Siegmund Guitars Midnight Special 112 Combo

For a Single-Ended amp, the features are very good/Reverb which can be bypassed/voltage control/return-send points/Can use numerous rectifiers and output tubes/what else do you want?

This is the King of the single ended amps period/Octal pre-amp tube heaven/There is not a player, young or old from any type of music who has played this amp who did not stop playing and go wow!!!!! I help a lot of people with there tone with setups and advise, so I come accross a lot of people.
After the initial "WOW" effect, people just stop and play and forget you are in the room. This amp just has the best, and I mean the best cleans tones in the world. Every nuance you can wiggle out of a guitar is there with harmonics you did not know existed on the electric guitar. Everything else including the Carr Mercury pales in comparison. Do yourself a favor and at least try this amp out. Don't be mad at me when you have to go buy it. simply put, it is the Cadillac of clean tone!!!!!

Since May 2003/ not a hiccup!

Chris and I have a had a few misunderstandings ( in other areas), but with this amp support was 100%

This amp will always speak for itself. Once you play it you will know.

For a Single ended amp this has a fair amount of features/ It has reverb, reverb bypass and a good tone stack

The amps sounds pretty good for sure. There is strong competition with the Carr Mercury and Swart space tone reverb for $1350/ I would check them all out and decise for yourself

It has been good for sure/Has some carbon comp hissing and hum being single ended /The Carr is much quieter

I have found this to be poor. The phone is never answered and he does not return calls or email. He is pretty independent! A number of people I talked to says he can be your best friend or 180 degress the opostite. I got the other side of the coin after the purchase!

Look elsewhere and get some real customer service. There are guys like Sewell ,and Pure 64, and Clark amps to name a few who set the standard on customer service. Siegmund should learn a few lessons from them. This is why these builders are always busy even in slow times!

I have had this Siegmund Midnight Special for a few years now and have tried a lot of variations on the output and preamp tubes. In terms of features it has one channel, effects loop, hi/lo power switch. it is simple and straight forward.

This amp does not have a lot of features, but the features it does have are usable and relevant. a difficult category to rate a simple amp so I will go middle of the road.

This amp can make a variety of sounds but I find it voiced quite dark. I usually run the treble turned all the way up, the mids just below half and the bass at a third or lower. With bright single coil pickups it produces a nice balanced sound that in some other amps get a little hard on the ears.

The amp gets its distortion the old fashioned way-output tubes. This amp does not produce bloody distortion and I don't think that this is what it is all about. I am using mostly single coils, strats, teles, LP Junior P90's and it works great. With the HB pickups, again, running stock it gets a little too dark sounding. To cure this I run a treble booster and this works out well.

The amp is not noisy if you have good tubes in it. It does get some hum with that was surprising with various output tubes I tried so I think the circuit is fine but make sure you have good tubes installed.

I agree with the reviewer below that the amp records well. I have used it on two sessions now it sounds well recorded. I am going to deduct a point or two for the overly dark voicing.

It has held up well being pulled from apartment to trunk to the studio and back again. It warms up quick and produces good tone at usable levels. It has not broke down and I take very good care of it.

This is an expensive amp and I take all my 'keepers' home with me. This tolex has begun to show seams and small details but this is why se wait to submit reviews to see if all is well.

Chris at Siegmund amps has been hard to get a hold of sometimes and then others he always answers the phone.

I have not had any problems with the amp but I am interested in trying out some other amps for camparison.

I have been playing for a long time (15+) and this is a great sounding amp. I own a lot of other gear from Fender, Gibson, Ibanez and I like this amp a lot. If it were stolen or lost I would be upset for a day or two and then move along. I can't afford to replace this amp. I noticed the price has risen more than 50% since I bought one so it is outdoing inflation for sure.

What I like about it is the cleans you can get from the octals. I do not like that it is voiced so dark. This works well with single coil but HB are lost in the dark.

I did not compare it to any other products prior to buying but ran it up against a few amps at a later date. THe amp sounded quite dark at times which sometimes seemed stiffling

I wish the amp could take nine pin tubes but I think it is a good with octals too. I also wish something could be worked out with to voicie it a bit brighter, oh well

This is an update of my earlier review based on first impressions.

The main thing I've found out about this amp now that I've had it for four years is that it in fact can be played clean, only (obviously) at lower volumes. I've ended up not gigging out with it much due to the fact that 1) it is quite heavy for its size (must be the Celestion Blue and heavy duty tranny), and 2) it really isn't loud enough for most gigs I play and mic-ing the amp was too much hassle.

However my band is now in the studio for several weeks recording our debut CD, and all of sudden I'm finding the Siegmund Midnight Special to be my main go-to amp for most of the recording. Dimed it has much better tone than a Marshall stack in the studio, or any of the Fender amps they have. Kept at about one-third to one half volume, it cleans up and sounds sweetly complex, perfect for just about everything.

It really changes character according to the guitars I use with it. Love telecasters, but also works quite well with my Les Paul BFG.

The amp's lushness triples if you place a good tremolo pedal in front of it.

Really happy with this amp as a recording amp. I can get everything from a vintage AC-30ish kind of country rock tone to the sort of tones Jimmy Page got on LZ's 1st album.

I am still using the same 1954 EL37 power tube it was shipped with, can't imagine anything else sounding better. I still haven't swapped recto tubes yet, but will probably get around to it before the recording is finished.

The studio has an iso booth for the amps that gets stifling hot. The amp is cooking in that box for up to 10 hours a day and never whimpers or gets staticky. I do notice that after a couple of hours the amount of clean headroom drops a bit. So I've been scheduling all the clean playing for the first hour or two, then moving to the cranked and nasty bits.

This is an update to my previous review. After emailing with several other MS owners and exchanging ideas on different valve and rectifier combinations, I wanted to pass this information on. I have found a very nice combination using a 5Y3 rectifier coupled with either a 6V6G, 5881, or a 7581 output valve. The sound warms up considerably and the disrtortion is also nice and warm. I have found that when you want more clear and clean sounds you can accomplish this by turning the volume down on your guitar and it cleans up nicely. The amp still takes pedal nicely with this set up too. I had chance recently to compare this to a Brown tolex (60-63) Fender Deluxe, which up until now was one of my all time favorites and I have to say the MS outperformed the Deluxe nicely. My taste for vintage amps is sort of fading now that I have managed this combination. If you want to go for max clean headroom then the 5Z4G rectifier with a 6550 or an EL37 works nicely, the problem I have found with this though is that you loose the sag and warmth of the lower powered rectifier valve. Although all the combinations sound nice in this amplifier, for playing blues and warm sound, the lower power rectifier valves have a certain magic to them in this amp that I love

This Siegmund Midnight Special is an exquisitely handcrafted, point-to-point, single-ended, class A combo tube amp with a 12" Celestion Blue Alnico speaker, which is hard wired. This amp was also built in September 2003 and contains all the latest updates including the beefier power transformer. It has one guitar input and one channel. The amp controls are volume, reverb, 100% reverb bypass switch, treble, mid, bass, power and standby switches. It also has an effect loop and a normal/high switch for changing the bias of the amp. The effects loop and bias switch are on the underside of the chassis. The only feature I wish it had is a bright switch. The amp will put out 4 to 15 watts depending on the rectifier and power tube. Since the output stage is self-biasing, you can use all these power tubes: 6V6, 5881, 6L6GC, KT66, EL37, 7581, 6550. The preamp tubes are all octal based. There are two 6SL7's and one 6SN7. The amp can use four different rectifiers, which are: 5Z4, 5V4, 5W4, 5Y3. The design philosophy of the amp is to use the very best components with as short and simple a signal path as possible. Opening up the amp reveals an absolutely stunning interior. It is work of art with beautiful layout, wiring and soldering. The cabinet is well made and the rich, wine-red leather covering and straw grill cloth are beautiful. The amp is compact, weighs 38 pounds and is very portable.

My music tastes are rock, blues, country, folk and reggae and the amp lets me get whatever I need in all these styles. I play three electric guitars, a Fender Strat, a Hamer Artist Duotone and a Hamer Artist Custom with a Seymour Duncan PhatCat in the neck and a Seth Lover in the bridge. The P-90 style PhatCat sounds the best with this amp and offers wonderful touch sensitivity.

It has the best low volume clean to the edge of breakup tones of any of my amps. As an example, I have a Princeton Reverb, fully restored, that has a great clean sound but the Princeton Reverb needs to be played at a higher volume level than the MS to have as rich a sound.

I'm running my MS right now with a Phillips 5Y3 rectifier and a JJ 6V6 and it sounds great and offers the perfect volume in my small music room. I've also gigged with it using a 5V4 rectifier and a Phillips 7581. The amp responds well to any power tube I?ve tried, including a variety of 6V6?s, 6L6?s and a KT66. Of note, I've ordered a 5Z4 Copper Cap rectifier from Ted Weber and intend to try the MS with that and a GE 6550 to see how much headroom it'll provide. As you can tell, it is a blast being able to change power tubes and rectifiers at will to get different sounds.

The amp is a bit on the dark side so I have the treble all the way up. The Celestion Blue Alnico speaker in the amp really helps the quality of the sound!

The reverb bypass is very effective. It completely takes the reverb out of the circuit, which makes for a fatter, more organic tone. Interestingly, inside the chassis is a feature not listed on the Siegmund website. There's a dwell control dial for the reverb, which lets you dial it to your taste.

The octal preamp tubes certainly give a different tone than 12AX7's and 12AT7's. I'm really enjoying the difference. When playing clean, the notes pop off the strings. On max guitar volume and the amp volume set at 2:00, there's a VERY crunchy sound with decent sustain (but not infinite). Pushing the amp volume higher gives you a really tasty lead tone, much like Billy Gibbons of ZZ top. You can make heads turn at gigs with this tone!

I've only tried two types of 6SL7's in the preamp and the Sylvania?s that came with it sound the best. The RCA 6SN7 was a bit noisy so I tried one of the new EH 6SN7s and it works and sounds great. I believe it is mainly for the reverb. The EH works and sounds great.

It is nice having an amp in the stable that is single-ended and class A with an unusual preamp section. I'm enjoying this fine amp quite a bit

Too early to tell yet but I'll bet that it'll last a long time considering the quality of construction. I haven't had any problems with it and the layout is so well done that it is easily serviceable. You don't need to take the amp to a tech when changing power tubes or rectifiers because it is self-biasing.

While I was deciding whether to buy new or used I exchanged a few emails with Chris Siegmund and he was always quick in his response and provided answers to all my questions. I would have enjoyed buying a new one because I think the opportunity to have more interaction with him would have been fun. I haven't had a correspondence from him since purchasing the amp.

This amp will take pedals better than any amp I?ve had. It seems the octal preamp tubes, with lower gain characteristics than 12AX7?s, give the pedals all the headroom they need to sound their best. And the pedals are very quiet into this amp.

This amp fits a nice niche in my amp collection. I must say, I don't have another amp that can get this low in volume and still have a rich, beautiful sound. I can watch TV and hear the dialogue while noodling on the amp and still be pleased with the sound. A quick change of rectifier and power tube and I can play a bar gig with it. Nice.

I have been waiting to weigh in on my review of my Siegmund Midnight Special. I bought it about 6 months ago and have been playing it quite extensively during that time experimenting with the valve swapping possibilities and trying different effects pedals in front of it as well as in the effects loop to see what kind of versatility it could get. This amp was made in 2003 September and was also one of the first units shipped with a newly upgraded output transformer. I play with a bunch of guys who all happen to have day jobs, but still like to live our childhood fantasies of playing music in a band setting and entertaining a few people (very few). We play your garden variety garage rock, ranging from 60's to 70's rock with a little blues mixed in. This amp is more than versatile enough for anything I have been able to throw at it thus far. It has one channel, with an effects loop, reverb with basic controls. I don't really wish for more features on this amp, as I like to keep things simple and straight forward, and this is amplifier is already at the limit of what I like. I use this amp in a rented hall mostly, which serves as our practice space, and also in my 1 room flat. It is makes enough noise for practice sessions and cuts through the mix easily, in my room, it is way more than enough power and sometimes on a friday night when I have knocked back a few, it also annoys the neighbours sufficiently. The valve swapping possibilites in this amp are extrordinary and believe me I have purchased a lot valves via Ebay and the like and have tried them all. To list a few: ECC32, ECC35, 6SL7, 6SN7, KT66, EL37, 5881, 6V6G, 6V6GT, etc... email me if you want more information for good sources or advice

I have a several guitars now, a Tokai Korean 60's Stratocaster copy, Fender Hendrix Tribute Stratocaster, Yamaha SA2200, Gibson Les Paul. I mostly use this amp with my Korean Tokai fitted with Lindy Fralin Woodstock '69 with reverse stagger poles and a bunch of other upgrades. This is my experimental guitar to which most of my learning has taken place and I am not afraid to damage or ding it is a love hate relationship with this guitar. The musical styles we play, (see above, 60's-70 's classsic rock). it suits this well. The amp has a slight hum to it when turned up, and Chris informed me it would be this way before getting the amp. He even offered to have me send it back to him if I wanted any adjustments made to it. The amp has a gorgeous clean sound, and with the right valves in the preamp, the reverb is incredible. I use an ECC32 to drive the reverb and it is jaw dropping. My mates were astounded by this 'little giant'. When I showed up with it I heard a few sniggers at first, when things were done I held my own and then some. In fact I was also a little surprised too. The amp makes a very nice distortion when turned up a little more than 2/3. Currently I am running a NOS 7581 GE valve in the power output socket. It is quite nice. I chose to have it shipped with a EL37, after a months worth of emails and incessant questioning, and upgraded all the valves prior to shipping. The distortion is just what I like and motivated me to pickup the guitar in the first place. I have never been one to go for the eighties heavy metal sound, and quite relieved this era has passed. It is full of tone, and breaks up like a beauty queen on an ice cream binge.

I bought a Foxrox Captain Coconut 2(octavia, fuzz face, univibe) pedal and a Teese Picture Wah from Analogman, and I use this setup exclusively now. This amp responds well to this, although I do have a slight issue with the Wah sounds I have not been able to reslove, perhaps due to my inexperience. I bought the Siegmund Double Drive at the same time, and used it a total of about 2 times. You don't really need it, the amp sounds fine on its own with the CC2. I probably will keep this around for my future generation.

I have only ever played 2 gigs in my life, I am approaching 40 now, and have no illusions of ever playing in a club trying to entertain a crowd. My 'backup' is a Fenton Weil Cadet ( the others are in a storage unit now), so I would have to gig without one ( if I gigged that is). Saying this, I could never imagine anything happening to this amp to cause a malfunction. It is a meticulously built amp with very solid construction. In fact, it is deceptivley heavy for it's size. As mentioned above I have been playing this amp for 6 months now, and I have never had an issue with it. I baby this amp and put the Tuki night stocking on it when she's not in use, and sometimes, take it out just to savour the smell. I also want to mention that when I first received the amp in the post, I completely took it apart to inspect it, and the construction was as near flawless to anything I have ever laid eyes upon. It is truly a work of art.

I have never had anything go wrong with this amp yet (knock on wood), but have Emailed Chris to the point of giving him a nervous breakdown I would imagine, and he answered every last letter I have sent to him, we even spoke on the phone on one occasion, and he is a gentleman and a true artisian. I have every confidence that if anything happened to malfunction, it would be taken care of. The warranty is 3 years on this gem, and I would be willing to bet my last pint, Chris would take care of it even if it were out of this time frame.

I have been playing the guitar for about 15 years or so, give and take the breaks. I also own 2 amplifiers from Doug Roccaforte, and a rare Sound City SMF tour series head ( 8 EL34's!). I use this amp almost exclusively in the moment and it has handled everything I have been able to throw at it. At 18 watts, you have to be somewhat creative to get just the right clean sounds out of it, but it is a gem. If this amp were stolen, right now, I could not afford to buy another to soon, I would save every last penny I had to to get another. This is a somewhat high price of admission for me. I love the portabilty of this amp and its compact size. It is a wolf in sheeps clothing. I would rate this amp among the tops in terms of sound and stack it against anything. As stated above I like to keep things simple, and it is at the limit of what I like bass, middle, treble, volume, reverb. That is it and I love it. I chose this amp based on a review I read in a magazine I happened to stumble upon so I had a little blind faith, I was glad I took the leap too. I hate to give it a 9, I will though as I would find it a bit daunting to replace it. If anyone has any questions or just wants to talk shop about the Midnight Speical, send me an email I would be happy to answer.

This is an update of a review I submitted a couple of months ago. Since then I've replaced the rectifier tube with a Mullard 5Z4 in an effort to reduce sag and squeeze a little more power from this amp.

I just wanted to note that this did indeed result in stronger bass response, less sag and a wee bit more headroom. I now like this amp more than ever, and would recommend that anyone else who orders a Midnight Special consider the 5Z4 rather than the stock 5V4.

After shopping around for a 1x12 combo - inspired largely by my affection for the Fender Blues Jr, yet knowing someone out there could take a similar design and go much further - I ordered this amp from Chris Siegmund last year (2002) and it was finished in two or three weeks.

It's a one-channel, single-output amp, which is a major departure from the classic Fender, etc, amps of the 1960s. The only controls are volume, reverb, treble, mid and bass. There's a reverb bypass switch that's very important to the overall circuit.

After I'd already started using the amp, I was blown away by the ability of the reverb bypass to 'purify' the tone. Later on the Fender Discussion Forum I received further info on how this is a major weakness of Fender amps: "There is a 3 meg resistor (bypassed with a 10pF capacitor) that is part of the reverb circuit. The signal goes through this resistor/cap. And from the input of that resistor the signal going to the reverb drive circuit is tapped. And it is returned to the other end of that 3 meg resistor. This resistor knocks down the signal quite a bit, so an additional gainstage is added to bring the signal back up. If you want to totally bypass the reverb circuit you would have to disconnect the send and return resistors that connect to the 3 meg resistor."

This whole dual channel approach to amps to me is the major flaw in classic Fender amps. It was for the days when two guys would actually plug into the same amp for chrissake.

Like many tube amp purists, I chose the Siegmund because I wanted to avoid the multiple output stages found in dual- and quad- power tubes. With single output you get tastier class A tone, as opposed to the push-/pull of two or more output tubes wired in series, which is more efficient but stifles even-order harmonics. I always thought that kind of talk was fairy dust till I got the single-ended Siegmund, with a big ol' 1954 EL37 in it.

Smart Aleck explains single output, class A and evern-order harmonics at: http://www.soflotubeamps.com/soflo/smartale.htm

One could argue that the Fender sound with or without reverb is classic and time-tested, so why bother reaching for more tone? Because nothing's too good for your ears, a peculiar set of receivers that need to be lovingly filled.

The Champ was single-ended, pure class A, and is what Jimmy Page ran his tele through on the first Led Zep album.

The amp does have an effects loop and preamp/line out, making it very versatile in the use of outboard FX and recording.

The single power stage can use virtually any power tube except the EL84: 6V6, 5881, 6L6, KT66, EL37, 781, 6550, etc. It's self biasing, so you just fit the tube in and no need to adjust the bias. However there are two different general bias settings (chosen via a toggle in back of the amp chassis) for the output stage: 'High' is close to the max bias setting, good clean and overdriven sounds. 'Normal'desaturates the output in higher gain settings.

After lots of discussion with Chris, I chose to have the amp delivered with a Mullard EL37. They stopped making these in 1956 so they're pretty rare, especially in NOS, but he has a line on them. I chose the EL37 because it has the strongest output of any single power tube, and is harmonically very rich. Early Marshalls used the EL37 (the precursor to the more common EL34).

The preamp section uses all octal (8-pin) tubes. I chose Sylvania 6Sl7, beautiful tone. One of the reason I chose Siegmund's Midnight Special is that it uses octals and I was always impressed with Steve Kimock's guitar tone - Kimock favors octals as well.

I took his standard recto tube, a 5V4. I've since bought a pair of Mullard 5Z4s, which are supposed to have more headroom and less sag. I haven't tried them yet though, and am pretty happy with the 5V4.

I also have some Tung-Sol 5881s I may try in the power stage someday, unless I put them in my Vibrolux Reverb instead.

I chose a Celestion Blue 12" and it broke in reall

The first night I took the Midnight Special out for a test drive was at a pretty challenging venue, a small bar open on one side with the band set up near the entrance to take advantage of a street fair. Usually we play towards the back of this bar, which is a completely different ball game. So pretty much an outdoor gig, always hard on a guitar amp. No miking - usually we would mike the amps in a situation like this but someone screwed up and we were a mike short.
First off, the volume met my expectations. To cut through the mix, I topped the amp volume out at about 2 o'clock. At that level I could use the guitar volume - I mostly played my '57 tele - to cut back for rhythm, and up for solos.

First tonal impressions: very open sound, very vintage tones, rich harmonics, combines Fender tweed punch with Marshall-like compression, very articulate, pretty much everything promised and then some. The juice was so sweet I disconnected my usual modest three effects to get at more of that sweet stuff. I didn't even have to use my compressor, which I run consistently with my three Fender amps and most of the time even with the Sound City. The amp just didn't need the compression, nor did it need any overdrive.
With most amps my '57 tele's slightly handicapped by a high E string that under-sounds, partially because that side of the neck is really worn, maybe also something to do with the pickups. But with the MS the problem seemed to disappear - never heard the E ring as well, with any other amp. Seemed like all the strings rang out more evenly than usual, esp D through high E.

It's been the same ever since, I found myself playing less and enjoying listening to each note more. I could see it going the other way, too, though - with that extra articulation I'm tempted to play more fast runs since you can really hear all the notes. I'll have to watch that .... actually I guess a tone amp like this opens up the possibility of not being constrained by either approach, so I can work more on building solos that combine fast and slow.

Sag/compression on lower strings and power chords is a little more than I expected. I look forward to trying the 5Z4 recto, which is supposed to be 20% stronger/more headroom. The bottom sag feels/sounds very similar to my silverface Vibrolux. The tone is much more present though, at those frequencies. I do some rockabilly-style single-note soloing on the low strings and for that the amp is perfect, very present. But on Kinks/Who/Yardbirds type double-stops I'm hearing a lot of what I think is recto sag.

The reverb bypass is genius. Siegmund has spoiled me for other reverb amps without it - I'll always wonder how much better they might sound if I could bypass the reverb. I don't think I'll be using the reverb at all, as the difference between off and on is too good to resist. With the reverb on, even just a touch, the juicy tone seems to recede noticeably into the background.

Although it's too early to say for sure, the amp doesn't seem to have much clean headroom. Of course at the volume I ran it I wouldn't expect much,and I've yet to try it at lower volumes other than at home, and I know better than to judge an amp in non-band settings. I'm not worried about this as 1) I have other amps for clean if that's how it turns out, and 2) I haven't even begun to explore the tube-swapping possibilities. Any recommendations welcome.

Other guitars I use with this amp include a 1960 strat, 2000 Hamer Studio Goldtop P-90, 2000 Fender American Deluxe strat, 2000 Fender Telecaster Standard. They all sound good through, but my two vintage gtrs, the 60 strat and the 57 tele sound best.

I'm very impressed with the build quality. The Tolex job is the best I've seen, no seams, very tight. Love the big rubber feet, too, and the soft rubber handle. I carried a modded Blues Jr as a backup, just in case the MS was DOA, and even though it's about the same size (but lighter), the MS was more comfortable to carry just because of the handle's rubber quality.

The point to point wiring looks very sturdy and there are no rattles whatsoever. The amp has performed perfectly for several months now, and I feel confident it will be a real workhorse.

If it does have a problem, Chris seems like he would stand by his work. But I haven't had to try him out yet. It came with a generous 3-year warranty (tubes excepted, only 90 days but I've already had them longer than that).

Since I haven't had to use customer support yet, I'll award 9 just for the great warranty.

I've been playing for over 30 years and own five other amps: Fender Blues Jr, silverface Vibrolux Reverb, Fender RocPro 1000, Sound City 50w, Acoustic 60T. They're all good for specific purposes or settings. Until I got the Siegmund my favorites were the Blues Jr and the VR. The obvious connection between the BJ and the MS are what attracted me to the latter in the first place. I have all NOS tubes in the BJ and it's a great amp. The MS takes that concept to a whole new level.

If it were lost or stolen I couldn't afford to replace it. This is the most I've ever paid for an amp. I'd go back to using my other amps. Hope that doesn't happen.

I give it a 9, 'cuz it's a little frustrating knowing I've maxed my budget and that if something DID happen to this amp I couldn't afford to replace it. If it were cheaper I'd feel more confident playing it out, knowing I could replace it.

This amp is a work of art. It's not your average amplifier. There's no channel switching. You don't need it. The effects loop, reverb and self biasing are all 1st rate. It's an instrument in itself. Simply elegent. Ideal for practicing, recording, gigging, a real versatile and powerful 15 watts sounds like 20. I can't say enough about the features of this amp.The wide selection of tubes that can be used in this amp is also worth the price of admission.

I use Strats, Teles, and 335's with this amp. Makes everything sound great. If your already confused about what pedals to use the Midnight Special will make you want to keep all of them.Everything you plug into it is enhanced and with the simple lay out of the panel you can dial in with ease any tone you want. I hear tones in this amp I have never heard before.I am a Fender freak. This is the first non-Fender amp I have purchased in years. You can get anything you want out out of this amp. the harder you push it the better it sounds and when you back off on the volume the cleans ring out like and old Blackface Showman. There is a little noise at times and I love it. It's a tube amp!

3 year warranty covers it. I've only had it a couple of weeks. Self biasing means you'll save a lot of money in the long run!

This guy Chris Siegmund is an artist.A real gentleman who isn't shy about expressing his goals and helping you find yours.I am not worried about repairs. 3 year warranty again!

I've been playing 25+ years and I gig a lot.Some smaller venues where this amp shines.That was my attraction to it, for that purpose. I don't care about the cost, that is not my concern and I am by no means wealthy.The bottom line is the richness of the tone and that is where the MS shines above them all. In the old days you used to be asked to turn up now it's turn down or don't come back. That's the real challenge for today's guitarist getting great tone at low volumes without sacrificing your feel for the music. Jimi Hendrix played at eardrum damaging volumes to achieve his tone. Buddy Guy is the loudest man alive. The real challenge for we the unknowns is to do it with balls and balance without losing the gig or the edge of our music. Amps like this make that a reality. I know I am armed and ready. How about you?