Rivera Bonehead Steve Lukather Signature

My story begins in 1998. It's my review, I get to tell it the way I like it. I just received my custom TV Jones solid-body guitar, based around the Strat / Tele, and now I was looking for an amp to match. My initial search was for a solid-state amplifier. I play mostly in clean so why deal with tubes if I don't have to. After strumming through a few chords in the second guitar shop I visited (as solid-state goes, it's only Evans and Polytone) the sales guy suggested I at least try a tube amp. Sure why not, I thought. I plugged in, strum strum strum, and quietly said, "sh*t."

I didn't know anything about tube amps back then but I did know the sales guy was likely plugging me into some popular inexpensive tube amp he thought was his best chance for a sale. Yet here this mediocre tube amp had a clean tone that was worlds better then the best solid-state had to offer. The epiphany struck; a tube amp was the only option.

I had just got on the Internet and I went and visited every guitar amplifier website that Harmony Central linked to. Then I went to try every one that was available in driving distance. Living in Los Angeles, that meant lots. (As a side note, always bring your guitar when you try out a guitar amplifier, unless you plan to buy that guitar the sales person let you borrow.) The ones that I had the most fun with were the Dr. Z and Top Hat amplifiers, though these were tones I never use.

Guitar shop after guitar shop, the more places I visited, the more I realized I had one basic inherent problem. I'm not going get any real feel for an amplifier unless I jam with one for at least a couple weeks. Just twiddling for a half an hour in the music store and "using one's ear" was not happening. Of all the amps I tried out at that point, the one with the best clean tone was the Soldano Decatone and I knew that couldn't be right.

From the Harmony Central reviews, I made a list of amps that could be considered "top quality" amps, or amps that were the best at what they did. And from this, I inferred that I couldn't go wrong with any of these amps as long as I choose one that did what I wanted it to do. All this research had nearly all the signs pointing toward one builder, Rivera. Problem was, when I tried them out, they sounded dull and flat.

What I really like about Rivera was their design philosophy. They don't load you up with a bunch of bullsh*t about how only an amp constructed this way is a truly great amp. What Rivera does is say that here is what they think is the best solution for today's guitarist.

Now, why the Bonehead when all I've talked about so far is the clean tone? I do have a reason but it's a little stupid. See, I had the money at the time and I looked at this as a one time purchase because I didn't think I would have this kind of money to burn in some time. So if I got the top-of-the-line model, it would be more of an assurance that I choose the correct one.

So here I am, investing a lot of money in a Rivera Bonehead even though I didn't think Rivera amps sounded that great, I don't play metal, and I equated Steve Lukather with Barry Manilow on the hipness scale.

The Bonehead was introduced in 1997 and discontinued around 2003. Mine was built in 1999. The Bonehead was Rivera first and only foray into ultra-high end guitar amp. I wish Rivera would keep one ultra-high end amp in their catalog however I'm glad they're not interested in that market. The air can get a little stupid there.

Of all the amps I checked out, Rivera was the only channel-switching amp that had two top quality channels. Other amps usually have one great distortion channel and a token mediocre clean channel. The Rivera also wasn't like other amps where the only difference between the channels was the amount of gain they had. When setting a Rivera, it's best to look at each channel as if it's a different amplifier. You need to set one channel like one would with a Marshall and the other like a Fender. Just like those two styles of amps, each channel's EQ reacts different and the way each channel distorts is also different.

Somewhere in Harmony Central, there is a review saying that it takes a couple weeks or more to get use to a Rivera amp. This was my final deciding point in getting a Rivera and overcoming my intial negative impressions. And it did take a couple weeks for me to get some decent sounds out of my Rivera. It took much longer to get great sounds out of a Rivera. From my experience, most guitarists don't know how to EQ a guitar amp. With a Rivera, it's like having to EQ two different amps. For those who are just getting a Rivera; set the EQ, Presence, and Contour all to 5 and start from there. When you adjust the distortion, try less first instead of more.

Channel One is the American Fender channel. When it came to a tube amp known for its clean, the choices were a vintage Blackface Fender, a Dumble, or a Rivera. Suffice it to say, my only choice was a Rivera. The Bonehead had a lot of gain for the American channel to the point where it would break up even at a moderate volume. No one else I communicated with that had a Bonehead commented on this. Once I had Rivera mod this for lower gain, I got the clean sound I wanted. The clean tone I'm getting is a tribute to how good Rivera's American channel is. I have it setup to be on the hi-fi side, which is usually a bad thing as it strips away too much and leaves your tone lifeless. I needed to do this to let the detailed woody sound of my guitar through. Yet the sound I'm getting is still very alive and organic.

Channel Two is the British Marshall channel. The initial complaints of the Bonehead were that the distortion was too soupy. In 2000, Rivera changed the distortion. There were a few adjustments to the distortion until it got discontinued, however the initial change was perfect for me. I also had the gain lowered to the disbelief of the Rivera tech that I had made the request to. I love that low gain Marshall distortion sound where when you hit a guitar chord, you get this electric WHAP grind, then as the guitar chord rings out, the amp clears up and finishes with a clean tone.

Channel Three is the high gain channel. This channel is to the original specs of the Bonehead. In this case, the soupy sound works for me as I use it as a lead tone. I hate dist pedals. The sound is in the category of a Mesa Boogie Mark I/II or Dumble where it excels for soloing. The Bonehead was never an ultra high gain amp like a Mesa Boogie Rectifier or Bogner Ecstasy. Rivera didn't have one in that category until it came out with the Tre amp.

I do not use the Los Lobottom subwoofer system nor do I use a Rivera speaker cabinet. I did once have the subwoofer system going just to try it but it didn't match my setup. I currently use a custom made KW Cab SP-1 with two Celestian Century. Those Celestian Century speakers can produce those low frequencies without farting out and that's what the subwoofer system is built for.

Living in driving distance from Rivera has been a plus. I've dropped off my amp at Rivera twice for repairs. The first was a cold solder that they fixed promptly. The second was my fault when I first tried to bias the amp myself. Now we won't talk about this ever again.

Rivera is known for their customer service. I've emailed and talked to them on the phone many times and they always try their best to do what they can.

By the time one spends this much money on something, usually they'll rate it all high marks just to justify the chunk of their savings used to buy this thing. If I rated this Bonehead amp right out of the box, I would have given this a B+ type scoring. However, after eight years of tweaking and experimenting, this is the only amp out there that could do what I have it doing right now.

About a couple months ago, out of curiosity, I surfed around the Internet checking out guitar amplifiers. To my surprise, I could not find one single amp that I could tweak to get me to what I have with my Bonehead. I could buy a couple amps and a dist pedal that would do it but not an amp in a single package.

I've read more then once of a guitarist touring with a few single channel amps, then going home and recording an album with a Rivera. People buy a Soldano or a Matchless for that sound. Rivera is the opposite. People buy a Rivera to find their sound.

2000 model with the distortion mod(original model was too soupy). Features 3 truly independant channels, vintage/modern switch poweer halving switch, Los Lobottom output/level control/crossover, switchable effects loop with gain and mix controls, focus/presence controls, Foot switchable boost for each channel....and on and on and on!!!

I use a Music Man "Luke" and a custom 73 Strat with Duncan Customs and a K412T with V30's. There isn't a sound I can't get out of this amp, I have even made it sound as bad as a Dual Rectofier. The music I play spans everything from top 40 to heavy metal to blues. I really love channel 2. I have found it to be the most versatile for rock and blues. Each channel gives you a completely different palate of sounds to work with and the tone controls have an incredibly sensetive and wide range. I have played Peavey, Marshall, Boogie, Guytron even other Rivera's and this thing smokes them all for versatilaty.

It's a Rivera...Enough said

It's Rivera...Enough said

I have been playing for 25 years and have tried just about everything looking for that "Tone". The Bonehead hit the mark dead on for me. Highly reccomended for any player looking for more then just the lastest craze sounds, A true to the core tube amp.

All of the features have been mentioned somewhere above so I won't waste time there, but this amp is incredible. The best feature is the power output buttons. With a simple button you can choose 100W, 50W, 25W, or even the 12W power setting which suits practice sessions as well as rehearsals and gigs.

I play both a '97 Les Paul Standard and a '94 American Standard Strat through this amp there is not a tone (that I want anyway) that this amp can't produce. You have to spend some time with the amp and experiment with each of the channels to dial in all the tones that are reachable with this amp, but it's well worth it to get the right tone.

Only had it a short while, but the damn thing is stout! The head weighs in at a cool 65#'s.

The customer service is second to none. I was trying to decide which amp I was going to buy and after doing a lot of research I had a few questions about the amp, so I e-mailed the plant and they called me to answer my questions. I went out that night an ordered my head at the local dealer.

I will never have to buy another amp, but if this one was stolen I would have one delivered to my prison cell because I would kill the SOB who stole it. I know that it is very expensive amp, but you get what you pay for and it meet and exceeded most of my expectations. If you have the means; I highly recommend picking one up!

The features of this amp have been listed below and are available at the Rivera website. Three channels, footswitchable boost on each channel, various push-pull tone shaping, hi/lo power switch, vintage/modern, los lobottom xover/subwoofer controls.

I play a wide variety of styles, and I'm always looking for an amp that covers multiple genres well. This amp delivers in spades. While nothing is going to replace my rack from hell in terms of the number of sounds at my feet, this is truly one of the most versatile heads I've ever used.
Lots of folks plug into a Rivera and expect it to be a boogie, and are confused when it's not. They miss the point. Most two-channel Riveras are not designed to be a modded-up-the-butt high gain monster; they're designed to give you incredible fenderish and marshallesque tones in one amp, and they do it very well. Different Rivera models expand on that theme, and the bonehead actually does enter the chameleon high-gain boutique territory previously occupied for the most part by mesa, soldano, etc.
As noted below, the clean channel of this amp is a thing of beauty. Rivera's "blackface" tones are as good as anyone's out there. It's rare to have an amp with the high-gain channels still have such a luscious clean sound; but remember, guys like Vince Gill play Rivera. This is one of the best and most versatile clean channels I've ever played. It will do chimey, pristeen '80's LA clean, way fat honking blackface sounds, edgy blues sounds, and medium-gain singing lead tones. It's completely touch-sensitive in higher gain zones and responds to the guitar's volume control as well as your attack; this is a recurring theme with this amp.
The second channel is a pretty typical Rivera modded-marshall tone, although it seems to have some extra gain. Again, it can be set pretty clean and touch sensitive. I find that with different cabs and different gain structures I have to play with the presence knob and the focus knob to keep the bottom from getting farty in the high-gain channels (especially with a neck pickup), but I can always tighten things up and get to where I need to be by using the controls. Plenty of bottom even without the sub, by the way.
Third channel (the "luke" channel) is also a sort of modded marshall type channel, but with quite a bit more gain, and more pronounced mids for a fatter singing sound. I should mention that the midrange control on both dirty channels has quite a wide sweep, and makes a big difference in the sound. You can't really get super-scooped death metal tones, but you can get some pretty decent chugga-chugga happening. However, crank the mids and you get more into that elusive "fat-singing" territory, with a very singing sustain; one of my favorite types of sounds.
Overall, the most impressive thing to me about this amp is that it's not just an amp with three dramatically different channels. It does that, but I was intrigued at how much gain you could get out of the clean channel, and how much clarity out of the dirty ones. At the shop I guess they were used to people maxxing out the gain and hooking up a sub and going for the destructo sounds (which are there). But I set it up so that each channel represented a pretty incremental transition, in all the "touch sensitive" zones, and got all kinds of cool Robben Ford-ish things to happen. I drew a crowd, not of customers, but of staff, who had never heard the head sound that way. And as much as I'd like to think I have a touch like Larry Carlton, I DON'T. Trust me, it was the amp, not my half-assed attempt to sound like Mr. Butterhands. These sounds were not at all what I expected; but then again, no one ever said Lukather couldn't play guitar very well! So maybe this should be expected. Bottom line, this is *not* a one-trick pony like for example, a Two-Rock. No offense to K&M; I'm saving for one! Amps like that are works of art, and do what they do very well. This amp is more for someone who needs and wants to cover a lot of sonic territory, and do it all well.

Riveras are generally built like tanks.

They have a well-deserved reputation for outstanding customer support. They answer their phones and their email.

I've been playing over 30 years and have owned a boatload of high-end amps. This one stands with some of the best. It's quite pricey, and there's a lot out there for almost 3 grand (I think street price for a new one is more like 22-2300, depending on where you shop), but this amp deserves consideration if you want the high-gain modded sounds but still want an absolutely luscious, vintage array of clean and edgy sounds.

If you look on the back long enough, you may find the hidden microwave oven...

Cookie Monster gargling paper clips. If you play it loud enough, you can reverse the effects of your partner's vasectomy. Seriously, it was very stiff feeling on all the channels until it was played at earth-shifting levels, which some might argue is where it counts. And having a TBR-1, I know that although the feel of a Rivera amp isn't always ideal, they record extremely well, so I imagine this is the case with the Bonehead as well.

Looks tough

I would have to lay naked on the Los Lobbottom sub woofer cranking out augmented triads on 10 for months to take the edge off this divorce causing price tag...c'mon guys, we're guitar players, not oil men!

I traded in a Knucklehead-55 for this amp. Big mistake! I thought it
was the muddiest sounding 2800 dollar piece of crap I've ever heard.
I've since purchased a Mesa-Boogie Mark IV. Life is good again. If
you're considering a Rivera, please consider the Knucklehead series!

Paul Rivera was really helpful, but this amp just sucks.

This amp has not been reviewed too many times, but between the 2 other reviews they have thoughly covered the amp.
I would have preferred to see a reverb unit on the amp, but hey we can't have it all.....

In the words of one of the winningess Basketball coaches, Dick Vitale, awesome baby, awesome!!!!
This amp has one of the most BEAUTIFUL clean sounds outside of Fender (I have to give Fender some credit...they have that sound down) The Rivera has a great clean channel to which they have added a notch on the mids, a boost on the highs and a boost on the lows. You can also add just a hint of overdrive by adding a boost.

I have not owned this amp very long, had it since 4/2/99. I expect nothing less than the splendid service my Rivera R-55 gave me prior to my selling it to buy the Bonehead.

Now here is where we need to talk....
I was having a VERY (underline VERY) hard time finding a Rivera Dealer that had BOTH the Bonehead and the Knucklehead 100. I emailed Rivera and started corresponding with Paul Rivera. I received a phone call a few days later from Elliot at Guitar Center in East Brunswick, New Jersey who had received a call from Paul Rivera and the rest is history. They ordered BOTH the Knucklehead and the Bonehead for me.
I really can't give Rivera, and for that matter Elliot and James at Guitar Center in East Brunswick, New Jersey, any score less than 10...Would really like to give them a 100!!!!!!!

I remember the price...Rivera's ARE pricey...I would pay it all over again if I had my amp stolen.
ALmost bought the Knucklehead, but the 3 channels really got to me...
One note, there is a strange (as in never seen before) pattern to the tolex covering...It takes some getting used to, but how minor is that

Dan (the previous reviewer) pretty much covered all the features quite extensively, but since my rig incorporates the Los Lobottom cabinet actively and his does not, I thought I'd share my findings. As already indicated, the Boner is a BEAST unlike any other ever made, but what really sets it apart (and above IMO) other high gain amps is the Los Lobottom [henceforth: LL] system (when used "actively" in particular). In the simplest of layman's terms: It sends all of your highs and mids to your 4x12 (or whatever cab you're using) through the speaker out, and all of the lows are fed through the LL output jack to a separate power source (power amp or a slaved amp) and from there to the LL 2x12 sub-woofer cab. Running the sytem "actively" like this (i.e., separately-powered) results in the warmest and fattest tones on the planet. Never before have I personally had so many comments on how great my tone sounds now that I finally incorporated the sub-cab in my rig! Not that the head doesn't sound great on it's own -- quite the contrary in fact -- but with the system as a whole it's simply unbeatable. I will say this (and the Rivera folks recommend this as well) that if you do plan to use the sub-cab actively, it is best to use no less than a 300-watt power amp so that there is enough clean power available to sufficiently drive the sub-woofers at lower volumes and to keep them from "farting out" at higher volumes.
Right now I am currently "slaving" my 100w Knucklehead (KH) [running a shielded cable from the 560-ohm LL output jack into the 250K-ohm Efx Loop Return of the KH] to actively power the sub-cab, but in truth it's not near enough wattage to really make this system shine the way it was meant to. However, at this time the 100w KH is really all I need since I'm only adding a fraction of the low end that I could be because my primary goal was to have my highs and mids separated from my lows so that I could achieve a crisper-yet-warmer "Brown Sound" rather than a super-scooped "CHOOG!" I almost forgot to mention one tiny but important detail... contrary to Dan's posting, the head's crossover does *not* separate the highs/mids from the lows automatically when utilizing the LL output jack, but does so when the LL output knob on the front of the amp is *PULLED OUT*. I wasn't made aware of this feature until I called and talked to Paul Jr. about it. He said that originally they wanted to design the amp so that the crossover would automatically go into effect upon utilizing the LL output jack, but at the last minute they felt that *some* cats may still want all of the amp's frequencies to come through their existing cab while the low-end frequencies were fed to the LL sub-cab, so they made the crossover become activated via the LL output pull knob instead. The rub is that they made this decision *after* the front faceplates had already come back from the screen printers, so it was too late to print "PULL CROSSOVER" on them.

Some background first: I play in both an "Eclectic Redneck Rock" band and an experimental progressive band as well, with my main guitars being a modified Epi Les Paul std, a Washburn N4 signature model and a Fender Bass VI tuned baritone -- all equipped with EMG pickups. So first off, as with most Rivera amps if you use active pickups it's best to use the Low Gain input, not only so you have more headroom on the clean channel, but also for more clarity overall.
Anyway, as I stated above, this amp is a beast like none other before it. Having been a die-hard Knucklehead (KH) user previous, I mistakingly made my Boner's settings reflect those on my KH, during which I quickly found out just how different of a monster the Boner really was. First and foremost, the Boner's gain is just plain insane! Whereas with my Knucklehead I would run the preamp gain [Volume] wide open to get the kind of distortion our music called for, now I only have to run the Boner's rhythm channel Volume just a scosh under '4' / Master Vol. at '3', and my lead channel Volume at '4.5' / Master Vol. at '3' to get the tones I desire. So yes, you could say there is a DRAMATIC difference between the two amps as far as gain is concerned. When you push the preamp gain on either dirty channel too hard it results in a natural tube compression, which of course is great for slide playing, but not so great for crisp, tight rhythm passages. Therefore I recommend that new users to the Bonehead fold start with low settings and adjust up from there according to taste. Remember, this is unlike any other tube amp's gain factor that you've probably ever heard (yes, even from Mesa/Boogie), so always keep that in mind when dialing in new tones. The amp's rhythm channel (Channel 2) is like a hot-rodded Marshall, producing some righteously cutting tones that'll tear your head off. For my tastes it doesn't quite shine when running it scooped for that classic 80's metal vibe, but the great thing about this amp is that you can in fact change the tubes from EL34s to 6L6s (rebiasing the amp, of course) if you desire a more scooped voicing with a more defined "CHOOG" factor [this is the way KORN runs their Boneheads]. And as for the lead channel (Ch. 3)... don't even get me started on how cool this channel is! This *IS* the sound of a hot-rodded-Marshall-on-steroids-smoking-CRACK, to put it bluntly. The most searing lead tones can be achieved with Ch. 3, but it also makes for one killer rhythm channel as well. The controls on this channel are quite sensitive, so it doesn't take much to find any number of tones you may be after.
As reviewer Dan also stated, the amp's clean channel (Channel 1) is indeed a majestic thing of beauty! Think of it as "..all the brilliance and clarity of the most popular Fender clean amps ever built, but without the noise!" However, I disagree with Dan's wording that one has to "..really tweak it..", for I think that's misleading readers into thinking it's "difficult to get a decent sound out of". Quite the contrary, as a matter of fact, for even though Channel 1 is indeed packed with tonal flexibility out the yang, dialing in a great tone is simple. Yes, however, I could see one tweaking with it alot just to find out the many different tonal variations that can be achieved in this one channel alone, but the "tweaking" part is not a difficult task at all. In fact, until recently I've always run my clean channel scooped (highs & lows boosted with the mids cut out almost completely) to achieve the most "acoustic-like" tones possible without a piezo bridge, but just before a recent "Guitar Forum Jam" I participated in, I decided to tweak with Ch. 1 in an attempt to cop some SRV-ish tones. What I found was like a whole other channel on the amp -- like finding another world beneath the earth's surface -- total night & day difference! Instead of [L to R] Master Vol-8, Bass-3.5 w/ contour pulled, Mids-0.5, Treb-9 w/ bright pulled, Vol-2.5 -- I was now running it the

Built like a tank to last a lifetime. Would use it without a backup on a friggin' World Tour opening for Van Halen -- that's how reliable this amp is.

The great folks at Rivera have always gone above and beyond the call of duty in this department, and I'm happy to add myself to the *LONG* list of people who have experiences nothing but the best in Customer Support with Rivera. Hell, they've even helped out folks who *don't* own their products, if that tells ya about how kindhearted and genuine they are.

Sure it's expensive, but for all the tonal and performance flexibility you get from this amp (and *any* Rivera amp for that matter), it's well worth the price paid. Hey, it sure as hell beats paying almost as much for a new 3-channel or vintage Marshall amp only to then have to have it modded professionally just make it sound near as good as the Riveras already do right out of the box. Comparatively in that sense, the Rivera is a *bargain*! Sure, the Boner and LL system as a whole is quite pricey, but for discerning players such as myself who strive to find their own tonal identity in the vast ocean of players out there, this was the ticket. Sure, I'd like to (and plan to) one day own many different Rivera amps, but if for some reason I never do, I can at least find comfort in knowing that the Bonehead is really all I'll ever need for the rest of my life (and probably my kid's life as well)!

This is an AMAZING 3 channel Head. I am VERY much influenced by Lukather and Michael Landau and other guys like Dann Huff etc...Which basically means my taste in musical styles runs from Hard Rock to Blues/Punk to Jazz/Hard Rock fusion and much more sooo....I needed ONE amp that would Cover all the Bases.I was a DEVOUT KnuckleHead user(See my KnuckleHead Review for details.)I mosied into my local guitar shop where Lo and Behold!!! there sat a Brand spankin new BoneHead Top!!!So I looked it over and saw: 3 completely separate channels each with Volume,Treble,Middle,Bass and Master Volume Controls.I also noticed the Los Lobottom Control, which I will get to later, and the famous (Infamous???)Rivera Focus and Presence controls. All this on the FRONT panel!!! So I hopped around back an took note of....A Series/Parallel effects loop consisting of Separate Send and Return level controls AND A loop Blend which set on 1 is Dry as a bone and set on 10 is conpletely effect laden just put it anywhere in between for what you like. Also on the back are a Los Lobottom out put jack a recording(line) out 2 speaker outs A footswitch jack(footswitch included) an impedance selector(4, 8, and 16 ohms) and the best for last!!!!..... A vintage/Modern Switch and a High/Low power switch.Whew!!!!! So back to the Front panel....3 Channels Clean, Rhythm, Lead. The clean channel is a thing of Majestic Beauty! I Found it to be The Most beautiful clean channel I have EVER heard. The main draw back is that this channel takes a LOT of tweaking!!! but once you find it you will realize it was worth the effort. The Massive tweaking comes from the fact that this channel is LOADED with push and pull Knobs that Drastically alter the sound..from right to left its set up like this... Channel 1: Volume Knob(Tweaks over all gain for Channel 1):also a push button that selects this channel Treble Knob:also pulls out to activate a bright switch Middle Knob:Pulls out to activate a Notch shift in the mid frequencies Just like the KnuckleHead Bass Knob:Pulls out to activate a Contour control that adds Tons of Bottom end AND Warmth Master Knob(Master Volume for Channel 1):Also a push button which activates the Boost on this Channel which has the same effect as on the KnuckleHead(From Hendrix to SRV grind!!!Yeah!!) The rhythm Channel is Much Much more that that!!! its a wonderful lead channel as well it runs from AC/DC loud power amp soaked BALLS to modified marshall saturation From Left to right here goes: Channel 2: Volume(Over all gain for Channel 2):Also a push button that selects this channel Bass:no second function Middle:No second function Treble:No second function Master:also a push button that activates the Boost for this channel which takes you from tight grinding Gain to Searing lead Territory The Lead channel MUST be heard to be believed!!!It picks up where Channel 2 leaves of and Goes MUCH further that you wil ever want to go!!! The Los Lobottom Control: The is the main Inovation to this amp and is (I think) why the back of the amp reads "Design concept by Steve Lukather" This is a control that sends signal out the Los Lobottom out put on the back into a second power amp(Which you need to supply) and from there into a specially designed bass etxender module(a special 2x12)that the 4x12 sits on top of. When a line is run from the Lobottom output the BoneHeads frequencies are split and ALL the lows that normally "confuse" speakers and tur your sound to mud are sent to the Bass module. The result is Scary!!!!! Imagine a dropped B tuning with super heavy stings that stays Clear and Tight and focused and shakes you to the bone!!!!! Your Bassist will HATE you!!!:)The main draw back to this is that You need to buy a Separate power amp to use this as well as a Second Specialized speaker Cab!!!!!! Lots of Dough!!!! last but not least on the front panel: The Focus Knob:tightens the sound from a grungy open back Cabinet sound to a Super tight Closed Back Cab. The Presence C

I am using a Schecter Custom strat: Alder Body Maple Neck Rosewood Fingerboard, Floyd Rose with a Duncan JB and 2 lindy fralin single coils and a Demeter Mid-Boost Pre amp which I NEVER use now that I have this amp.This amp Cops Every single sound I want to hear and Amazes me by creating NEW ones!! in one sentence:"It covers Hank Williams to Ministry and EVERYTHING in between"

I Dont Own ANY other amps any more!!!! I dont need to. This thing is buit like a Tank(it weighs about as much too:) so get A good roadie)

They are amazing!!!!! When I bought it there were no manuals available for it yet so I called the Company. Paul Rivera Jr. called me back and sat on the phone answering all my Stupid questions for at least a half hour.

I dont own any other amps but I have tried tem ALL....nothing comes close to the BONE!!! If some one stole this amp from me and got away,which means they killed me for it, I would Rise from the dead and Buy another one. I love everthing about this amp. I mentioned a few drawbacks above but they mean very little in comparison to Positives the amp provides. The only thing I wish this amp had is The ability to Reproduce so I could have more that One!! Buy this amp...you will find NONE better.