Soldano Hot Rod 50

All Tube Head, got all the features it needs for a single channel amp. This is a Snake-skin model, 50 Watts, 2x 5881 and 4x 12AX7.
2 inputs, 1x Low (clean/crunch sounds) and 1x high (beyond anything else!)

I'm using a handbuild Robberts with a SD TB-4 in the bridge position and a Gibson PAF in the neck position.
This amp has got the tones (I play mostly classic rock) that should define the term Rock&Roll in History. Pure and simple, it really shines in the overdrive sounds. I use it for Lead.
My Koch TwinTone Head handles the Clean and Crunch sounds.

I always have multiple units with me so I won't be out of sound...
The Soldano has never failed. It's almost 10 years old.
That should say something about this amp!
The 9 is for the fact that it uses tubes. They can fail.

I had a problem with the location of the Effectloop.
Mailed to tech@soldano.com with my questions and received all the info I needed to make the XL mod and changing the location of the Effectloop. Within a day!

I've been playing for about 15 years and this amp gives me the sound I always wanted. Sometimes when I play, I can actualy hear the same sounds that I hear on my favorite Cd's
Amps that I've had... Rivera, Marshall, Rocktron, Mesa, Line 6
The 9 is only for the price I had to pay.
I live in the Netherlands and Soldano amps ain't cheap over here...

The amp was made in June 1999, I bought it used off eBay. I got this amp primarily to cover the hi gain bass thumping area that my Marshall JTM60 just can't get to. It is a single channel amp with the 6 basic controls and lo and hi input - I miss the channel switching, but I just keep my JTM60 on for clean sounds and will probably just get an A/B box. Also has an effects loop, 2 x 4, 8 and 16 ohm outs, easily accessible and visible tubes (looks cool in the dark), pretty transformers, all that fun jazz. All this is basic, the bulk of the features are in the sound.

I am using a Dean V Select with Seymour Duncan 59 and Custom pickups and an LTD H200 with Duncan Jazz and Custom (all humbuckers). I like a lot of older rock with that harsh sound - this is all handled perfectly by my Marshall JTM60 (the new JCM2000s are all garbage) and I also like the more "modern" rock with gainy solos and thumping rhythm (Scorpions and such). This is what I use the Soldano for. The amp has a bit of a hiss when there is no input, but nothing that can be perceived when I am playing. The amp can make great lead sounds and is incredibly responsive to touch (I have never been able to vary tone as much just by playing a note lighter or harder). Putting the preamp short of 11 will produce some good crunchy sounds, although not as mean as the Marshall. Thru the lo input, the clean sound is nice and full, very Fenderish in my opinion, and with the preamp up to 7 or more there is a nice breakup. I was not expecting the clean to be good, but I like it too. Does everything that I was expecting it to do and more.

I have only had it for about a month, no problems yet. It feels really tough, just haven't gotten around to dropping it off any buildings yet ;). All the jacks and knobs feel very solid too. I would have no qualms about relying on it alone.

I emailed them to ask them how old the amp was and Bill Sundt got back to me that same day. I have never even been able to contact Marshall ...

I use this amp and the Marshall JTM60. I love them both, and they can not be compared. I have progressed from a Fender Champion 110 to a Marshall 8040 to the two I have now. I think I will stick with this one for the "modern" sound applications, although I might appreciate the 50+ model's channel switching. The XL's added bass boost seems like a waste - this thing shakes the walls through a Mesa 2x12 Rectifier Cab. I happened to find this one on eBay for a lower price than I had ever seen for these, I figured the worst case would be to sell it for no loss. I am very pleased with it though.

s#500309,year unknown.this amp exceeds at blues,rock,and metal. basically when it comes to tone of the distorted variety this amp does it all very well.one channel,effects loop,slave out,two spkr out,4 8 and 16 ohm adjust,high low input,preamp,master,bass,middle,treble,presence,standby,power.there are oyher desireable features but only one i would consider,reverb(soldano).this amp and a 4 by 12 bottom or two is all you need for a live application.this amp is equiped with sovtek (reds)12ax7 and 5881,stock.i give the following rating based on the amps intended purpose,which is no frills simpicity.

i use several guitars through it and i can say that all thier voices shine through.mostly humbucking pickups are used.it suites my musical style and many others very well.no noise on any settings,i usually set the bottom at 8-10 the mids at 3-5 highs at 5-7 presence at 5-8,preamp at 8 and up and master according to room.this amp is probably the most well structured gain amp in the business,that goes for soldano in general.and as far as soldano goes this is the working mans slo 100.the distortion can be as brutal as it gets but to better describe it,the distortion is never muddy it can be ,depending on settings and other gear,a little trebley but not anoyingly mettalic.you will also find that the oh so important rich harmonic content of the tone is oooh soo beutiful and well defined under all volumns,it is just a matter of dialing in to that sweet spot and letting it happen from there,

it is very dependable.this is not the same build as the slo 100 but soldano takes the time and pride that it takes to build a truely great amp.it has never broken down.i allways have two spare sets of tested tubes,for backup.this is my main amp.

i have dealt with soldano all all levels with the excetion of ;repair and extras.it is a limited lifetime warranty and for details see the site.
in all my dealings,the people at soldano have been GREAT,no problem there.

i've been playing for 17 years and i've owned and own different types of amps.if it were stolen i would DEFINETLY replace it,quickly.i love the tone,it,to me,is everything i want.the only effect i use is a grafic eq/boost.i hate nothing about this amp but if you like channel seletibility you may disslike this amp.this amp would only better by having a reverb unit.this amp is the best bang for the buck in the soldano category.i use a 4 by 12 (greenback loaded) marshall 60's (white) cabinet.i get complements on my (AND SOLDANO'S) tone all the time and quite frankly it does sound AWSOME.

All tube (4-12AX7 preamp tubes, 2-5881 output tubes), single channel, preamp gain, bass, mid, treble, master volume, presence, high gain and low gain inputs, tube buffered serial effects loop, slave output (preamp out) with level knob, 4-8-16 ohm impedence selector, power and standby switches. Mine is Serial #0025, 25th made.

Mine has NOS Sylvania 5881's in it, so I might get a better tone than you generic tube people. In the low gain input, the tone goes from a kind of thin clean tone to a smooth breakup blues tone. Not to bright, nice and mellow. In the high gain input, WOW. Preamp at 2 is a mild blues breakup. Preamp at 3-4 is a very crunchy rhythm tone (plenty for most rock tunes). Preamp at 4-6 is about equal to the aggresiveness of most Marshalls I have heard. Very distorted, but clean, classy distortion, very cutting, defined tone. Preamp at 6-11 the gain just gets thicker, richer, fatter, and has more and more sustain. Believe me, with the preamp at 11, not many amps can even come close to the amount of gain and sustain available. The sound rings out like a Fender, but has the edgy, cutting tone of a Marshall. If you want a good reference of what it sounds like, listen to Van Halen's F.U.C.K. The distortion is identical to that album (Eddie used a stock SLO100, and this amp has the same circut, same gain.). It has a sizzle to the top end, and a very grindy bottom end, yet it isn't thin sounding at all. It sounds like polished distortion, and even at top assault, you can hear ALL the notes in a chord, and you can hit the bottom strings of a chord, and then play soft notes on the top strings, and they will be clear. Quite amazing. Doesn't destroy the tone of the guitar at all. A++++++++++

Soldano products are built to withstand pretty much anything. Perfect construction, I'm sure a fall from a stack wouldn't do more than maybe a little scratch. I always have my Fender Hot Rod with me for its wonderful clean tones, and its smooth singing distortion, so that, with the Soldano Hot Rod 50, I get 4 incredible tones on stage. If the Soldano should die, I still have a 3 channel amp to cover me.

Always respond to emails, very friendly. Important questions get answered in a matter of hours, little inquires might take a day or two, but the answer will come. Great company who cares!!!

Been playing 10 years, this amp is by far the best of 'em (I've owned many Marshall's, a Peavey, a whole rack setup, a Soldano Atomic 16-great amp too, and others). I've played all the Rivera amps, all the VHT amps, and just about every big name amp out there. The distortion of the VHT Pittbull ultra lead is smoother, but the Soldano sounds more polished and cuts through the mix better because of it's classy grind. Great great amp. If you own another amp with great clean tones and maybe a nice crunch rhythm, but want the best distortion out there, I would strongly suggest adding one of these beasts to your rig. I love it. It takes a good tone to impress me (I listen to E. Johnson, Vai, Satch, Nuno, Brian May, Ritchie Sambora, and all those 80's hair bands), and this tone KILLS!!!! Very expensive for 1 channel, but it is the best "channel" you'll ever hear.

Purple Tolex, Serial # is not filled in, shows 50-blank, so I assume it is from the hand numbered run and was missed.
As mentioned in previous reviews-one channel master volume.
Dont let this fool you...the versatility available from a hand built all tube unit of this quality is beyond comprehension.
Low input bypasses the first gain stage, high input is just what it implies.
2 6L6's, 4 12AX7's, 2 HUGE transformers, preamp volume, bass, mid, treble, presence, master volume. Variable level slave out, selectable impedance (4/8/16 ohms), very classy looks-white chassis, chicken head knobs, wire mesh letting the tubes breathe and glow, vintage blue pilot light, on/off and standby...built like it was meant to fall off your cabinet in a gig and survive.
I bought this used, it was the best buy I've made in a long, long time.

This head is currently loaded w/ Soldano tubes, and remains stock.
I'm using a Parker Fly and a Custom Abyss 7 string w/ active EMG H-707's, so I'm dealing with VERY different levels as you can see.
The Parkers Fishman's really dont apply as this amp does not achieve a glassy clean tone easily.
The active EMG's on the other hand shine like they never have before!
I'm not sure why some previous reviews indicate this amp lacks hi gain like 5150's and Mesa/Boogie...Perhaps they have poor tubes, low output pickups, or a bum filter cap.
I can assure you, if high gain w/ excellent string definition, endless sustain, and creamy tube heaven are your goal, this is your amp.
Good God! The thing goes to 11!!!
To be honest, using the high level input, bringing the preamp volume to around 8 1/2 is about all the gain I need, and I'm playing progressive/death metal in the likes of Aghora, Cynic, Meshuggah, Spiral Architect...
From 9-11, it just gets dense, creamy, and harmonically rich.
My mainstay untill now has been a Rocktron Taboo Twin Combo, which has to be the most versatile amp I've EVER used for under $1500.
And I've played a lot of other stuff-ART, Marshall, Boogie, Crate...
Now I understand why Soldano is the best kept secret in the industry.
At least as far as I'm concerned.
Again, glassy clean tones aren't this amps forte, but deadly distortion, Santana like sustain, and excellent "middle ground" rhythm/blues tones are.
And as far as the "tube tone," it is there in full force.
Noise is there, as expected for a high gain tube amp, but its nothing that a Rocktron Hush unit cant tame perfectly.
I rarely, if ever-give a 10. If you can get this head for under 5 bills, BUY IT.

I cannot offer an opinion as of yet, as I've only owned it for a short while.

Again, cant offer an opinion, but from the previous reviews, I expect it's good.

Again, overall this is not the "amp that can do everything."
But if you are looking for boutique quality and craftsmanship, unbelievable tube tone, simplicity, and affordability...
BUY THIS AMP! Its still a little costly, but well worth it.

Bare bones, based it appears on the infamous 2204 Marshall 50W. I own one of these as well and find that this amp, the
HR50, is just that. Without having to spend 300.00 to get the tone section to work. They have a sweet spot, and they all are
slightly different, but when you find it, it's very good.

I am using several instruments through this amp in different configurations. Strats, Deans, Hamers and Gibsons, all with
good and surprising results. As with all hi-gain amps there is noise, especially with the strats. But turning in a circle will find
the spot where you need to stand if recording, you know.
I use a combination that I found by accident. I use the loop off of a rack that contains an SP-77 soldano 2 channel preamp
and an intellifex. If you play with the loop at all you will find that it comes back in ahead of the tone section and master
volume. This enables me to find the tones I need in the front end and then tweak them further to fit the situation or the room
that I am playing in.
One of the great things that I love about this amp is that the overdrive, not distortion, is very musical and controllable. You
can push the overtones to the threshold of feedback and keep them there without all of the howling. As far as expressing
yourself, because of this ability to have 3 and 4 overtones pop from the note you are holding, it speaks with authority. The
power section has a nice compression as well, and with the Paul will hold notes ala early Santana, for days.
The loop doesn't appear to muck up the dry tone as well. The amp I have is very very early in the production.[0043]

I have used this amp non-stop since six months after it's purchase in 93. I would recommend spending the time to find
where this amp works the best. Once you do, you can get any tones with a minimum of work.
Bulletproof! I carry this amp alone everywhere. You should always keep an extra tube set in the tech case just in case. Tubes
will blister at the most important times.

Everytime I have had a question, I have called the factory and they have been incredible.

If you want an SLO but can't afford one, then this is your amp. I would recommend finding the SP-77 preamp as well. They
are out there and the people that have them are pretty tight about holding on to them. The combination of the two is just
magic. I have a '73 JMP 2204, an '84 JCM 800, and an Ampeg V4. If you want brutally loud, find a V4, if you want the
people that hear you to constantly comment on your tone, get the HR50.

My HotRod 50 is a 2000 model. In the past, I have owned a 50+ and sold it, because I prefer the single channel which I a/b between my Marshall JTM 45 head. The amp is really a bare bones set up. One channel, effects loop, etc.... I use my Soldano for the high gain, distorted sound, and my Marsahll 45 head for a clean sound. I play mostly some 60's, 70's(funk), 80's, and some 90's stuff, like Creed, and some new Kings X. I also play old Van Halen stuff, in which the Soldano really comes thru. With both my haeds, I really have all my basses covered. THe 50 watts is more then enough power for me, this amp is LOUD!!

I have 4 guitars that I use, all strat style, built out of Warmoth parts. One blue strat, with a Wilkinson trem, with a Seymour Duncan Hotrail in the bridge, a Coolrail in the middle, and another hotrail in the neck(round for neck). Guitar #2 is a surf green with a Wilkinson Trem, with a Seymour Duncan full size JB humbucker in the bridge, and a neck round Hotrail in the neck, with a single volume knob, and a Les Paul type toggle switch. Guitar #3 is a bright red strat, with a Seymour Duncan zebra full size JB humbucker in the bridge and a little 59 in the neck, with a single volume knob, and a Les Paul like toggle, this one has a Floyd Rose trem on it.... Guitar #4 is a Les Paul standard, in which I replaced the stock Gibson PUs with a Seymour Duncan JB in the bridge, and a 59 in the neck(Zebra). As you can see, I have 4 guitars, which are very versitle, and with the HotRod 50, I can just about get any tone I want. The amp tends to be a little noisy sometime, but you expect that from a high gain tube amp. I solved that problem, and put a Rocktron Hush unit in my small effects rack.. Problem solved....

I would def depend on the HotRod 50, but I would not rely on any amp without a backup. Just like having a backup guitar, you should never depend on just one amp, and just one guitar at a gig. Always have a backup for each, no matter great and relaible you think the equipment is....

Soldano are nice people to talk to. I just called to ask ?s, and to order a t-shirt....

If it was stolen, or whatever, I would def get another one. This truly is a GREAT amp.

Made in 1992. Low, low serial number. Perhaps the greatest feature is the reliability, but more on that later. In the meantime, y'know the layout: pre and master vol., BMT and Presence for eq. Power and standby switches. What you may not know is that the Hi input uses all four gain stages (12AX7) and has a hardwired bright circuit, while the Lo bypasses one gain stage and has no bright circuit. The low channel isn't the most useable in the world. Sort of dark and grunty sounding, though I have used it on occasion. It would be nice if it were just a less distorto version of the Hi channel. But, no big deal.
The slave out on the back panel is really useful when you need more power. When I was in a stupidly loud band, I ran the HR50 through a 2x12, and slaved the head to a Hiwatt 100 running into a 4x12. Normally, the 50 watts are plenty, and I can't crank it past 5 without a sound guy asking me to turn down. Haven't ever used the effects loop in the 8 years I've had it. Also has a handy impedance switch and two speaker outs.
I might say that a little more headroom on the pre-amp would be nice, as I actually wouldn't mind a little less gain. But, that can be controlled with the guitar's volume pot. A lot of folks criticize Soldanos for having too much high end, but their EQ shape actually makes them super sensitive to guitar volume/tone adjustments, and pick or finger attack. You can also replace the second 12AX7 from the left with a 12AU7 or 12AT7 and that cleans up the tone a lot.
For me, this amp has plenty of features. I'm too busy spazzing out on stage to coordinate hitting a channel-switching pedal (I can barely manage the two pedals I use). On channel-switching amps, I tend to find one sound and stick with it anyway. Fortunately or unfortunately, I don't make my living playing music so I don't have to call up a bunch of sounds in the course of a set. I actually prefer "in-between" tones: not spanky clean, not full-on hi gain. Personally, I think this amp has more than enough distortion. I keep the preamp volume around 2 or 3. Any higher than that is more distortion than I need. If I'd change anything, I'd make this a cleaner amp that you can crank, rather than a dirty amp that you have to scale back. For rummbles, squeals and feedback I use a stomp box (currently a Real Tube pedal).
The HR50 isn't versatile out of the box. It doesn't have discrete clean and mean channels and it doesn't "nail" a Twin or Plexi or whatever. But the eq controls are sensitive, and you can dial in quite a few distorted voices. Also, it lets the true charcter of your playing and the true character of your guitar shine, warts and all. Its sound changes somewhat as you change guitars, pickups and speakers. In this way, I've found that, as corny as this sounds, this amp has grown with me, and I haven't yet outgrown it. This isn't to say that this is the only amp in my arsenal, but the HR50 has been the perfect tool for finding my own musical voice. After 8 years, I'm still finding great tones in it.
The 7 rating addresses what maybe a bummer for some: no channel-switching, triode/pentode blah blah or espresso maker. It's not an indication of any disatisfaction on my part.

Cabinets: two Hiwatts, one with Fanes, one with 65 watt Celestions. My main guitars: 78 Tele (Northern ash), Travis Bean Stanard, homemade
"Wonderaxe" (alder tele with steel face plate). I use copper picks. The 78 has been through the most changes, as I use it the most.
Here's a rundown:
When I first got the amp, I was playing early 90s noise/art/heavy wall of sound rock, therefore I used a Duncan 1/4 lb. Tele pup. With the preamp gain at 5, I got serious girth. Thick, harmonically rich distortion, droning for days.
Later on, I started playing scratchy, twangy art rock, and switched to
a Rio Grande Vintage Tall Boy. Insanely trebly. I had trouble controlling the brightness of this combo, but it tamed the hi-gain wildness of the amp.
So then Wolfe MacLeod and I went on a quest for taming the gain and brightness, and I ended up with a Wolfetone Werewolf (see that review). Now the tone is perfect. Not overly bright, or overly crunchy.
Through all these changes, the amp projected like gangbusters. It's as if Soldano voiced it smack in the middle of the range of human hearing.
This of course, can make the amp a little too bright, as a lot of folks have mentioned. But this is also what makes it such a cutting, lively piece of gear. You just gotta get all the ingredients right. I think if I went back to a vintage style pickup, I'd use vintage style speakers, like Greenbacks, Vintage 30s, or the Soldano equivalent. The Fanes and Celestion 65s (precursor to the 75 watters) are just too unforgiving. You can end up with some wickedly peaky tones. Better to have something a little more laid back and break up-able, I'd think.
However, if you're a shredder, stick with the high-powered speakers, especially if you've got a warmer sounding guitar like a Gibson or hi-gain axe like a Jackson. The HR50 is built to cut through, and it will. The definition lives up to the hype. I hear Boogies saturate more, but I can't recommend Soldano enough for band situations. The HR50 stands up to hi-hats, crash cymbals and snares. It seems to not completely obliterate the fundamental, so you get a percussive, tight bottom end. And as cool and "heavy" as a scooped-mid tone sounds while you're standing in front of your amp, I say that on a recording, you more than likely end up with a loud drumkit and tiny bee-buzzing guitars somewhere in the background. The HR 50's midrangey EQ curve makes for an in-your-face guitar tone, even with the gain on "11." To me, it's plenty heavy (go ahead, scoop those mids), and still prints to tape amazingly.
You can also pull some perfect Descendants/emo/pop-punk and hardcore
tones out of it. In fact, if that's your bag, run out and get one of these right now.
I haven't noticed noisiness until recently, and then only in my practice space. The building's pretty old, and the wiring is deteriorating. But at gigs, it hasn't been a problem. There's some buzz as you turn up the preamp gain, but it's not problematic.

If the SLO 100 is the Ferrari of Soldanos, then the HR 50 is the Toyota mini-truck: a bare bones appliances that will run well forever on little maintenance. Until last year, I had the same 5881s in it that were there when I bought it, and IMO, it still sounded great. I haven't had it biased ever, and I can't hear any deterioration in sound. When some guy in another band borrowed it and put a weird speaker load on it, it blew up, but only needed new power tubes and a new fuse.
This year it did conk out on my on tour: failed filter caps. But that's after 8 years gigging, recording, rehearsing and touring. I can't really complain. I have used it without a backup, but after that
guy borrowed it, I learned my lesson. Luckily, at the time, I did have my Hiwatt with me.
I'd also like to comment on how consistent the HR 50 is. Sounds great every time I've fired it up, and other HR 50s that I've tried sound exactly the same, as far as I can tell (though I've never AB'd one with mine). Lately, it seems to not have as much volume as it did before I got the filter caps changed, but that may be a psycho-acoustic thing: I was without it for almost a month, so my memory of its loudness maybe colored, or my bassist might be playing louder than he used to. Also, I'm using a darker-sounding pickup than I used to. Or, maybe I should check the bias after all. There are always so many variables.
Again, I've had this amp for 8 years, and, though I'm intrigued by other brands, I'm not sure that I trust them the way i trust the Hot Rod.

A nice crew. Super helpful, friendly and prompt. When I had those problems on the road, they always got back to me within 6-12 hours by phone or email. They'll answer pestering tech questions too, though if it's not an emergency, expect a longer wait. I can't say enough about the customer support. No B.S., straight-up advice. Thanks friends.

Been playing 22 years. If I added anything to this amp, it might be to mod (if possible) the Lo input channel to clean it up and give it more headroom (though not for channel switching, just a more useable clean voicing). If stolen, I might get a 50+ for that reason (and I'd be willing to pay full price - consider the fact that this amp will last a lifetime, then divide the price by how long you got left on the planet. cheap, eh?). Also, I tried a Decatone recently, and dug the depth control. Wouldn't mind adding one of those, just to boost the low end a bit.
I'd be depressed if this amp were stolen. It's become an appendage, an essential part of my gear, and, since it's one of the first ones ever built, pretty irreplaceable.
I kind of fell into this amp through a friend of a friend of a friend kinda thing. I was playing MusicMans and an ancient Acoustic and a weird Twin. I was looking for a new amp when a friend told me to check out Soldanos. I had never heard of 'em before. At first, I wasn't sure about the HR 50, but as I said, it's really grown on me and with me.
I think there's a lot to be said for taking your time with a piece of gear and working with it. Sometimes, you get some new stuff and you know right off that it's not right, but other times it pays to put it through its paces in all possible situations. I'm really glad I did this with the HR 50.
Hey, if anybody's got any cool tricks for this amp, let's trade tips.

I think the amp was made in '99 because it looked brand new and the tolex just shined. The amp is only one channel and really has not much of a clean channel, just turn the gain all the way down. I wish it was two channels. It's 50 watts, which is enough unless you play huge venues.

This amp has so much f*cking gain. This amp's distortion beats my 5150. Not by a long shot, but it beats it. Even at the lowest volume setting, you can get heavy distortion. It isn't noisy at all and is a kinda small head so it's not huge and bulky.

I would definately rely solely on this amp.

This amp is the best (besides a Mesa Mark IV) if you like heavy, singing distortion.

Mine is a 1993. It is versatile in that, even having only one sound, It still covers alot of styles. It is a single channel two input amp. Roll the volume back and you get a cleaner(not clean) sound for your "second channel". I prefer one channel amps. It has an effects loop and a line out. 50 watts of output.

I play in a cover band which ranges from classic rock to alternative to dance music. I play a PRS CE-22 and a Strat and a G&L ASAT classic through this and it sounds good. But, it has a VERY modern agressive tone. No classic tones here but Modern HOT Blues or Rock. I would not ever call this a "Metal" amp. It can sound heavy but if you are at all dynamic in your style it will have some versatility.

Built like a Tank. I gig without a backup with this, I just do no think it will break as long as I keep the tubes up.

Soldano has Excellent customer support. Prompt replies to my e-mails and even the Tech's answer the phones when you call the service dept. Bill Sundt is a pleasant person to deal with. He personally modded my amp.

I have been through a ton of amps and am still looking for "THE ONE". I am selling mine because I am still looking for that classic 70's rock tone I hear in my head. This amp ROCKS though. I will probably regret parting ways with it. This amp makes playing guitar all night in a Bar a breeze. Nice singing sustain, I kick a little boost pedal in front of the amp for a little extra.