Reynolds Valveart APR502 Head

Ok, so I ordered my Reynolds Valveart APR502C in 2008 - in truth it was my 18th birthday present from my parents. So when i got it I thought 'You know, ill get a review of it up straight away.' Ha. Never happened, because like the other guy on here i was too, far too caught up in playing the thing.

So it was built in 2008 by Peter Reynolds (who at this point i must say is a champ), this amp is quite literally one of a kind. its even got my initials on the back! It uses 6 AX37 Preamp Valves and 2 EL34 valves, giving it a 50w (at 5% THD) output rating. Although i will have to say it is LOUD. when i say loud, this is what i mean. I was halfway through a song one afternoon (just jamming as you do) and i received a phonecall from my father, who was 3 houses away. he told me to turn it down - and i had the Master Volume at 0.75!!!

So enough about its loudness. The APR502 is the 'higher gain' version of its APR501 Brother, and this particular model i had opted in another 'gain boost' switch at the back. With both off its like a JCM 900. With one on its like a TSL2000 Crunch and with both on (as i have them on) its more of a saturated mesa sound (think John Petrucci, Vai and Satriani). Because I could have it however i wanted as far as looks went, i opted for a vanilla tolex and red fabric on the front of the speaker box, giving it a vintage look (sort of a sleeper i guess). Furthermore, the speaker box i had Pete make for me as well, which runs 4 Vintage 30's in it, probably contributing to the sound i was after.

It's a two-channel ordeal, which are both independent of each other (which allows another nifty effect ill touch on later), with an A B Box (supplied) to change between the two channels (which allows another effect ill go on to explain later). Both of the channels have Mid, Low and High controls, and both have a Bright switch for that little something extra (basically boosts your highs and mids so they don't drop off so suddenly when you roll down the volume).

My amp was also optioned with a NEgative feedback switch, and a Pentode/Triode switch (basically a half volume switch). The effects loop comes standard - and it comes with an ability to change the levels going into and coming out of the effects loop - you can also turn it off with a switch at the back of the amp that will bypass the loop.

Now for those 'nifty effects' i spoke of earlier. One, is a 'phase' switch at the back. Because both channels run inverted to each other, flicking this switch off will allow you to run both the channels out of phase. I haven't experimented with this as of yet, but i hear that it can create some nifty little effects and tones! Also, because it is a independent channel design, the A B Box can serve as a 'blending point', or in english, you can have both of the channels on at the same time. This allows you to have some crazy sounds like lead and rhythm going at the same time, but not (eg, Dream Theater's 'Pull me under' at the start where the lead and the rhythm are going at the same time)

Some people also have a problem with a lack of reverb. However, whilst this has to be taken into consideration, so to do the words of the creater, Peter when he said that his 'amps are like a blank canvas, that you can use your pedals to paint a picture on'. In truth, i don't really use reverb all that much, i really hate the sound of it mostly. Delay is the main thing, and i wouldn't expect this amp to come with it.

For my style of music, i cannot go past this amp. It is so versatile that when i got it home i set it up and with everything dialed in at 12oclock, i merely changed my volume on my guitar, and got sounds from Dire straights, right through to Metallica and Dream Theater (yes i'm a fan if you hadn't noticed). I have giged with this amp and at every gig i have played with it at i have had people ask me 'what is that and where do i get one?'. Overall, 10 outta 10.

I own a few guitars (Fender, Gibson RobEllis) and all of them just seem to work with this amp. The Gibson i have finally managed to get 'that tone' from, the strat i have finally managed to get 'that tone from' and the same goes for my tele (which is a Plus Standard 95 with lace pickups and humbucker at the back). All also seem to 'sing' more on the crunch channel with unbelieveable sustain. I was using two Marshall 8080 Valvestates before this, and this amp just destroys them in clarity, tightness and beauty.

My style which is the more heavy side of rock and metal this amp eats it for breakfast. Admittedly , there was some fine tuning involved. It gives me some fantastic sounds with one of my guitars especially - the strat. I can have it clean, then dump on a crunchy pedal for a little bit of gain, then wind on the mid boost on the guitar to achieve a third level - all from one channel!

There is very little noise, even at high volume levels (even though i have never had it past 3.5 at a gig!) and there is absolutely no distortion on the clean channel (at least not at that volume).

The distortion can be, if you wind it on, BRUTAL. I'm talking Mesa-Boogie Mark IV brutal. And i'm not lying. this this has so much gain that it nails you to the wall, and puts a smile on some peoples faces at gigs!

I would definitely gig without a backup - tubes are a must though. The amp has never broken down, and has always been well looked after. It is a heavy mofo too. The amp head itself weighs as more than one of my old 8080's, and the weight seems to be all concentrated down one end (at the transformer end). Furthermore, the amp has a lifetime warranty on all workmanship and a ten year warranty on all parts (except valves obviously). It's gotta be good with that!

When an amp company says that they had pushed the amp through because they knew it was a birthday present, that is solid gold. Peter and Dave (brothers who own the business) are both the nicest guys on the planet, honest and want to help you in any way they can.

When i made my first inquiry in 2006 (2 years before i bought the amp!) the offer was 'come down and try one! i spent the afternoon in their shop, jamming with a few different amps and comparing theirs to the others. i guess they knew i'd be back! The service could not be better, and i'm glad i bought it off them because i know that if anything were to go wrong that they would help for starters, and also that they would be just around the corner (1.5 hours away from me but thats better than 22 hours via plane!)

I have been playing guitar for nearly twelve years. When i started out looking for a new amplifier, i was set on a triple channel metal amp. How wrong was I that you had to have 3 channels.

I have owned two marshalls, a fender, and played countless other amps ranging from behringers to Mesas and Bogners and beyond, and I have to say that this is the best amplifier money can buy. If it were stolen, i would hunt down the person taht stole it and get it back, because i could never think of anything better than this amplifier. To be honest, if i had the cash i would get them to build me another one, and another box, just so i could say that i have two and run them in stereo.

Overall, my experience and the opinions of others, combined with peoples reactions when i play this unbelieveable amp say it all - these are the best amplifiers, in the world.

It took me a while to actually make a review of this amp, due to the fact that I was too caught up with playing the thing, and that I realised that I was going to get it modded. Now that some basic modification has been done (more about that later) I can give me $.02 about the amp, and the maker who custom builds them.
This APR502 was made in 2002 by Peter Reynolds of Reynolds Valveart of Sydney Aus. It uses 6 12AX7 preamp valves and 2 EL34 valves. I opted to get my amp without a valve rectifier due to cost. The amp's cosmetics are a definite draw-card. Mine is a rectangular head with black Fender Tolex and a wood stained front timber panel. The chassis plate itself is black. It looks a very sexy beast. The 502 model is slightly more hi-gain than his more popular model the 501, however it does suit my style of sound. (not necessarily a hi-gain music) It is a 2-channel head running through 50W RMS, although with hand-wired transformers it is surprisingly louder than what I'm used to with other 50W amps. I also specced an FX loop in Channel 2 only as well as a triode/pentode switch for slight volume attenuation and a darker tone. The Channel 2 has two modes of Hi and low gain, but are not footswitchable, and not intended to be switched during performance. (Loud pop) Essentially each channel acts as its own amp (separate preamp) due to the fact that most (but not all) channel-switching amps can have compromises in tone The APR series overcomes this by using 2 discreet parallel channel inputs that are switched by an A/B box; the advantage of this is that you can mute on the fly, choose either channel on its own or blend both clean and dirty. If no A/B box is available, you can basically plug into whichever channel you wish, and flick the 'link' switch from Channel A if you want both channels. When performing with 2 channels like this, you will need to make use of the phase switch at the back. Since 2 variations in gain are available, each of which are essentially 180 degrees out of phase with each other, you will find that linking both Channel A and B in a certain way will produce phase cancellation of you output sound. The phase switch will provide a unity gain stage for the clean channel to remedy the situation. The Clean channel is loosely based on a Fender design, except with EL34 valves. The dirty channel is based on the 'British' design. (JMP style) Both channels sport 3 band EQ and there is a master presence control that works off DC like a presence control should. You can get a switch that gives two forms of negative feedback, which i also left out due to cost.
My only minor qualm is I lament the lack of reverb, however I don't think it would fit anywhere.
My rating for this category is realistic. I don't think it warrants a 10 since it doesn't have heaps of channels, footswitching, and thousands of dials (a al Line 6 and Mesa/boogie) however the design itself is perfect for what I want and need. I would give it a 10 for myself, But someone who had come from a Mesa Road King or Bogner Ecstasy would find it lacking. So I?m thinking of you guys here.

I'm currently using this amp with a Godin LGXT with Dimarzio PAF classics, which is a perfect mating to this amp in my opinion. I play essentially a combination of Rock/blues and lately have been playing a lot of Jazz. I'm running the head into a custom (self-made) 2x12 cab fitted with 2 Celestion G12H-30 30th Anniversary speakers.
What I find amazing with this amp is the distinct lack of noise it makes, especially considering its design. On a Channel switching amp, changing to the clean channel will invariably mute the drive channel. This doesn't apply here, yet even with gain maxed (which I don't often do) there is barely more than a quiet hum emitted.
Firstly, Channel 1. As stated this is loosely based on the classic Fender circuit, but given more tonal variety and can gain up slightly more than your typical twin reverb when pushed hard. It's also a little bit brighter since it uses El34's rather than the Fender 6L6/KT66 combination. The tonal response is incredible and the channel is very responsive and dynamic. With the good speaker combination, the amount of sweet top end and solid low end I can tweak is formidable. It doesn't compress either, so pick attack really becomes a larger factor in playing style. The channel can cater to that Brit chime, as well as a nice bluesy grit when pushed harder and the top end rolled off slightly. The presence control and the amp in triode help out greatly for this sound. When I have had a chance to use a good reverb unit, the clean channel is one of "the Best" I?ve heard.
The sound of channel 2 is why I waited for ages to post my review. Since the hi-gain APR502 is a less common amp for Peter Reynolds to make, I believe that the EQ and circuitry design initially built into the 502 matches up really well with the 501, but to my ears, sounded slightly harsh and lacking slight definition. Although I have a very particular sound I was looking for. (Gary Moore/Warren Haynes/Robbin Ford - I just wished I could play anywhere nearly as well) The dirty channel sounded like it was lacking depth, before the mod, and had a bit too much top end harshness for my liking. This was even more evident on the hi-gain setting. Anyone used to a Marshall JCM 900 or later would probably like this sound. Anyhoo I recently got Peter Reynolds (who is one of the nicest guys you will meet anywhere BTW) to do several minor mods to the circuity in the aim to pull out more of the sound I wanted. Firstly Pete did the famous Warren Haynes mod, changing resistor value on the treble pot, so than top end was less prominent and more versatile. We also noticed that this made the low frequencies more emphatic without farting out. Next the location of the tone stack (EQ) was changed in the circuit, so that the way Bass, Mids and Treble interacted was more prominent. Also Pete made this mod to the mid pot, and it's sweep. I don't know what exactly but it made the amp come alive. It essentially gave FAR more mids than previously, and the bandwidth of the operating range was slightly lower and therefore punchier and less harsh. After that we didn't change a thing.
Both Channels now are absolutely killer, impossible to fault and smooth and deep without being crunchy and harsh. It also makes the amp better sounding at low volume setting, before the power tubes kick in. Granted I can no longer 'scoop' the EQ, since there is far too much Mid-range for that, but I think that?s a fairly stupid idea anyway. It makes you sound like you're playing through the telephone.
All up, after the mod, I could not have hoped for a better sound. It basically sounds like those classic guitar sounds I have in my head. Since it was modded to my specs, it 'may' not suit absolutely everyone, but for what I want and what I play, I've just hit jackpot.
Score 8 before the mod, Score 10.5 now, rounded down since I can't round up.

I've had the amp for about 4 months now, and within that time haven?t had a single problem mechanically or construction-wise. Apart from a microphonic preamp valve, which I sourced myself, it basically has behaved perfectly. I actually would gig without backup, only because I'd be sure to have spare valves on hand. It would appear EXTREMELY unlikely that anything else could go wrong with the amp. Unless someone spilt beer into the amp somehow.
Actually picking up the amp itself confirms the element of quality. I sold a 100W 212 combo to get this head and the Reynolds head itself weighs as much as my old combo. Anyone looking at a Reynolds head would be advised to spend up for Pete to make one with an Aluminium chassis. The handwired output transformers themselves weigh as much as my 20W Laney combo. I also think that extra weight comes from the rectangular head shape. Pete also makes his amps in a Trapezoidal 'dolls-house' shape, which looks damm sexy, retro without being kitch and 2-3kg lighter. Check his website for pics of the Dolls-house shape.
The one minor criticism I will give is that the stained timber panels on the front and back are quite soft. I had one or two minor dingles within 3 weeks of getting the head. However I'm a bit of an anal-retent, and I'm guessing most people wouldn't notice.

Ever since I made the first curious phone call to Valveart in August 2002, the response, help, courtesy, and just general nice-ness of the maker has been second-to-none. Peter Reynolds is genuinely concerned in how guitarists (and the odd violinist) think about their tone, and he genuinely wants to help people get that elusive 'sound-in-your-head' He invited me down to spend an afternoon playing with his creations, and just letting me tweak the amp to see what I could get out of it. After the order, he was on hand at every opportunity to discuss options, variables, cost-cutting measures and custom specs. Even after the amp had left Valveart he's quite willing to go back and tweak. (See above) I cannot say enough of this sort of customer service, and you can only get it with Australian-made. He's also pointed out that, as long as I don't start opening the thing up and prodding (ZAP) the warranty on labour is for life, with 5 years for most parts (not tubes of course)
Even as a relatively inexperienced musician (I'm only 21 after all), Pete was willing to treat me like a pro. If I ever get the sort of funds raised for a caper like this again. I'll get him to make me another one.

I've been playing music for about 12 years. Beginning on Classical guitar and working my way up (?) Over that period I've owned a constantly rotating collection of gear Like a Maton EM325C, 2 Jim Williams hand-made Acoustics (more Aussie made) a Godin LG and Godin LGXT, a Trace Elliot Speed Twin combo, Laney LC15R, and an Oud that was made sometime somewhere in the Middle East last century.
I also work in Music retail, where I have a good chance to try a LOT of stuff out there. I've played all the Marshall range, Fender range, MESA range, Laney, Hughes-and-Kettner, Ashdown, Lab System, Peavey, Line 6 and ENGL. All of these brands I've tried and tested, and any of them I could have ordered in for myself and saved myself a packet. But I realise that compromise is always compromising and every cent I spent on this amp has been repaid to me in enjoyment. If you have a chance to play or even look at one, you will see there is a lot to love. The features, aesthetics, reliability and most importantly 'TONE' of this beast is second to none. If it was lost or stolen (I doubt any thief would try to lift it) I would be on the phone to the Insurance Agency then whining for Valveart to make another one. I do wish it was lighter, and had reverb but I'm just being bitchy now, since I'm desperately trying to think of any possible negatives. But all up, this is one of the best decisions I've made, and Kudos to Pete Reynolds for making something the equal if not better than anything else in the world. I'm going to stop waxing idiotique now except to suggest you visit the website www.reynolds-valveart.com.au as soon as you can. Also check out my amp on the Sledgehammer page. It's the black retangular one at the top with the wood panel, then envy me.
Thanks for listening
Pete D.