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I have a early 2002 Prototype Highway one in Honey Blonde with Rosewood and it is the best guitar I have ever played, great wood and construction. Eventually I will replace the tuners but they are still solid and I play this guitar everyday. Pickups are almost identical to the '65 vintage set in sound and response. Highly recommend getting one of these and the satin nitro lacquer finish is way better than the new poly they use, wears in like an old baseball glove and just feel like home!

Back in the mid 80's I was the systems engineer for Bryan Adams. His sound company for his first headlining tour was Jason Sound in North Vancouver and they had just purchased about 40 of these PM 1.5's for the PA system and monitors. I also did warranty service for Carver at the time. I brought one of these home, one day, to test after repair. My first wife, came out while I was doing a listening test, the only change being my Bryston 4B, replaced with the PM 1.5. We had a top-end Rega turntable, JBL 4311 studio monitors, etc. etc. She listened for a few minutes and said "What did you do to our stereo? It sounds like shit." She was not a techie or anything like that. I agreed. It sounded mushie, sorta. Kick drums sounded sorta puffy. The design of the power amp section was like an A/B (pos and Neg) with two vertical totem poles of transistors which would actively switch each vertical sections in or out, depending on the bipolar signal level. Since they were not active all the time, the resultant slew rate was quite low and the effect of this was audible. But they only weighed about 18 lbs each so cost less to ship from show to show. That power amp would be my last choice, based on my experience.

I have 2 of these I need to repair. I've owned various GCB95s since the mid 90s, but I was more of a vox guy until they came up with the mini when I was building a touring/studio board... I also suck at wah, but you have to have some wahs. Anyway, I like the vox sound better if you get a good one (I'm talking about 90s ones and more recent clyde RIs), but into some amps the crybaby has the stuff, with a long fx chin it definitely rules, the vox is too gainy and growly in the mids for some boxes after it. Anyway, the downside of these whether you like the sound or not is that the pad that contacts the dpdt switch that engages the wah at the toe wears out easily and switch is also weak so if the pad doesn't die the switch gives in first. Lower quality product that vintage, vox or cool guy brands like buddha (bud-wah rocks). I have yet to wear out my mini but I've barely used it, the gig didn't happen and it just sits there, but I assume it's not as durable as a vox or something more esoteric or unique. This guy's best attribute is that you can replace it at any guitar store anywhere in the world if it fails at soundcheck.

The Valeton GP-100 was the multi-effects unit I used during the first recordings of my Visual Kei project and also in my early live performances. It offers a wide range of effects, amp models, and drive options, making it a versatile choice for players who want to explore different sounds without spending a fortune.

One of its strongest points is the variety of amps and effects available, along with the ability to load external IRs, which helps achieve more realistic cabinet tones and expands its tonal flexibility.

My biggest complaint is the expression pedal implementation. Activating effects such as wah-wah requires pressing the pedal with considerable force, which can be frustrating and inconsistent during live use. This design choice often interrupts the playing experience and makes real-time control less intuitive than it should be.

Overall, the GP-100 is a capable entry-level processor with plenty of features for practice, recording, and small gigs, but the expression pedal prevents it from reaching its full potential.