Randall RG-100HT

Mine was made in '88, and i've heard the pre '86 models are the best, but i love mine. This amp by itself is GREAT for classic rock, low gain thrash, and blues. Heat it up with an EQ, and overdrive pedal, a boost pedal, or anything else to boost the signal, it has enough gain and sustain for any kind of metal you want. This thing has 2 channels, though the clean channel doesn't have as much volume as the gain channel, so is pretty much useless in a gig situation. This amp is solid state, but the distortion channel is as loud as tubes, NO JOKE. This amp also has a pull out treble knob for extra distortion and sustain, with this knob out, it can do metal by itself, but you'd have to mic it for sure for a gig, because there is a substantial volume loss. its got reverb as well.

This amp is really only good for what i said above, classic rock stuff and metal with a boost (or treble knob pulled out). I use a Dean ML with a Bill Lawrence L-500XL in the bridge and a L-500R in the neck. I love this thing for what i do (which is thrash/black/death metal). this amp isn't really that noisy, unless you use a boost (like any other amp). this amp would be a 10 for distortion, and about 5 for the clean...but i gotta give it a 9 for the distortion haha...CHAINSAW DISTORTION!
if you want settings or anything, e-mail me.

This thing is about 20 years old, and its still kickin. Plus its solid state, so i don't have to worry about any tubes breaking or anything. When i first got it, the sound would cut out then come back, but i cleaned out the pots and shit with contact cleaner, and it works great now.

apparently, they suck when it comes to their old amps, but, i haven't tried, so, no opinion.

GREAT FOR METAL!!!(with a boost)
if it was lost, i'd get a new one for sure.

My Randall RG100HT was made in 1986. This amp's not extremely versatile, but for what I play, which is mainly metal and some rock it's good enough. It's got two channels which are only switchable with the FS-5 footswitch, otherwise both channels are engaged and you have to turn one channels master volume down to hear just the other channel. Or you can blend both channels. I don't own the footswitch, but it's no big deal since I just use channel 2. That's where the huge tone is. I mainly use this amp for home recording, and jamming. It's got plenty of power, 120 watts RMS at 4 ohms. It's The loudest solid state amp I've ever played.

I use two guitars with this amp, a cheap Cort strat loaded with a Bill Lawrence L500-XL pickup in the bridge, and my Yamaha rgx612a with active pickups. I mainly use the Cort with this amp cause the passive pickups react a little better with it than actives do IMO. The amp on it's own has a really good Marshally kinda tone to it which is good for rock and hardrock. With the treble dial pulled it'll get you some old school metal tone. I don't use that feature much cause it lowers the volume and compresses things a bit much for me. A boost pedal with this amp sounds great! I use a Danelectro 7 band EQ and a Boss SD-1 in front for a gain boost and this amp just screams! Great for Metal. The clean channel is kinda sterile but usable, plenty of clean headroom, and the reverb is decent.

When i got this amp it had a little bit of hum to it when idling, there's not too much anymore though. I opened it up and found some wires dangling really close to the power transformer, so I moved them a couple inches away from the transformer and this decreased alot of that hum. It's still there, but not as bad. I used to own a RG100ES that did the same thing.

Gotta give it a 9 here, only because channel 1 (clean channel) ain't as sweet as channel 2 (higher gain channel). If it were all about channel 2 i'd give it a 10 without hesitation.

I can depend on this amp. It's SS so there's no worry about tubes failing. I think I could use it on a gig without a backup, although this thing is getting up there in age, it's 20 years old now. It hasn't broken down on me yet. Although i've only had it a short while.

I asked Randall for a online owners manual. To my suprise they still had them lying around and they sent me one, even though the old Randall RG's are long out of production.

I've been playing guitar 10 years now and this is the best amp i've owned yet. I used to own a Fender Bassman and the Randall out performs it for what I'm doing. If it were lost or stolen I'd absolutely buy another. For the price they can't be beat.

The RG-series 80-100w amplifiers are all related. They were designed in the early '80's by Gary Sunda. They utilize FET preamplifier stages in both the clean (1) and distortion (2) channels. The Channel 2 input uses slightly different circuitry and one pair of inverse-parallel 1n914 diodes to establish a clipping threshold that sounds very much like an overdriven tube amplifier of ten years earlier. A SECOND set of inverse-parallel clippers is located in an intermediate-amplification stage, and switched in/out of the circuit by pulling out the TREBLE knob. This was referred to as 'compression'. The electronic result is a 'deeper' clipping level... the audible result is somewhat like higher gain setting, but even-order harmonic content which mimics the distortion of an overdriven transformer-output class-A tube amplifier. The clipping's side-effect, however, is a reduction in volume, so you'll need to turn up the volume when the Treble knob is out.

Preamplifier stages are switched in-out of circuit by grounding-out the signals, accomplished through the footswitch cable. Footswitch secondary contacts operate LED indicators to match. The footswitch has two switches- one which toggles between A and B channels, the other forces BOTH channels on.

Downstream of the footswitch control points is an array of tone filtration pots (basic R/C circuits), a reverb-pan driver and reciever circuit (driving a typical, but high-quality reverb pan mounted in a bag in the cabinet), and a straight-forward effects loop.

The higher RG-series amplifiers use a class-A complimentary symmetry final amplifier stage that is thermally compensated, driven by TIP42 and TIP43C transistors. If the load impedance falls below intended operating range (shorted speaker cable, etc), a thermistor on the final amp heatsink area will reduce amp drive level, providing protection from amp damage, while still allowing the gig to go on. Many amplifers use a thermal SWITCH that simply shuts the amp down...

The power amplifier stage is conservatively rated, as is the power-supply which feeds it. IIRC Rail voltages are in the +/- 80v range, with the output suitable for 4 to 8 ohm impedance. The final transistors are all a common NPN type, mounted to the aluminum chassis as a heat sink, which works quite well even in hot-environment gigs with poor ventilation. The Randall folds back a tad when it gets really hot, but it keeps on rockin' when everything else drops out.

The RG-series amps were intended to suit a variety of musical styles and any guitar. By choosing an appropriate speaker cabinet, channel and gain/tone knob settings, it's quite flexible. I use my RG as an augmentation of by bass amplifier system, and it's VERY capable of holding down that task.

The RG's FET preamps can generate substantial gain, and react in a very predictable way. By creatively selecting pickup wiring, there isn't much that the RG can't do. BOTH preamp channels can be overdriven, however, you'll work hard to get the 1 channel to scream. The 2 channel can be run clean by twisting GAIN down, and turning VOL up. Distortion can be made smooth and silky, nasty, or downright painful, and if you're adept with hands and guitar controls, it can be done right from the instrument.

The RG-80/100 series amplifiers were overall excellent products. I'm not known for being gentle with stage equipment, and I don't suffer from any aversion to tube-type audio equipment, so the RG's light weight (compared to toobs) ruggedness, compact size, simplicity (hammer!), and conservative ratings places it very high in my preferences. Although it doesn't feature the in-board stereo digital signal gizmos of modern amps, it's extremely effective in a performance environment, and will take a continous beating with no negative effects. Drop the BS, grab an instrument and play!

It has some very basic downfalls, most of which can be fixed fairly easily:

-Footswitching technique of A/B channels... the footswitch and cable performed wonderfully as an AM/FM Radio Reciever at worst possible time. The FET preamp stages did an impeccable job of capturing, rectifying, and reproducing audio from local TV and radio stations. This can be remedied by installing tiny relays on a daughter-board inside the amplifier cabinet, and operating the switching relays with the footswitch. Not only does this limit the amount of 'antenna capture area', it also puts the signal-switching within a hermetically-sealed relay up in the amp head, rather than in the bar-room floor crud. Footswitches which switch the SIGNAL tend to get noisy once the contacts get contaminated with nicotine, dirt, and beer... they pop, crackle, and do other obnoxious stuff. Sealed relays make the switching a quiet occurance. Lining the inside of the amplifier cabinet with grounded copper foil, (especially under the reverb pan and above the 1-2 preamp area) do an excellent job of quenching unwanted AM/FM reception.

...While you're fitting relays, install a third pushbutton switch, LED, and relay, wire it in parallel with the TREBLE switch. Add a Fourth relay with a bypass potentiometer to TURN DOWN preamp level when not in 'compression' mode... now you'll be able to drop in and out of 'compression' from the footswitch, without having to twist the volume knob each time... more flexibilty.

-Footswitch plug was a PITA - used a 6-pin JONES plug. While these plugs were the mainstay of commercial radio and electronic equipment from 1940 through 1980, the RG-series amps' location made it prone to being broken-off under gigging conditions... yielding unanticipated switching-failures, freaky noises, etc. My abatement technique is to cut a hole in the BOTTOM face of the amp chassis and install an AMP circular twist-lock type connector, and in some instances, I've even hard-wired the cable in place to eliminate cable-plug problems.

-Reverb pan connections - used the classic RCA phono-plug. While it did work, years of gigging eventually causes these plugs to corrode, making the shield and core connections questionable. Result: squealing, buzzing, and other non-instrument-generated offensive sounds. Cool for punk and metal if you can control it... lousy for jazz, blues, and similar genres. Unfortunately, it's not controllable, but it is resolvable by clipping off the RCA plug, feeding the wire THROUGH the center of the RCA jack, and soldering the wires in permanently.

Speaker plugs- they're plastic, to provide necessary isolation from speaker ring to amplifier chassis. If you plug in a straight-plug, and then accidentally knock over the amp, the straight-plug will smash the receptacle. Use a 90-degree plug, and if you smash a receptacle, open it up and replace right away, so an internal short doesn't fry your finals.

Circuit breaker- these things sometimes go bad, and nuisance-trip. They're thermally-operated. In many instances, nuisance trips are a result of poor solder connections on the back- heat from connection and well-loaded finals will percolate up wiring into the breaker's bimetallic element, causing an unanticipated trip (right in the middle of your best solo). Replacing to a new vintage of thermal breaker, or a slow-blow fuse will remedy the situation.

During the mid-late 80's, I moonlighted as electronics tech for a local music store, which is where I was first exposed to Randall. My contact was predominantly ordering factory-only-available parts (transformers, schematics, etc) for repairs. I thought so much of the RG's, that I purchased one for my own use. After finding the above downfalls, I personally modified my RGs. I forwarded details of these modifications to the manufacturer's engineering staff which promptly rejected my suggestions with no comments. They didn't rank as 'friendly' in my book, but I did continue ordering proprietary parts for repairs. After having played my personal RG80-112SC in gigging environments, many of the stores' Randall-owning customers requested same modifications to their amps, and all are still being used by happy customers. Since then, Randall's ownership has been shuffled around, and I've long since changed occupations, so there's little current relevancy.

Playing 30 years, own a variety of guitar and bass amplification equipment, PA gear and lighting.

If it were stolen, I'd buy a replacement... or two... used.

Love it's sound and ability, but hated it's noisy tendancies- that's why I fixed 'em. Compared 'em to everything else on the market at-the-time, it was a hands-down win.

I also have the Randall RG100-HT and yes it really kicks. I play metal/punk and it performs really well with the Randall Jaguar4 4x12 slant cab(also hooked up is a Beringer 400 watt 4x12 bottom cab).

I have figured out the wireing system for the foot switch its really easy its a block of 6 contacts, the top 2 left and right contacts are for channel 1 the bottom 2 left and right are for channel 2 and the middle 2 I believe(dont quote me) are for the foot switch led's.

All i did was grab a peice of electrical wire bend it into a "U" shape and plug it into the desired channel I want(top left-right CH1 bottom left-right CH2) and badabing! the corrosponding channel will light up, the CH2 led only lights up when signal is being sent to the amp (when guitar is played).So to build a foot switch is really easy to do.

There is only 1 question I have what excact purpose does the trebble pull out do i can hear the difference but would like to know what the function is called.

i give the sound an 8 only because its not the 300 watt randall ;)

there seems to be a bit of an umpedence issue with my amp once in a while the volume sems to cut back a bit then cut back in (could be a bad pot)

This is an amp from the 80's and I got it used from my uncle for free. Although it seems weird that it's rack mount, it still works out exactly like a normal head. It has two channels but I am missing the footswitch so it plays both of them at the same time. Although it's kinda annoying, it can create a really cool sound if you put the right amount of distortion with clean. It gives a good rock tone.

I've used single coils with this amp and for some reason, they get the great depth and sound that humbuckers do. I'm in a rock band, Sillman Faller, and the deep, thick sound works great with effects. The clean tends to stay pretty clean at high volumes, and the distortion is pure tube rockin' disto that you'd pay hundreds of bucks for on pedals to get. It really rocks.

I got the amp really used... It had been through a couple people so it is kinda beat... missing some knobs, foot switch, and every time I turn it on for the first time (per day) it freaks out and makes a crazy sound. I just turn it off and wait a minute and turn it back on and it's fine. Maybe I need to get it cleaned out and replace some tubes.

I've been playin' the Randall for about a half a year and it's done me well. I own a truckload of stuff so I won't even start to name it. If the Randall were lost or stolen, I'd probably look into the newer tube versions, but if they didn't suit me, yeah I'd buy the old one again... or kill the person who stole it! I love the fact that it can hit two channels at the same time.

As far as I know this amp is from the early eighties. I got it used and do not have a footswitch, I run channel 2 all of the time. Effects loop in the back, works fine, a direct out .. sounds pretty weak, but who runs guitar direct out? I use this amp to rehearse, tour, record you name it. Plenty of power. Have been told it used to belong to the band UFO. I run two amps .. the randall w/ an Ampeg 412 cab and a Marshall 900 through either a Marshall 212 or a laney 412 I bought in 87. These two amps together give me a HUGE sound. Recording of song using this amp by itself .. no marshall can be heard at http://artists.mp3s.com/artists/583/king_valley.html

I play an Gibson SG, Ibinez Hollw Body and a Les Paul. I have emg's in the hollow body and the sg. We are a hard rock/stoner rock band .. King Valley .. and for what we are doing .. I have yet to have someone say my guitar tone is not excellent. I run a dbx compressor also. I do not use the clean channel, but have on recordings and I think it sounds fine. I sold a mesa dual rectifier after getting this amp if that says anything.

I have never had a problem at all with this amp, and it gets ALOT of use on the road.

This amp really kicks ass, people can't believe it is solid stae when I tell them. I have been playing for 18 years and have owned almost every brand of amp, and one is my favorite.

This amp was made in the early 80's. It is somewhat versatile but I like it for its sweet grind and worked rich harmonics when played with the treble know pulled out. It has two channels that can be used simultaneously which is incredible for adding extra low end to your normal overdrive sound. I have played hunderds of amps and as far as solid state goes, it is the only choice if you want the real deal. This is not a funk or jazz amp in my opinion, it is a rock and roll to heavy grind, lead amplifier. I use two of these heads when I play live and I can rise above the band anytime I want.

I use Seymour Duncan Pickups and that gives me the best tone for my ear. The amp can be noisy so I run a volume pedal (my gas pedal) through the effects loop and turn it down between songs. The clean channel is okay but I rather a fender twin for ultra clean recordings. The overdrive channel is extremely loud and is extremely punchy. I like a smoother sound so I pull the treble knob out for increased sustain. I do a slight modification on every randall RG series amplifier I get to kick up the punch of the sound when I pull the treble knob out for added sustain

I have never in 15 years had anything ever go wrong with any of my 6 randalls except for one time I blew out a clipping diode in my preamp. They cost $1.50 for 8 of them from radioshack. (1N914)I think.

I know the engineer responsible for designing these beast and he has always been extremely helpful to me still to this day. Randall/Washburn doesn't seem to know anything about the Good Old Randal amps so I don't bother trying with them.

This is truly one of the best sounding solid state amps I have ever played. To this day, whenever I see these amps on Ebay for a good price I buy them.

This amp is from the early 80's, and is the rackmount version of the RG100ES. It has 2 channels, reverb and low, mid, high eq. It also has a effects loop and 2 guitar inputs. It has a weird looking footswitch input in the back, It's not a normal 1/4" input. I don't have the footswitch, because i bought it used, but I wish I did have one. I play in a punk/hardcore band, and use an Epiphone Les Paul Standard and an Epiphone SG. The problem with the amp is that there is no channel switching button on the front, or anywhere on the amp, so the amp is forever on the gain channel. So for the songs that I have to go clean on, I turn the volume on my rythym pickup down to like 1 or 2, and use my toggle switch to go back and forth, it works fine and sounds clean. I use this amp when we perform and when we practice. It is 100 watts, and it is loud. Plenty of power for anyone. I like it because it is solid state. I previously owned a Trace-Elliot tube amp and a week after I bought it it started to smoke during a performance. That is the last tube amp I'm ever going to own. I don't care what anyone says about sound. This Randall can do anything any tube amp can.

The sound of this amp is perfect for what I play. It is NASTY. Since it is mostly used for it's distortion, that is what I'm rating. At first it sounded decent, but a little muddy. I then bought a Samson 31 band eq, and hooked it up through the effects loop. That did the trick. I just fooled around with the eq until I got the sound I wanted, and it now sounds awesome. Perhaps similar to a Boss metal zone pedal, but a little warmer and not as tinny and treble like. I Play through a Peavey 4X12 slanted cab, which sounds great. If I was going to do it again I might have gone with an ART eq, the Samson is a little noisy when the volume on your guitar is off, but it doesn't take away from the sound. I just might get Noise Reduction to fix it.

No problems yet, I bought it used a few months ago. It is over 15 years old, and shows no signs of any problems.

Never dealt with them.

Besides the channel switching problem, which I can deal with, I love the amp. If it was stolen, I would definitely buy another one. The Distortion is great, but it is even better with an eq, It is better than the other amps I've owned. I bought it because of the reputation the pre-Washburn Randalls have. And this amp completely supports that reputation. The other guitarist in my band plays a Marshall Valvestate through a Marshall cab, and the distorton on it can't crunch as much as the Randall can. I reccomend this amp for anyone who needs loud, nasty distortion. But I also reccomend an eq for it so you can make it sound exactly the way you want.