey speaker with an old Celestion (G12K 85) and am using a Seymour Duncan extension cabinet with a Celestion greenback.
I am using many guitars with this setup but the main two are a couple fifties strats, one with a trio of Texas specials and one with two stock Fender single couls and a Diimarzio Virtual Vintage Blues in the neck position. Humbucking guitars sound fine as well though I do not like humbuckers a lot anymore.

This is a follow up to my review a couple entries back. I have bought a Fender Super 112. It is a good amp, a very different amp, but here I am addressing one complaint I often hear about the 30.
I don't thing that the shared eq for clean and dirty on the 30 is any problem. It works great, I've never felt the need to tweek the settings between channels. On the Fender, however, that is not the case. Hence, I never use the gain channel, only the clean. No matter what I do the eq never sounds good for both the Fender's channels. Good thing I have pedals!