matt_gilson's Reviews

Great Boost and OD with its spin on the BluesBreaker

When I first tried this pedal in OD mode, it reminded me of stacking a classic BB with a TS808. Going into boost mode, it has more open feeling a bigger sound stage, but a vintage classic rock style sound it.

For me on a live board, it sounds really nice once dialed in. It didn’t take the place as an always on type pedal. But it def does the BB meets at TS well. It’s fatter than a TS808 and the Boost mode shines.

On its own it may seem different at first. But when playing in a live band or mix…this pedal lets you be heard, and has great harmonic overtones in OD mode. Boost I found good to drive Marshall style pedals or amps, Big Muffs and all that stuff. I pretty much use it as a front boost like a TS into something that needs some mids and clarity. Then Overdrive provides a nice fatter Vox like TS sound.

With so many variant of BB pedals out there. I wouldn’t call this transparent, but it’s own take on the BB very TS inspired. It has a TS808 chip stock you can swap out for others. But it did replace my Morning Glory for live playing. Morning Glory is now a backup and just reserved for my amp sims, small board and to run on a backline for a safe familiar neutral tone if needed.

POT took some time to dial in per amp and guitar. Humbuckers it sounds very great!

Close, but very different from all the other BB I’ve tried. An additional EQ also helps shape the pedal, but I wouldn’t call it a Timmy or edge if breakup pedal. Love it for its own thing, and it def was made for the live player in mind. If anything it’s very Vox sounding on a Fender amp to me. Cuts off around 100-120hz to tighten up and has a bit of a mid boost.

Most users use it in Boost mode which doesn’t cut off as much low end. Then dial in the drive if at all. It sounds more full range in that setting, for those wanting that. 3 choices is nice, and the Boost and OD are certainly worth it. I really like to drive the boost mode into a delay or reverb. Mostly used for Indie Rock and Blues for me. Lets you set you Les Paul to mid and Rhythm to be more useful.

Great classic Delay

This is one of those pedals, much like the RE20 when you put it in your board…it’s like oh that’s that sound! You’ve probably heard the effects of this particular Memory Man, and it’s preamp across the entire 90s and early 2000s.

I was using a Boss CE-2W a lot on Vibrato at first. It’s an extra mode but I bought it for Chorus. A friend handed me an old Memory Man I use today still. It achieved similar results effects, but looking up bands I like settings it was very similar. The sounds of Radiohead, or The Strokes later albums and countless of records I could hear it in the preamp and effects.

Quickly this made me take notice, and change my CE2W back to the classic modes I bought it for…and offer my friend some cash for the Memory Man. I usually like a digital, slap back, Echoplex and space echo on my board.

Cons: The bypass still has a preamp in line, much like the Boss RE20. But I put all those early non bypass pedals on a small bypass loop pedal. I can’t say the listener will know off or on, but I take things out my signal path as I like echoplex and other coloring pedals. So I don’t want to stack preamps too much…but for some that sound even in bypass is there thing. I just like to have the option on hand.

But this pedal has the echos, and swirly vibrations that are dark and flavored. It’s very distinct in what it does and the sound. Many digital delays are sterile, but will do the job. This one has mojo, and not all of them sound exactly the same. It’s actually good if you pick up an old one, to get it calibrated or send to Analog Man or modded for that and a truebypass. This pedal is quickly becoming more expensive, and if you’re gonna gig and record with it I feel it’s worth putting a little back into the pedal. Other pedals do get close, but it has a charm and chipset preamp that makes it unique but familiar to navigate.

Very over looked distortion that was relabeled a few times

So this pedal shares same DNA as the Corrosion 1997. It was just renamed later, which was weird as the X stuff was popular in late 90s with sports. It’s also pretty much the grunge with more gain on tap.

This pedal was a bit ahead of its time. I have a tone of botique 2000s pedals on my board. But this one does the Mesa Rectifier thing better than any pedal I’ve used. It cost me $40 back then!

Only dislike of this pedal is the buffer. Some of the pedals back then when off, would dull the highs significantly. I did a more recent 2023 shootout of other buffered pedals and this. Something sounded wrong till I took the DOD pedals out. Quick fix is a cheap loop bypass pedal. Also saves the switches which would break at times. A $25 bypass looper fixes everything.

With this bad boy you can take a Fender Twin to a Mesa Rectifier. I used it in the 90s with a Peavey stack. Highly recommend if you can get one for $100 or less. I’m not much of a metal player, but it’s nice to have that Mess Rec sound when you need it.

Great Parametric EQ!

So this is a unique one to have on your pedal board! If you’re buying for the distortion it’s just ok. The real thing here is the EQ and clean boost to me! If running on a clean amp it may sound subtle to you.

Thing is when you EQ up, it can be perceived as volume. Or even sound like more width and dimension is added. Very cool to try on a scooped Fender amp! But the way I use it is into an Ampeg VT-40 cranked. As well as on my Sky King amp with a Muff and Rat pedal. You’ll notice the EQ changes more so running into distortion, or a very driven amp. It can add punch, and let you dial where you sit in the live band mix. Insanely valuable if you’re like me, and record all your own music.

I bring in 80% finished songs, and write my guitar parts in a recording space. With this pedal, I can adjust to my demo mixes playing over a PA, and nail my EQ tone before the mixing stage. In a band setting you can put yourself in the middle, back or do cool filter stuff. Sound thin, cocked wah or my favorite boost the low mids with a wide Q band. It makes everything focused, and you can just sit right in the mix.

Would def recommend for anyone playing in a band with more than one guitar player, or if you battle your bass player. Also for those that produce in the box with a busy mix of synths, this is a great tool to shape your guitar sound live to fit mixes and be heard. It also does the thing people buy this for, but it’s not a QOTSA pedal in a box. You need something on the other end…be it a tweed, Ampeg, Marshall, Rat, Muff or SFT pedal. The built in distortion is ok, and would work in a pinch for things.

But the power is in pairing this with grit. Also it’s really great on synths, and even bass! Just such a great tool to have whether it’ll be a boost with EQ, or even an always on behind the amp. I’d use two if I could afford it. One set on the low mids always on, then one up front first to dial in my pedals. I love the mid setting, as it just works on muffs and rats no fuss or extra stacking. Turn it off and your clean is still in tact, without it sounding like a pedal is on.

Great Amp if you can find one for a good price!

For some this is a holy grail amp, if you’re into The Rolling Stones or QOTSA. I picked one up in 2024, at a steal for $350 local. I couldn’t believe, when I saw it on FB market a min down the street. Buying one online with shipping cost can get costly! A good deal is still considered $500 or so on these. Normal is $800-$1k in most areas, if its been in the shop and checked recently . Anything under $500, in working order is a must imo. Just of not worked on recently, don’t spend too much! You may end up having to dump an extra $300-$500 at some point, to get it to where you want it to be perfect.

Moving to the sound! I have the 1974 no distortion master volume front load. For me this version was very desirable. The top loader, and this one with the polarity switch(easy way to spot it) are the 2 best versions made imo.

With no pedals you can set the mid rocker to 300hz, crank the mid to liking, highs and lows at 2oclock. Then set your master around noon, and turn the volume up till you get your desired overdrive. Crank the master more if you want to go Doom/Stoner. If you have one with master you can just set it max. That’s pretty much default on non master, and why people say they are crazy loud. You’re hitting the power tubes more so than preamps.

The master is good for home players, as this amp is crazy loud, and I was testing a 50w JCM 800 next to it. I liked this amp more for its own sound with no pedals. However, with the right settings it’s a great clean amp pedal platform. It can be a Fender or a Marshall really.

I chose to pair this amp with my Tone King Sky King, and they go great! The VT-40 is dirty and carries the low end and mids. The Sky King(BF Fender) does the cleans with upper highs and upper lows. This amp much like pairing a JCM 800 with a Fender Twin is what works for me. Just different flavors!

Cool thing also is if you don’t want to lug it around, you can buy a head enclosure for $200-$300 and just put it in that. I have no idea why these amps aren’t more popular! It has the ability to be a crazy doom amp, break up Stones amp to all out thunder Queens of the Stone Age amp or a clean Fender like Super Reverb… and you really don’t need many pedals on it if at all. Maybe a Treble Booster, boss EQ, and a Fuzz that’s it really.

I think it’s a great amp on its own, if you want a clean amp and a Marshall almost style driven. It can be whatever you want to a degree. But they are very loud amps! So to get the best you want to crank it. Recording is tricky with the bass and mids..highly recommend a mic on the back for low end, and a front mic on side cone. But live it can be heard fine, and has nice low end, mids for days and highs. For some using a load box and a Ampeg IR may be a better choice to record. Less hassle, and on some the speakers are just ok. I highly recommend Celestion vintage 10s…that’s what Josh Homme seems to be running on his with a 2x12 extension cab live under it.

Not sure on other versions…but this non distortion/master volume one has a good reverb. I’ve heard others say the distortion model reverb is not so great.

But yeah, if you can grab one without shipping costs, grab it! No need for tons of pedals to get close to the sound people want these for. It’s 90% in the amp and a boost, EQ goes a long way. Great for a dual amp setup, and just fine for heavy rock, or dial in clean as you like.

I have to mention the tubes are weird, and first thing I tested. Most tubes you can still find, but do a pencil test before buying to see if the cost of retube is within budget. Luckily mine just needed two new 12ax7s. Most I find also have all original parts, so keep that in mind when buying as it’s 70s. So could need some help within the first few years. You may also want to upgrade speakers, but can be a $350-$400 cost. I did just 2 at a time as I went, it’ll really open up the amp more vs the stock you find in these. But stock speakers are fine, and will still get you there…they just are a tad dark imo and you can really make it come alive even just swapping two new Celestions in for $200 or less.

Lastly everyone saying they are crazy heavy. My Sky King 1x12 is way heavier, and this amp fit into my small 2 door Honda Civic easier. It’s really not that bad, unless you have to carry it alone a long ways. But car loading and waking in a door no biggie…or a rolling cart is fine. My Sky King is 55lb and way more difficult to lug around given its dimensions. The weight is greatly exaggerated imo, it’s not a Marshall cab or anything…now those are a pain.

Great drive for 90s/2000s rock and unique TS808

So I’ve had this one for 2 years now on a 15 pedal layout. I play mostly Indie Rock on a Sky King amp. This pedals OD side is that 2000s Strokes, Arctic Monkeys, The Bravery and all those sounds. For me this with a Boss RE20 it’s a great sound! I have a lot of older and Botique like pedals. It fits right in and finds itself on 90% of the time. I pick it over my Morning Glory a lot for Rhythm guitar.

This pedal also just stacks with every pedal! Rat, Muff, MIAB style pedal. Turn any of these on with the Jekyl side on low grit drive….instant 90s grunge tones.

The distortion side is a bit different, and a love or hate. It nails Creep/The Bends Radiohead heavy guitars down to screaming….that’s the bloody sound right there! Also does a good scooped metal sound….think Master of Puppets. My guess is some don’t like the distortion because the tone is set too bright. Either on the amp or pedal. At low gain it can act as another low key OD as well. But best sounds good from 4/9 distortion for your 80s/90s tones.

What can I say this so pedal is a steal if you can find one under $150! Perfect choice for a unique TS808 circuit you may never want to be without….I’ve considered buying a V1 back up. Note: the company still works on the V1 for a flat $35 fee.

So that’s also a bonus if you get any issues. For me a little deoxit on the pots, cleaned up my sound…was still in box barely used mint early 2000s.

Preferred Settings + Usage:

Great versatile amp

Didn’t see any reviews here, and have had some experience with the line of amps.

So the picture here is the 2013 model.. you can tell the difference as the older build by Mark Bartel has the 4 flush metal bolts on the front cab. The newer reissue (released December 2018 by BAD) has a plain front panel with no bolts.

Difference wise the 2013 is a mix of hand wired and some soldered components. If you get to see inside one, it is a weird triangular type design. The newer ones are high grade component PCB board.

What matters is sound and both do it great. Both also have likely hood of needing a tech visit old or newer. The newer is easier to work on given the normal layout.

I had a few issues and returns…took me a 3rd amp to get a good one. I still brought to a tech for some cabinet rumble and overall health check. Very good amps, but between shipping and QC on new ones even, live playing is fine! But if using for recording I at least spotted things I wanted taken care of. Like low level hums at idle, cathode bias being off on new tubes. Just a few things a tech could make better, that I agree should be done at the factory per cost. Also note, I found the same things in the Imperial MK2, so it’s not this amp alone.

So def figure in a tech trip in case for some minor work to get recording ready. Outside that for $2609-$2800 it’s a really nice build. Very versatile for 50s-to grunge and modern Alt rock. This is def not a metal amp! But it does everything you want a vintage Fender amp to do. It’s pretty much an amp you’d want in a cover band, have a big pedal board or for recording.

It is not sterile or completely clean. It has character, and that come into the clean channel around 3-4 very quickly on Pentode mode. Roll back guitar volume for clean up, or experiment with the V1 tube for headroom. The Ultralinear mode lets you get very loud with tons of headroom. So you have options of a nice big clean high headroom amp, or a classic Fender BF breakup around 3-4.

It’s a loud amp! So if micing you're probably going to be at 2-3, and that’s pretty clean with a little character. The attenuators are great for home playing and dialing up! I do find going below middle attenuation, you do lose some frequencies like any attenuator. But it’s a great recording home amp with attenuation, or even using a Captor/ OX for IR silent recording. Both older and newer amps have a 8ohm selection. New does 8ohm-16ohm, and older build is 4ohm-8ohm. Inside those options are still on the amp! So if you get a tech to get inside, you could get the amp to be 4-8 ohm it seems.

Comparing the Imperial MK2 outside weight, I’m not sure why these aren’t more popular. Given price tag it’s about a $300 difference to the Imperial MK2. I would call this an upgrade outside of weight. The MK2 is brighter, less low end and way more fussy about treble and gain. The treble on the Imperial MK2 is the most brought up question if you search or read a review. Well the Sky King solves this, and no treble issues, or cabinet placement issues. It just rocks, and is not crazy bright of boxxy at all and I’d say it’s like a 40w Vibrolux/ Vibroverb Fender.it has a huge tonal range!

If you compare price points, attenuation and features….The Sky King is actually pretty good if you’re looking for a clean to Jack White style ripping high volume amp. I was not very satisfied with Fender Reissues, needed attenuation, variety and didn’t want to pay big vintage shipping prices or search local for years.

I just say play it in person, and if getting one shipped have it double boxed. My one star detracting really comes from the shipping, as I received 2 in a raggedy box with issues before I had one double boxed that worked good. That’s more a delivery thing, and I’m sure your experience will vary.

Great Fuzz at a great price if your into this kind!

So I’ve owned this one from the month they put it out. The Octave side really only did it for me on solos. It does the QOTSA little sister solo perfect….it’s pretty much that sound. But in normal mode that’s where most spend their time.

It’s simple volume, sustain and brightness. Pretty easy to dial in and set everything to middle. Works very well on a Les Paul neck pickup for synthy leads. Other than that big power chord riffs! However, as much as I like it I still find myself wanting a Green Muff or Hoof to have other options as well. This one is great for ZZ Top, Stoner Rock to even NIN using it.

4 stars given it’s top box not so friendly for a bigger pedal board design. Nor does it have a on/off light, just a battery light. I usually run it first before my Germanium treble booster and before all pedals. There was some mix up in the literature, but it is Germanium Diodes. Much like the Hoof I guess a bit of a hybrid Silocon/Germaium.

I just set it on the floor as an optional pedal, as it takes up too much room on my board and the knobs/inputs are position in a way it’s not worth the hassle. Best just to be on ground as it has pads on bottom or on top of amp. I love it and use it a lot in the studio, sometimes bring it out to jam.

But as far as a main pedal board fuzz…I probably keep this as a in the studio and optional live…then probably grab a Hoof or Muff for my board that’ll fit after a RAT or something. I like they stuck to the original design, but it is a bit big…and no input option for the octave, to turn off and on by foot.

However the octave is just cool for some things, and I get more mileage using it with my Boss OC5 in normal mode. But make no mistake the Octave on the pedal is unique sounding for solo riffs you won’t get with a Octave pedal combo pairing. I also liked using this with some sag to break up!

I mean you never can have enough fuzzes! And this is such a unique fuzz it’s worth grabbing at its price point. But if you need something to fit your board and be easy…maybe look at other options.

Essential pedal on my board

This really is one of those great 80% to 100% always on pedals for me. Rather live or in a small room, and you can’t crank to 6 for breakup without going defcon 5. This is the perfect pedal for a player that asks…how do I get that natural tube breakup sound at lower volumes? Well, this is pretty the most straight forward way. Good reason most use them, and I’m sure live FOH sound guys are happy for it!

But it’s such a great first in line transparent OD. I just turn it on with barely any gain at 10oclock to 11oclock. Then the Tone most seem to agree 10oclock or brighter at 3oclock. Pretty universal settings I see and use myself. The optional gain boost is great! With that it makes no sense to push heavy gain into it, outside another transparent low gain boost stack if you want. Or something with a different EQ flavor. Both modes sound great though on this pedal! Easy to go low breakup to medium gain.

I love to run this first followed by a Klon and then a TS808. That usually completes my basic low OD! MG, Klon, TS808 then I use heavy gains after. This allows me too cut low and high frequency of the MG, and use it to push the TS808 for a more focused sound in Choruses or solos. It kind of acts as a bit of a boost for me that way. Since both are set fairly low gain, or all 3 are on for a medium more wild overdrive.

You can use the MG last in the chain. But I’ve found as natural as it sounds, and some will want it to add back those lows and highs to Tubescreamers.. But with heavy distortion, it can squash a bit and can’t take anymore. So whichever order you choose, it’s safe to keep it before heavy distortions like a MIAB or Rat at max. Outside that skys the limit and any order will work! Great first pedal for starting your board, or those who want breakup at lower volumes. Goes great with a Tubscreamer, Klon and play around to see how you like them together. Or just use the MG with boost and go straight to your high gains. It’s just very versatile at the early stages!

Pretty good DI/I don’t use the attenuation

This is a great get it done DI to daw. It takes the speaker load, you can power it via phantom power. It’s priced decently for studio use, and is an apartment saver to record! I have a Tone King amp that goes to TV volume with an Iron Man built in…but that’s not gonna cut it for a 5hr recording session in a shared home or apartment!

I unplug my cab speaker, straight into box, XLR to my Preamp and turn the speaker simulation off, then use the Wall of Sound. I didn’t particularly care for the IR cabs they made. But I found some terrific third party ones for my amp! They sound 90% there, and in a mix you can’t tell the difference! I use this to write and then usually do real mic up record tracks later. Sometimes these do make it in as doubles!

Only downside is with this you need a good computer. Because if using Wall of Sound Cab emulation monitoring will be through the DAW! So keeping a 128-256 buffer is something you want. The Captor X has 30ish you can save at $600 for the box. Witt that no need for software and no latency issues…it has its own pc and Ad/DA chip in it..you use your phone to set up cabs. This is why I’m not doing a low review on this. Because they sell a box more expensive for live and 0 latency that’s a bit pricey.

If you just need to use headphones with your expensive tube amp, your computer is good enough to keep a 128-256 buffer when recording guitar. You should have no issue! You can also try all the companies cabs for free, when hooked up online before buying. I found the matching ones to your amp work best. It just is hit or miss, and 3rd party can sometimes be better.

Like anything mic up don’t expect with headphones, to hear a big round bass sound and 3D sound. We are getting there with practice stuff…see Boss Waza headphones. And hope one day we get there with this! But low end on any cab sim I’ve used has a clipping like sound with bass up high. But in a mix, playing with drums most of that bottom is cut and of no worry. For me it captures everything fine once I find the correct cab. You may have to buy 3rd party or take some days to find the right cabs.

However, this is a life saver for apartment studios and players! I do my demos on the weekdays after work. Then on weekends head to the practice space to play live and loud. This gives me options, so I’m not letting an expensive amp go to waste and recording demos with a guitar sim or a cheap pedal amp box. Also get to keep my pedal board set as of o were live, and crank my amp.

I’ve tested Tech 21 and the rest…always prefer my real tube amp with this box, and a cab sim! If latency is a issue, you can easily buy a cab sim pedal to load responses and use it before your daw between the captor! They sell some cheap ones that do the job if you need external. And the official Cab M box separate, then the X as an all in one.

So go with the Captor X if you need a live everything, have the money and latency/computer is a concern. On the cheap go with this if you have the computer power, and plan to use at home mostly. You can always buy the Cab +M box to go along later if you want to upgrade. Or a cheap TC electronic and several others out there.

Attenuator is a simple -20db, that enough for a loud Marshall to tame and some. But it’s by no means a bedroom Db reducer in a small shared apartment. It’s enough to crank your amp to break up, without going over the drummer. This is more a DI box first, than an attenuator fir bedroom practice. It’s headphone and recording mostly..but you could use monitors at low level. I use an Iron Man 2 attenuation and that one is great!

Great Distortion Marshall or not!

I went on a little journey for a Marshall distortion sound that would sound great with 65 Deluxe style amp/Tone King in my case. I stumbled upon this after trying JHS offerings.

What I liked about this pedal is the bottom end isn’t tamed so much. I can sculpt it myself and the EQ is very versatile! Many overlook the presence switch inside the pedal. Simply set all to noon, and if to dark or bright, open up and set the presence. The presence is 3.2k and mostly your high area. The high external knob more works as an upper mid boost wort the tone stack…as explained in manual.

Once you dial in the presence with all set to noon, it’s very easy to work with. Once I tuned it to my amp, I could pretty much scoop or turn up mids, lower bass or keep center to 25%. This goes from normal to a chug machine!

After presence set I noticed I barely had to touch my high knob. Maybe just nudge it up a few. At first I had it all the way up, until I set the presence correctly. That’s one thing I think people miss, or demos don’t talk about.

With that out the way, the distortion is great! Reminds me of early 90s Grunge, 70s rock and can be pretty much Black Keys in a box. It nails the Green Day, Pearl Jam and In Utero Tones great as well. It is a bit on the older 70s style compared to say an Angry Charlie pedal.

But it has more function imo to tailor. I see no reason I wouldn’t want this on my board! It works extremely well with blues breakers behind it, Klons and any stacked low over drive if you want more modern territory. I returned a JHS @ pedal that had a way too tight low end, but was cool for solo modern players… as I favored this pedal more for Rhythm, over the many MIAB I tried with bright cap type amps!

It works on bright and dark amps, so it’s hard to go wrong with this. Having a Fender or Vox tone then being able to use this is a game changer! More versatility for your playing, and the jump from my Morning Glory to this pedal sounds natural on my amp. I play mostly Indie rock and current stuff. For the Metal player I’d say good if you’re into sludge type stuff. But it’s not a Steve Vai solo machine…I found that in the @+ but just not my style.

Simply put, it’s great fit as a main high gain sound on you board!

Great Clean Amp/Deluxe on steroids and then some!

These are all things I wish I was told, and I very much recommend this amp and love it. Every amp I’ve ever owned, has one thing you may want ti play with.

So this is two amps in one and takes a bit to wrap your head around. Lots going on here, but still a 65 Deluxe at heart. It has a Lead channel that has less bass, but sits well in a mix. It will do a Tweed, Vox and old 18w Marshall sound. 4 amps in one! I’ll be mostly focusing on the Rhythm channel many are interested in.

Manual states a good clean is 3 volume, Treble at 3 and bass at 7. The bass seems to add width to me. Lessen the bass and it shrinks a bit as you go down. Very cool!

Pedal wise it takes all my overdrives fine! Pedals are great with this amp. Now Fuzz and Distortion is just like a 65 Deluxe here, and no way to bypass the bright cap on the Rhythm or other channel to get past it. However, once you hit 5.5 and over it’s fine and bright cap won’t cause an issue. This is where the attenuator comes in handy at home or in small practice spaces. You can crank it to higher volume, not have to dial pedal settings all over. Good tip is too back the guitar volume down with volume on amp at 6. This will allow to still get the perfect cleans you get at lose volume of 3 or less, and use all your Fuzz and Distortion. Plus you can crank the guitar volume for some natural break up. Attenuate that on the back to get your level if too loud. GE JAN 5751 tube in V1 here helps. Allows more fine tuning and less break up sooner.

Otherwise, if you don’t like this way if you play distortion or fuzz and want to play at 1-3 Jazz cleans at the same time…well you know what to try, and it’s a $20 tech fee. Also GE 5751 tube in V1 helps keep cleaner headroom at higher volumes, and use less attenuation with more fine tuning of volume.

But to sum up this amp, it’s sonically in a different league of quality! It’ll do pretty much everything but metal. You could use it with no pedals or just one or two. Want modern rock sounds with pedals, keep it up and dirty at volume 5 and above for all around pedal friendly. Turn guitar volume down to clean up!

If you play blues or indie rock with no heavy gains, you’ll be fine on any volume. Heavy gains and some fuzzes at under 5 is the only weak spot I could find. The sound and build quality is hard to beat. This is not a HRD clean pedal amp, it’s a professional AAA amazing amp. Out the box it’s for blues/Jazz players at 5 and under volume, and rockers/Indie rockers at 5 and above that live in overdrive world. If you play these styles you will love this amp! This amp can carry itself with just a guitar and cable at any gig. 4 stars just on the lack of a bright switch, that alone would make this perfect. Lack of a mid channel is no big deal, as it’s set around 6-7.

Important: I’d also like to update on something I found out others may know. If you have a buffered pedal…any boss and most older pedals due. Stick a volume pedal at the end on the pedal board. Then turn the amp to 6.5 or louder, and keep your guitar turned up. Control the volume going in with the volume pedal. This should allow to bypass the bright cap, and get good cleans and break up on the fly. This works well Vs using the amp knob, and you can do it on the fly. This is a good non destructive approach, I learned from 65 Deluxe players as a standard touring pedal practice. This way bright caps won’t matter, and I’ve seen all kinds of fuzzes and distortions used this way on the 65 circuit. Set the attenuator as you limit/master volume point if you like. Just make sure you have a buffer in your chain! A compressor pedal in the chain, may help as well with this practice.

Good Amp, but like a lot of new Fender amps. Needed a tech

I really loved this amp, and wanted to keep it. I went through 4 of them myself. All had same issue, and went to a Fender Gold Star tech. The issue I had was it rattled a lot. Like a high glass rattle when around 2 very audible.

I went to Guitar Center to test the 65 and 68 Deluxe reissues as well. Out the box they did the same. The tech pointed it back to the sockets, chassis rattle and just tubes shipped in general. Can be a great amp! But highly recommend going to a tech, new tubes, new sockets and tighten all components. I had a month with several trying to fix them.

Rattle is normal at loud volumes on combos. But this was something else. Some didn’t do it for 2 weeks, some out the box. Ended up with an Imperial Tone King instead. But an old Fender Pro Reverb would be better…although heavier. Build quality for me isn’t up to par. But some may be fine with darker sounding power tubes, and something to dampen them from shaking in the sockets at all volumes. That would be a cheap fix to this issue by a tech if you really like it. Playing with a full band you may be fine.

But recording it was a bit much for me, and didn’t work for a studio to the gig amp. Would have given 5 stars if not for issue. On its own it’s a dream amp sound, at an affordable price. Wish they made a hardwired USA version for a little more! But maybe Fender will step up build quality. This is not it, and no idea what reviewers are getting.