Seymour Duncan Convertible

Features have been pretty well covered by others.

I've played amps by just about all of the major manufacturers and I can honestly say that I like this one the best. Not because it sounds the best - it doesn't - Fender does a better Fender sound and Mesa does a better Mesa sound etc, etc. The thing is that this amp can do all of those sounds PRETTY well. Not perfectly - but the versatility more than makes up for it IMO. The active EQ is a great tool, and the variable power circuit works very well to adjust headroom. Reverb sounds nice - I'm thinking about trying a longer pan. Fans make a little noise, but it has external speaker jacks, so a remote cab can be used for recording.
I have 1 combo version and 1 head version of this amp. I recently bought the head version with a non-working power section, but all 5 of the preamp modules work great, so I've been able to use them in the combo version I already had while the head's getting fixed. The tags on the module are a pretty accurate description of the sound. I haven't experimented much with other brands of preamp tubes, or substituting 12at7, 12au7, etc. but have gotten a lot of great sounds just by swapping modules. It's a fantastic recording tool. I spend 10 or 15 minutes tweaking preamp modules and eq and can get pretty much any tone I would want.

The modules plug in kinda like the way that video game cartridges did. Keeping the connections clean and snug is essential to getting reliable performance from this amp. It's the ownly downfall - everything else appears to very robust. I'm considering using a different material inside the module cover to keep things secure as the original foam is starting to get old and crumbly. A little regular cleaning on the modules and the sockets with a non-conducting contact cleaner keeps everything working well. It's a great studio amp, but I wouldn't take it on the road without a good road case and a backup. Great for jamming at home or with friends, and the variable wattage, while not a true attenuator, is very effective and works exactly how you would expect it to.

No way - get a good local tech.

The amp is incredible versatile - a deadly combination of reconfigurable preamp, variable power, and a very well voiced active EQ.

my convertible 60 was made in 87` and is in great condition after quite a lot of gigs throughout southwest england. I play in a country band but also dep in blues and rocky bands a fair bit and it`s versatile to cope with most styles but its a bit too noisy for studio work. I would like to get a good service done but no one will touch it without circuit diagrams, does any body know what type of modules are,presence the other ones self explanatory(hi gain),is it
for fender sounds as it`s still quite hi gain,anybody with more info any chance getting in touch. Taff martin england . ps ,i use a tele with std pickups, and love old vibrolux type sounds

I bought this amp because of its versitility. I bought my amp from Nadines in Hollywood in the summer of 1986. It has adjusted to the various styles I've encountered. Be it Rock, Country and even Jazz. The one sound it really doesn't do well is the Class A amp ie. Vox, small fenders.

My previous amp was a Fender Twin which gets a great clean sound. I wanted distortion as well as clean fender like sounds. I feel I can get real close to a Marshall with the celestion in it. As far as great clean fender twin type I use my EV speaker. Although it may not totally nail these sounds to the wall it certainly gets close. With the normal mods it is a very clean flat kind of sound. Being totally tubes it is a dynamically responsive sound. Yet on its own it does tend to be on the sterile side. I've always felt that it needs some kind of preamp. In the past I've used a stand alone Fender Reverb Tank and that softened the sound. It is also part of the preamp on the Fender Vibro King. Once I did that it nail the fender tone. I also found that this amp sounds great as a platform for modeling other amps. I presently use a Korg AGX 1000 effects pedal on the front end.(Use the FX loop its a little bit more dynamic) The amp modeling is something this sucker was born to do. It really did come to life. I wonder what a vetta head would sound like on the front end.

I've used mine on gigs for years and never had any serious problems. I guess my biggest complants are its one heavy mother.It has the Electrovoice 12 speaker. The other problem seems to be that the knobs crackle when it hasn't been played in a while. I can get rid of this just by turning the knobs.

I have not needed any repair yet. I've been playing it for 15 years.

I've been playing since 1969 and teach for a living. If it were stolen I might purchase something lighter. Maybe I would purchase a modeling amp but right now they all sound so artificial. I've played everything and haven't been impressed yet.
Other then that I love it. And wonder if anyone has experimented with tube types. Like NOS Mullards, 6L6's Vrs EL 34's. Or has tried any of the new tubes like Electro Harmonix, Svetlana ect.

Who says great sounding tube amps are expensive?


Mid 80's 100 watt head (I have two) with 2 channels with seperate gain, master volume, eq and reverb. This amp has 13 tubes! EL34's in the power section and 12AX7s in the preamp. It even has a tube rectifier.
This amp has a "Wattage dial" from 5-100. Switchable from Pentode (Marshally) to Triode(Voxish) mode. Speaker dampening knob which controls how tight the bass sound is. (This knob affects the sound of the amp even when you are not using that output) This amp uses different "modules" that can be changed to achieve different sounds. Each channel uses 3 modules.
It also has an effects loop with a level control that is useless. If you turn it all the way down no sound comes out of the amp! It also has a direct out which is useless for recording as it does not mute the speakers.
This is basically the original modelling amp but unlike the crappy digital ones it's all tube baby!

My main guitars are a '91 Les Paul Studio and a '77 Ibanez Artist. I use this amp for BIG CANADIAN RAWK! (www.stereorock.com)
This is how I make this amp rock:
Pull out two power tubes and put the wattage dial at 60 watts. This effectively puts you at 30 watts which is tonnes for clubs and gives you that beautiful power tube distortion.
Put the master volume on your clean channel (Green) at like 9 and your preamp at 2-3. This is loud! Use a volume pedal or your guitar volume knob to control how much CRUNCH you get. At this setting you will get an awesome vintagey Neil Young, Pearl Jamish crunch. Use some sort of boost pedal to really kick it over the top (MXR Microamp, Ibanez Tubescreamer, EQ Pedal)
I use my neck pickup for full chords and my bridge for power chords. I use the dirty channel (Red) very little but I have it set up for a more gainy sustainy sound for mellower solos.
This amp is very complicated and has so many different configurations that it took me 2 years to find this perfect setting.

I have never gigged WITH a backup. (Who would want to carry two amps!)
The only thing that ever went wrong was that two modules died. Luckily I have more as without them the amp won't work.

As this amp is no longer made if you have a problem or need parts Seymour Duncan can not help you.
However they have been helpful in providing manuals and schematics.

Basically once you figure it out this amp rocks! Especially for the price! If I could have any amp in the world it would not be this one but on my budget this amp is pretty close to the sound I want which is basically a rockin throaty roar!

Bought used in '93, dual channel, nice accutronics tank reverb, transformer from hell that can power multi cabinets and weighs a TON. Full tube power amp, tube and solid state preamp modules. Load resistor input to match impedence to your pickups, variable power 5-100 watts can be adjusted with knob on front or with a passive volume pedal. On the back, effects loop with send level adjustment, pentode/triode modes, variable damping speaker output, 4 & 8 ohm speaker outputs, and a slave output that's wired after the amp's output stage so all the good stuff can go out to a board or recording device, etc. Anything else in there? Oh, a nice little thingy tht holds a spare preamp tube, thanks seymour.

Does pretty much whatever I want it to except carry itself. Like I and others have said, it weighs a ton for a single 12 combo. So far I haven't seen any really nasty limitations that couldn't be fixed with standard support gear. Clean at high volumes, and can get really really nasty at low volumes with the right modules and a 5 watt setting. I scored, I live a few miles from the SD plant here in Santa Barbara. They used to ( and might still do) have "garage sales" once a year and I went to one in like '94 and got 7 more modules (pretty much all the had left), in addition to the 6 I already had. I still haven't tried all the combinations because I found four or five I like with only 6 or 7 different modules and after a few weeks of toying with it I just stuck with what worked great already. I mean a few of these guys have active EQ's built into them which makes that one module highly variable in tone!

So far no problems other than it's reverb is getting a little noisy with age, but then I haven't done anything to it and it could probably use some new tubes and maybe some other basic cleanup work. I've heard that they were considered unreliable due to the modules vibrating out of place or getting jarred out in transport but I've never had that happen and if it did the fix would be simpler than changing a fuse.

I just emailed them to see if they had any more modules around, of course they didn't.

Well, i'll never get rid of my old Deluxe Reverb ;) but the convertible is my workhorse and a hell of a lot more flexible and of course very very loud! I wouldn't hesitate to recommend one unless it was stoked with all solid state modules, kinda defeats the purpose and the lower gain tube modules do a fine job with clean output anyways.

I don't know what year my specific amp is, but it is in great condition. It's 100% tubes and you can drastically change the sound of the amp by messing around with different module combinations. My favorite Module setting is this:

Module 1: Classic
Module 2: Normal
Module 3: Normal
Module 4: High-Gain
Module 5: Normal

It takes knowing what you're after and a little bit of patience to find "that sound." The amp sounds great on everything I play--especially dc Talk. It's got a ton of gain available, though I only put it to 6. Like most amps of this genre, it's got two channels and an effects loop (I don't use the effects loop though). The 100 watts are way more than I need, considering the loudest I usually play is at my youth group at 1* volume (out of a 10). The only thing I wish it had is a master volume for both channels, so instead of having to mess with both channel volumes all of the time you just have one to deal with.

I can get a killer sound out of this thing. I use an Ibanez RG 120 (Humbucker-Humbucker pickup config)-->Crybaby 535Q-->Duncan Convertible. Suits any style, at least with my combination. Both the distortion and clean channel are excellent. The clean channel makes even my heavy metal guitar sound good clean; it does a better job clean on my guitar than my dad's $3000 amp. The whole reason Seymour Duncan made this amp was to make one of the most versatile amps available through 100% tubes. To find the sound you want, just start swapping the modules into different slots. For example, if you want absolutely isane amounts of distortion, put two "High-Gain" modules on one channel--that'll make any setup scream.

I just got the amp a couple days ago, so I sure would hope that it wouldn't break down. I don't have enough money for a backup (even if I wanted one), so I guess I'd have to use it alone at a gig, which wouldn't bother me at all. It is old, however, so I suppose it's at a higher risk than most amps of breaking down. But, then again, because of its age, I suppose if it were to break down it would've already done it. :-)

Check the other reviews on this; I've not dealt with them.

This is a great amp and I would recommend it to anyone who asked about it. Like I said earlier, I use an Ibanez RG 120, Crybaby 535Q, a tuner and volume pedal, and this (I'm not much for effects and all of that stuff). If it were lost or stolen, I'd die. LOL. I would be at a slight advantage if it were stolen, because this thing's a TANK! The thief couldn't run very far with it.

Early 1980s model.This thing is amazing but you have to try the different modules.This is way the amp didn't take off the way it should have.I sold my whole blackface collection and kept two of these.i have the combo and the head.EVs rule in this amp.JBLs don't have the mids you need.

Aything you need you can get but you have to have the modules.I found a few if you look and advertise.

No problem.The only thing that goes wrong is the module sockets but my friend bought the last 100.We got them if you need them.

No support but Gary Munns brother in Brantford is a wiz on these.Call the Brantford musicians association in Canada and ask for GARY.

I always go back to this amp.I has tha best workin mans sound i have ever heard.No wonder Jeff Beck uses these still.At a recent concert i think i saw one in the pit behind the marshalls.

I like the features on this amp.Seperate eq's are a big thing for me.I do not change the modules.I liked the first combination that I tried when I bought this amp 8 years ago.

I play a heavily distorted blues style(think Gary Moore).I have been playing for about 20 years.This amp has the exact sound I was looking for.I like amp's that don't fight you.This amp makes playing even more enjoyable than it already is.All of my friends beg me to sell them this amp.It screams,but still has a warm ,thick sound.That said,I have played about 5 other Convertibles and none of them have sounded anywhere near as good as mine.I might have got lucky,or the other ones might just need different modules in.

I love this amp so much,I don't play it out much.I worry if something happens to it,that I might never get that sound again.I do play it very loud at home.It has held up very well.The tubes need changed,but even that scares me.

No idea.

I play a custom made Strat,made buy a man named Dave Lautner from around Pittsburgh.It is an awesome guitar.The best I have ever played.It has stacked Duncan Humbuckers.They sound great.I have opwned about every guitar imaginable.They all sounded fantastic on this amp.I also use a Nighthawk,Godin SP-90,and hopefully soon a Quilt toppes Gogin LGX.I can not compare this to any other amp,because for my tastes I haven't found one I like as much.

Unlike most of the other reviewers here, I bought this amp new in 1985
and have had it ever since. There were two reasons I was initially interested in the Duncan. The first was that when I played it in the store and compared it to all the other amps around it had this incredible, solid bottom. Sitting on a concrete floor you could feel the bass tone out of the amp. A lot of people complain about the weight of this beast, which I admit after 15 years of gigging with it is still a drag to lug around with one arm. But I attribute a lot of the depth of the sound to the density of the cabinet. The other reason I went for this is that I've owned a number of other amps in my time, including Fender Twins and Marshalls, and every couple of years I would tire of the sound and look for another amp. I thought maybe with the Duncan I could keep chaging the sounds periodically through the use of the modules. Yes, this is in fact the case, which is probably the main reason I've kept the amp so long. Every couple of years, when I start getting itchy for something different, I spend a few days experimenting with different module combinations and come up with a completely new set of tones that keep me going. I should mention that along the way about ten years ago I bought another used Convertible, swapped the Celestion speaker in that one into mine (which had an SD speaker), sold the other one for what I paid for it and kept all the tone modules the other guy had (which were many), so I now have about a dozen modules of many different types - a gold mine among Convertible owners. This amp has more controls and features than most guitarists would ever use in their life.

I've used the Duncan primarily with a Gibson ES-345 and a Fender Strat. It can be set up to work well eith either. I play a range of styles from blues and rock to progressive jazz (I've also used it to play country, punk rock, traditional jazz, etc.). For a tube amp it's reasonably quiet. I've used it for a number of years with various multi-effects units, but found these added too much noise and interfered with the "natural beauty" of the Duncan tones. I currently am using Fullertone pedals with it, which is a great match that keeps the noise down and provides a broad range of classic tones. This amp can crank! As others have said, it can emit dangerous sound levels - I never turn the volume controls above 2 or 3, and have never had any trouble being heard over an rock band. One anomaly, however, is that the speaker is very directional. I have to be careful to set up the amp so that I'm in the direct path of the speaker or I won't hear myslef clearly. The best setup for gigs is to mike it through the sound system. Depending on the combination of modules it can do anything from glassy clean to full-metal distortion, and all the sweetness in between.

What can I say, I've been using the same amp steadily for 15 years, and it's still in like-new condition. I probably take care of my stuff better than most people, but I still give it high ratings for durability. The only problems I've had in 15 years were one blown pre-amp tube and once the speaker coil came loose and had to be re-glued. I change the pre-amp tubes about once a year, I've only changed the power tubes a few times since it was new. A couple of weeks ago I tipped over a caqrt and the Duncan fell right on its side. I thought it was a goner, but it didn't phase it a bit.

I haven't dealt with the service people for many years, but when I did they answered a lot of questions I had and sent me a complete book of the schematics (which my ex-wife refused to turn over to me after I got divorced - I should go back to them and see if they still have them.)

I've been playing for 35 years, I also have a Marshall Valvestate and a small Peavey. At the time I bought this it was at the high end of the amp market, but I have never regretted the purchase. I've often thought about buying something else just for the change, but every time I go out and try other things they don't match up. I do wish these hadn't gone out of production and that parts and service were still readily available. It would have been great if a cult had developed around these and more variety of tone modules had been developed. C'est la vie, most people don't know a good thing when they see it (or hear it, in this case). I was once talking to a guy in a guitar store and he said he had tried one but he thought it was too "hi tech" for him. Sure is tough pulling out those modules and sticking in the other ones - thank God for computers!

My head was made sometime in the eighties (83?), and I can't help but wonder why it isn't one of the most popular amps made. I play indie rock/emo/hardcore and the fact that it has modules makes me very happy. I run Prescence up front with Hi-gain and clean in on channel, and classic distortion and classic clean in the other. This combo lets me get clean, just a little dirty and pure overdriven tube sound very easily. Plenty of power.

I play with humbucking gibsons only, and the gain on the amp is enough to make any metal head happy. When compared to a Peavey 5150 you can tell it's more punchy and powerful, even though the 5150 is a metal machine, it sounds tinny and fake by comparison. Both channels retain clarity at all volumes. The only downfall is that when the power attenuation is turned down, the clean channel get really dirty, no big deal though.

The only problem i've ever had is that a fuse blew, and the rectifier tube broke. Regular cleaning of the modules' contacts is highly recommended though. I once almost had the whole thing retubed, only to find that the contacts were dirty. I would use only this amp for gigs. Nothing else satisfies.

The company is nice, but offer little to no support, because they don't make them anymore. I like that though... pretty soon it will be "vintage"

I've been playing for almost 5 years now, and I've owned a marshall valvestate, which I loved, and was stolen, and I consider it a blessing in disguise, because I might never have found it. I play it through a Marshall VS-412 cab, and with a Les Paul and Hawk, and I've never been unsatisfied yet. I would like to buy another, but haven't been able to find one for less than $500.

I bought this amp from my buddy Steve, who was getting out of the biz, back in 1990. I paid $500. for the amp...two SM58's...a 75W Crown Power Amp...and a variety of cables...so the actual price was more like $300. - 350. At the time I was playing a Fender Deluxe through a direct box. The Duncan had a tonality that I've wanted since I first heard a Marshall. I liked the channel switching that allowed me to go from clean/clean with an edge to classic blues edge/full blown distortion. It had the plug-in modules that I experimented with a bit and then returned to the original configuration. I have a Presence module in the common front end slot, and I run a Clssic mod. and a PAF mod. into the clean channel. On the distortion side I have a hi-gain hybred and a classic crunch. I like the concept of having a power attenuator built right into the amp. However, the one on the amp I bought was (and still is) non functional. this would be nice to have considering the power level of this amp. It'll blow out your windows! A well designed amp.

I play a Fender Strat ('57 re-issue) and a '77 Les Paul custom with a DiMarzio SDHB (circa 1980)in the bridge position. I get beautiful tone with BOTH guitars...a sweet singing sustain...but not as crunchy as my Marshall ('69 50W Super Lead Plexi model w/o a plexi panel.) Because, I actually prefer my Marshall, I put the Duncan into semi-retirement (plus it is justy so damn heavy to move around (although casters helped, where I can roll it). After my Marshall went into the shop (the price you pay with old gear), I went back to the Duncan...I had forgotten how good it sounded...alhough it could use a tune up right about now...normally it makes noise in the hi-gain channel, but with a Hush unit on the front end, it's undetectible. i back off the midrange a little...once I take it past 7 it kicks in BIG TIME! and Generally, I run heavy on the pre-amp and use my guitar volume to send the clean channel into overdrive...it gives it just the right touch of bite...unless i want to be mor sonic, then the distortion channel gives me all I need.

Because of it's age, I carry a Valvestate head as a backup. It had an aux. line jack break and short to the metal chassis, but I fixed that myself...it was just abuse and not a defect. I've had tune-ups...but I consider that to be SOP with any tube amp.

i intended to contact the company for a schematic to fix the power attinuator...I just never got around to it.

I've been playing 37 years (but i don't think you can count the 5 years my mother beat me with a ruler trying to get me to practice....;o) My primary amp, as I mentioned, is a '69 Marshall. I play both the Duncan and the Marshall through a Duncan 4-12 cab. with Celestions in it. I have a rack system with a Peavey DeltaFex and a Hush noise supression unit and a Dunlop Cry-baby on the floor. If it were lost or stolen, I'd definately go get another....I'm seen them from time to time...I love the tone, and flexibility of the amp...but it's a back-breaker! I chose this amp because it was a deal and a half and didn't really know what to expect from it until I got it home....was I happy! I wish it came with a roadie...but seriously, I wish the module availability wasn't such a problem, I would have liked experimenting with other combinations. Bottom line...a great well made/designed amp, with plenty of volume and a quality pro-tone. Exceptional value in the used market.

I bought the Amp in 1986 from the old GR studio's in Van Nuy's. I got the Rivera setup plus the other 2 solid state modules. I'm satisified with the sound, especially since I overhauled it with groove tubes and changed the speaker from whatever was in it (it was changed in the studio) to an EV-12 using it mostly for clean sounds. I later bought a Mesa Boogie cab with a Celestian 12 to use for my dirty, or "Santana" distortion. Also when using both speakers my volume can fill any large hall, you know when you play with those hard of hearing keyboard players.

I've got a strat with EMG SA's. I built a speaker switch so I can use the EV for the clean sound and the Celestian for the Marshall sound.

It would be a good amp at a gig, but because of it's age it is now my backup. The amp never had a chance to breakdown.

There is none. The parts are pretty basic though and you can still get the schematics from customer support. Customer support is very helpful but can only do so much

I've been playing live now for over 25 years. I still play my custom built strat but through a Mesa Boogie Subway Blues. This amp and I have been through alot. The only thing I don't like about it is if I have to carry it. Today's amps are lighter and even Fender's Princeton Chorus with 2 10's are lighter than this amp. For some reason though I would not get rid of it, and it's got history of some great people who played through it at GR studio's.

I think this amp was made in 1987. I just purchased the amp 2 weeks ago from a local pawn shop.It needed work and I baught it as is. After a quik change of tubes it was fine. This thing is very versatle with just about every option you can get in a combo with plenty of power to play any gig!

Well this amp blew me away! I'm in a hard rock band and I could not believe the volume this thing has. The distorsion could be better but I use outboard effects anyway and it took to them very well. Word of caution don't get to close to this amp at high volume it could be very bad for the ears! This amp was really a upper class amp when it came out. I didn't even know they existed untill a couple of weeks ago so I don't know much about them yet. If anybody out there has one email me I would love to talk about it or might be interested in maybe buying another.

I have not had it long enough to know if it is a dependable amp or not. I do know that it is built like a tank though and heavy as one to.

They do not make them anymore. I did email seymour duncan and they were very polite. They do not have any parts for them but he did fax me a copy of the original parts list. Great people up there and might say the best pickups to boot!

Over all I really like this amp alot. I have several amps that I play through alot but this is my favorite one as of right now. It has a very close sound to a boogie with a little bit of marshall mixed in. I will probably keep this amp from now on since it is a rare find and for the money I don't think you can beat it. If there are anybody that has one of these out there email me because I would probably be interested in another one. Long story short big bang for not alot of buck!

Truly an amp that was way before it's time. This amp is easily of comparable sound quality to the higher end, hand made tube amps of today (e.g.Matchless; compliment once received from a matchless dealer) With every possible adjustable parameter of an all tube amp this amp can't be beat for versatility. Variable wattage, pentode/triode switch, interchangeable preamp modules from chrunchy to super high gain, from crystal clear highs to rumbling crunchy lows-it's all here

Used mainly with stratocasters. Suits any musical style and can be easily tailored to suit your evolution as a tone freak. Instead of buying a new amp, change a module and you have a boogie or a marshall or a twin.

Dependable-I have used these amps primarily for over 10 years with few problems. I would suggest to any new owners that they take the amp in and get it completely overhauled. There are a lot of "moving parts" in this amp and whoever owned it before you may not have taken great care of it. I have 3 of these babies and each one I bought, I took it in and got it tweaked. I therefore have had few problems. The factory, even though they no longer make them, was very co-operative and offered original schematics. I had my amps tweaked to original specs with all new tubes. Quite frankly, there is nothing that comes close in power or versatility, especially for the price that these can be picked up for.

I highly recommend this amp to prospective buyers. They are hard to come by, but you truly cannot beat the value. Modules are no longer available but I have run across some devotees who trade them. I have a stash of modules, including some doubles that I would be willing sell.

This is a two channel amp with interchangable input stages. Problem is there no longer available, but I'm always looking. If you have any or know of anyone please let me know. All tube, and generally sounds great, at least I think so. Has channel switching, effects loop, external speaker jack, all that stuff. This was designed to compete in the upper escalon of amps, but just didn't quite make it. Has a shitload of power, more than enough for most situations. But I can't get decent distortion out of it, although it has great dynamics. It's a small package, but weighs a ton, has huge transformers and a magnet on the 12" speaker that is super beefy. I've played it full blast maybe once, and my ears bled : )

I have the 'vintage', 'normal' and "hy-gain hybrid (hot and crunchy)" (sort of) modules, and use the vintage and hi-gain all of the time. The higain gives a warm distortion on chords and can give you a ton of tones depending on how hard you play the chord, which I love. But not enough for a lead, have to use a box (ugh) to get a good lead distortion. I play numerous guitars through it, SG, Strat and I have a wierd one, a Welson (335 copy made at the same factory as Vox) from the 60's that I purchased new in the box from 1965 just last year! Very cool. This amp make that guitar sound awesome! But without more modules I'm limited on what sounds I can get. Someone wrote in usenet that they thought it was a mediocre amp (compared to other high end amps maybe), but for what I paid you couldn't get a better deal!

No problems. Had for 4 years.

Called once to factory and actually spoke to a live body who knew what I was talking about and was technical. Unfortunately they didn't have what I wanted (more modules, or at least the ones I wanted). But still just getting someone on the phone was an accomplishment. I should call back and see if they maybe made more modules. They were kind and courteous and explained that for them the amp business just wasn't profitable in the quantities they were selling.

I love the amp, but if I'd had to pay what it was supposed to sell for, I wouldn't have bought it. Proabably for it's day, in the market segment it was designed to compete in there were probably better amps. But for me, for it's size and what I paid for it, it beat everything in it's price range and besides the dealer begged me to take it off his hands. He started by saying he wanted 450 for it but kept saying to make an offer. I kept acting uninterested, he called the owner at home, who just wanted to get rid of it....for 225! I snapped it up and have never regreted it. They sell typically for 350 used and are worth it. But keep in mind, no modules are available, so love it the way it is or don't buy it! Incidently I met a guy who played a local club who got a 'deal' when the amp first came out cause he knew someone at a local music shop and paid $850 for his. They normally sold for something like 1300.