Lovepedal Amp 50 Overdrive Review


Luckily for us, there are plenty of distortion, overdrive, boost, and fuzz pedals to choose from these days. In fact, there are so many that it can become challenging to go out there and choose the best one for your own needs.

Entering a guitar store can sometimes give you weird feelings – there are so many effects and pedals in existence, with so many different features, that it becomes impossible for you to try them all out.

Just imagine: there are pedals that you won’t be able to try in your lifetime!

However, despite all this, a considerable portion of the guitar-playing population still loves to keep it simple. Whatever are the amps, pedals, or other gear – some of them just like to use equipment with simplified and straightforward controls and features.

Now, this doesn’t mean that these products are not good enough. It means they have a very narrow use. In this article, we will be exploring one of these simple pedals, which you can find in the rigs of guys like Mike McCready and ex-Guns N’ Roses’ DJ Ashba.

Made by a small company called Love Pedal, it’s called AMP 50 Overdrive.


About the company

Before we get into it, we’d like to share a thing or two about Love Pedal as they’re not exactly one of the famous mainstream pedal producers.

Started by a guy named Sean Michael, they’re focused on making quality boutique pedals. The main twist here is simplicity, led by the idea that “less is more.” Pretty much all of the products are straightforward.

But Sean took it to a whole new level in 2009 when the company introduced their “Mini Line” featuring some minimalistic and really compact pedals.

One of those is the Amp 50 Overdrive, but the series also includes Pickle Vibe Vibrato, Echo Baby Delay, as well as the Baby Face Trem.

The AMP 50 is currently not produced by the company, but they still have some other great products at the moment.


And like we said ñ Love Pedal AMP 50 Overdrive is straightforward. It’s a compact little dirt box with just an input jack, output jack, one control knob, a footswitch, and a LED light indicator. That’s it! Straight to the point without any flashy additions.

The pedal is essentially based on Church of Tone 50 model, just gives a smaller and simplified version of it. And what’s more, the control is unlabeled. But it’s referred to as “bias/gain” by the builders.

The idea behind it is to be more than a boost and a little less than a distortion. Well, technically, it is a distortion effect since it adds some saturation and clipping to the tone. But it’s so nuanced that at lower settings it brings just a regular boost without almost any distortion. But we’ll get to that later.

What also needs to be mentioned is that the pedal features true bypass. Now, there have been countless discussions over the years, debating whether true bypass or buffered are the way to go. In case you’re up for buffered stuff, you need only one buffered pedal in your signal chain to get this sorted out.

Just like most of the pedals out there, it’s powered either by a standard 9-volt AC adapter or a regular 9-volt battery.


Like we already mentioned, the whole idea behind this pedal is to be as simple as possible. This is also the case with its overall design.

So let us start with its size. We could compare it to those mini pedals by TC Electronic or by any other manufacturer with similar small-sized and compact units.

This comes as a great advantage if you’re having troubles fitting a new pedal in your signal chain, but you really need an additional overdrive in there. Or in case you need just one pedal in front of a tube amp and just want to keep it as simple as possible.

The color of the pedal is white, the knob is the classic one you’d find on vintage-type pedals, and the only thing breaking the monotony is the name of the pedal written on the front panel. That and the blue LED light (which could be better if it was red but let us not be so picky).

Its aluminum casing is pretty sturdy and the overall build quality is impressive. There won’t be any worries with taking this little bad boy on tour with you.


Talking about the tone and the performance, the main intention behind such a pedal is to have something to just a little bit of boost and coloration to clean or overdriven channels of your tube amps.

Although we would argue that it works best in pair with those vintage or vintage-inspired clean tube amps. It adds just enough of overdrive to have solid and dynamically responsive performance.

Setting the knob lower will give more of a boost with just a dash of that sparkling crunch. As you move it up, you’ll get more saturation in there, and at highest settings, you might get into some solid mid-range soft clipping natural overdrives. Tones are a bit brighter than compared to a Tube Screamer.

But plugging it in front of a solid-state amp, you won’t get much of a tone there. Not that it’s terrible, but it’s surprisingly disappointing compared to tube amplifiers. The sound won’t be as thick, and there won’t be so much dynamic response in there.


A pedal like the Love Pedal AMP 50 Overdrive generally has a narrow scope of use. It’s a very specific unit aimed at those who prefer old bluesy tones and just some boosts and colorations to their tube amps.

Obviously, it’s not that versatile, but it can act bost as a boost and as an overdrive. Additional volume control would have been great, but we generally get the idea why there was just one gain knob on it.

If you’re looking for anything for these purposes, AMP 50 is definitely a great choice to consider. In case you manage to find one of these somewhere.

Recommended Viewing

TC Electronic TC1210 Spatial Expander & Stereo Chorus + Flanger Review

TC 1210 spatial expander

Whatever is the instrument that you play, it’s always a good idea to have some additional effects to enhance your tone. Not too much, but just something that will help you in not sounding so dry all the time.

Of course, there are plenty of pedals out there that will help you get all the tones that you need. But what if you want to take it to a whole new level and get yourself a rack-mounted multi-effects unit? After all, this is something professional musicians have been doing for their entire lives, so it must be a good thing, right?

With this in mind, we decided to look more into one of the discontinued pieces by the legendary TC Electronic.

Generally speaking, it’s a unit that’s often used by instrumentalists, even for live shows. We’ve seen some of the biggest names in the world of the guitar using it, including Eric Clapton, Larry Carlton, Steve Vai, Alex Lifeson, and even Dream Theater’s John Petrucci.

TC 1210

This unit is featured on our John Petrucci Rig Rundown here

Without further ado, here’s some exciting info about TC 1210 Spatial Expander & Stereo Chorus + Flanger.


First off, the TC 1210 is a rack-mounted product featuring a few onboard different effects. It is based on the company’s famous SCF Stereo Chorus/Flanger pedal but with a bit more features.

The whole idea behind the TC 1210 was to have a suitable effect for creating a solid spatial stereo image of one’s tone. In addition, there are some other effects that we will discuss here.

It is an entirely analog unit relying on the old bucket brigade device technology that people are still crazy about these days. There are seven different presets and effects to choose from: spatial expander, two choruses, two flangers, a doubler, and a stereo delay.

The 1210’s greatest superpower comes with its stereo features. Each of the effects can be used either in stereo or mono modes. In addition to this, you’re able to use two separate inputs as two independent channels and process them individually.

There are plenty of controls on there for separating these channels, using the same or different effects on them, and even using each of the dedicated outputs individually or as one whole audio image. All of the features and controls just wouldn’t fit into one brief review.

Inputs and outputs are located on the rear panel. There are two inputs and outputs for regular 1/4-inch jacks and additional XLR inputs and outputs.

Aside from that, there’s an input for bypass footswitch control and the “speed” footswitch jack that lets you choose from five different effect speed modes. There is also a “direct mute” switch that completely mutes the signal coming out of the unit.

Overall, 1210 provides a surprising amount of controls for such an old piece. The combinations are almost endless, and they’re all designed to provide you with some really spacious choruses, flangers, delays, doublers, and expanders.


Although not many will go to the lengths of looking into your rig, we could say that the TC 1210 seems pretty neat. Nothing too fancy, but it clearly shows somewhat of a vintage-ish ’80s and ’90s feel.

The writing on it is a bit too small, but when you get used to setting it up, you won’t have any trouble knowing where each control is. At the end of the day, not many will care about the looks of your rack pieces so there’s nothing to worry about here, really.


Just like its name would suggest, there is a lot of “spaciousness” feel to all the effects on it. But the TC 1210 is best known for its 3D stereo chorus.

Most of the guitar players who have used it over the years were able to create some really spacious feeling stereo tones through it. At some points, it could feel as if there are actually two instruments playing.

But whatever is the effect that you want to use on it, it provides a very 3D feel to it. In some cases, even when the sound coming from the left speaker is louder, you’ll get the impression that the tone is coming from the right speaker.

The illusion is created by delaying the signal to the left output. It is just one of the examples of how complex and detailed this piece actually is.

The analog feel is definitely noticeable with TC 1210 and it won’t sound like any of the standard sterile digital products you can find today. However, the whole operation is a bit outdated.

These days, you can get some pretty convincing (at least in our opinion) digital replicas of analog effects that would be a lot more easier to set up.

1210 will also provide stable operation for any kind of setup, whether you want to use it in front of an amp, FX loop, or in the standard rack configuration.

You can also send the signal to two amps or to separate it and go into an amp and a mixer. The options are endless, but it would take some time getting used to TC 1210.


One thing you need to know is that these are not exactly easy to find. TC 1210 has been really popular throughout the 1990s and these days you can find a used one for well over $1,000.

It’s an entirely professional vintage analog device that will provide some really “spacious” tones.

The TC 1210 is succeeded by some of the modern pieces, all of which are based on this old rack unit. For instance, there’s the TC 1210-DT Desktop Controller, which has a similar spatial expander effect on it.

But to conclude this review, this multi-effects piece is something those vintage seekers are crazy about these days. Aside from the guitar, it can be used for processing vocals or any miked-up acoustic instruments.

But if you’re a beginner and an average enthusiast, you’ll probably want to skip this one and go with something a little more simple and practical.

Featured Video

Maestro FZ-1 Fuzz-Tone Vintage Distortion Pedal Review


If we were to, somehow, go back to the earliest days of rock ‘n’ roll, we would stumble upon numerous guitar players having a hard time achieving a distorted tone.

After years of pushing their tube amps over the limits and using faulty equipment, some even resorted to damaging their amplifiers.

This was the case with The Kinks guitarist Dave Davies who even slashed a speaker cone on his tube amp to achieve that recognizable rugged fuzzy tone in “You Really Got Me” in 1964.

Who remembers this clip?

Well, anyway, that’s too bad since the Gibson subsidiary company called Maestro already came out with an actual fuzz pedal in 1962, the first-ever commercially produced fuzz effect – the Maestro FZ-1 Fuzz-Tone pedal.


Up until then, the only actual distortion devices were custom made and you would have a hard time finding an engineer who would know how to make them.

We won’t blame Dave for damaging his amp since the pedal was only widely accepted after The Rolling Stones’ Keith Richards recorded “(Can’t Get No) Satisfaction” through it.

From then on, the guitar world was changed forever and the trend of distortion pedal was initiated.


But before we get into this old piece, we’ll have to share some sort of background on the whole thing. In the old days, the distortion was looked down upon by engineers as an undesirable effect.

When distortion finally found its place in rock ‘n’ roll, Gibson, under the Maestro brand, decided to release this new device.

However, it was not originally marketed as a distortion device but more like a “multi-effects” unit for bass guitarists. It was even able to emulate horn sections and other tones with its simple controls.

After trying to break into the guitar player market, they still didn’t see any success until Keith Richards finally ended up using it. Gibson kept making them until the early 1970s with the last model being FZ-1S Super-Fuzz.


These days, it’s remembered as an important part of rock music history as it opened up the doors for the creation of new distortion pedals.


Looking at such a device these days, FZ-1 Fuzz-Tone was a pretty simple pedal.

There was one output jack on the top side, two knobs for volume and attack, and an integrated cable that takes the signal from the instrument.

Although “attack” would not be the best way to describe the control, it was essentially like a gain knob on you see on regular fuzz or distortion pedals these days.

The original versions of the Fuzz-Tone came with three germanium transistors in the circuit and were powered by two 1.5-volt batteries.

There were some changes to the circuit made with the later versions, but the overall features remained the same.

More significant changes came with the FZ-1S Super-Fuzz version with additional controls and the design. Overall, it was a pretty simple and straightforward piece.

Speaking of the design, you can clearly see that this is an old piece made in the 1960s. Wedge-shaped and dark, it’s not really an eye-pleaser.

However, no one really cared about its design but rather what tones it could make.


Despite the lack of more controls, FZ-1 is a surprisingly versatile pedal. It was a very unusual type of fuzz, unlike most of the stuff you find today.

When used on basses, you could achieve tones resembling horn sections. Used on the guitar, the fuzz is usually pretty thin. On some tube amps, you could get enough of a push to get that natural drive going along with the fuzz.

But if you were to put them directly into solid-state amps, you wouldn’t get much of a thick tone. Not that it’s bad or anything, but it’s unlike any modern fuzz pedals we’re used to.

In addition, germanium transistors were never really practical. Yes, their tone is great and you might even get some smoothness to it despite being a solid-state piece.

However, germanium transistors tend to heat up during longer playing sessions, which clearly makes an impact on the tone. It doesn’t sound bad, but it just makes your tone inconsistent. This is why later versions of FZ-1 were made with silicon transistors.

To put it simply ñ it is a very specific piece and it’s preferred by those who like vintage tones and tube amps. Don’t expect anything tight-sounding.

Other versions

After the initially produced pieces were all sold out in 1965, Gibson began producing the FZ-1a version. It ran on one 1.5-volt battery and it saw some circuitry changes.

A few years later, they launched the FZ-1B version which implemented two or four silicone transistors and ran on 9-volt batteries. It also came without the integrated cable but rather regular input and output jacks.

The final version was the FZ-1S Super-Fuzz which saw a complete redesign and some new features. It was basically a completely new pedal with different tones.

Gibson reissued the old FZ-1a versions for a brief period in the ’90s. Some other smaller manufacturers paid tribute to the pedal by releasing products that replicate its sound. However, the original early 1960s versions are still valued the most among collectors.


If you’re looking to get your hands on the original version from the 1960s, be ready to have anywhere between $200 and $500 with you. They’re pretty rare to find and have a very narrow specific use.

It’s definitely not something a modern tone lover would like. It’s far from tight. In fact, it’s really fuzzy and vintage sounding. The germanium versions might be a bit warmer, but it’s still a better idea to play them through tube amps.

Fuzz-Tone is an important piece of history and it marked the beginning of the distortion pedal era, something that lasts even to this day.

However, it’s not for everyone’s taste and you really need to know what you’re looking for if you want to get your hands on one of these.

The Maestro FZ-1 Fuzz Tone is featured in the Billy Gibbons Rig Rundown

Featured Video

GOMC Custom Road Cases – Ed Udhus Interview

custom road case gomc

When it comes to protective cases for transporting musical instruments from gig to gig, some musicians don’t have a lot of hang ups when it comes to how they transport their instruments, while others most certainly do. 

In fact, the more times you and your band take to the road, road cases for all your instruments become pretty much a necessity, helping to avoid almost certain damage if you’re just flinging your guitar in the back of the van in a soft un-protective case. 

A smashed up guitar, or any other instrument being half-destroyed, is not a way you want to start your next gig.  There are a thousand and one other ways to lose money while on tour…does wrecking your instruments while transporting them in between gigs have to be one of them?

damaged electric guitar

While some musicians are just not that careful with their gear, other musicians are well aware of the need to keep their valuables safe, and that’s where a good solid road case for pretty much all your gear comes in handy.

Today we’re talking to Ed Udhus of GOMC INC. Custom Road Cases, out of Fullerton, California, to get some info on the impressive road cases he and his company are able to produce, and get the lowdown on why a musician might like to have one.


Enjoy the interview!  (Note – All images from the GOMC INC website)

GOMC INC Interview with Ed Udhus

What is your business and when did it start?

GOMC INC – We started in 2003.

What is the geographical range of your business, i.e. where do you ship to?

We ship cases all over USA and Canada.

gomc custom cases 1

What motivated you to start a business on custom road cases for musical instruments?

We started making cases for ourselves in our various touring bands that we were playing in and it kind of just kept going from there…( reel big fish, zebrahead, lit, death by stereo )

What did you see lacking in the music industry, especially in live gigging, that either bothered you or made you think you could do better than what was available?

It wasn’t that we thought we could do better. We just figured we could do it and save a couple of dollars in the process… and, as a bonus they would be really fun to make.

gomc dot tv road case

When it comes to guitar road cases, what makes a good guitar road case?

For a guitar case to be a good guitar case it needs to have a  few things from the ground up… needs to be durable, needs to be light weight and needs to be designed in such a way that it will protect the guitar when it is being beat up by a luggage handler… needs to be light enough to be checked onto an airplane without fees but strong enough to fall off the luggage cart and then get run over by the same luggage truck…we have seen that happen quite a few times..

So, you guys build guitar cases according to someone’s custom requests?

Yes we do make custom guitar cases to specific requests…We start with a couple of basics. Flight panel material, heavy duty aluminum extrusions and heavy duty parts… Customer can pick the color, they can also decide if they want a certain color fabric to cover the foam in the interior… As far as custom guitar cases go… We do the single cases. We do a double case with removable inserts.  We will take an existing I series SKB case and mod it out to fit 2 guitars with our inserts… we make 2,3,3,4,5,6,7,8,9,10,11, and 12 space vaults…. When it comes to guitar cases we will make anything the customer can dream of…

What’s the most expensive guitar case you’ve ever designed and who was it for? 

We have done quite a few display / transit vaults. These things can be used as museum displays with plexi lids and or trade the lids out for standard lids and ship them to the next show. Some of them can get pretty elaborate with all kinds of extras. Power LED lights on a remote with different colored custom fabrics etc. The sky is the limit. Being a guitar collector myself, I know guitar lovers LOVE their guitars and will do whatever it takes to make sure they are safe…

custom guitar case

What are the most common customizations you get from customers?

Most common lately is 2 space fly vault… Customer can have a 2 space made that will house 2 guitars. Many different styles will fit and they can fly with them. Switch out guitars when they want to and it is a very convenient case for the price. We used to do a ton of the 3 space versions but, as airlines make it tougher the check large things on a lot of customers have switched to the 2 space versions.

What’s the first thing that breaks down or becomes ineffective with a typical guitar case and how do you deal with that problem?

On the 2 and 3 space fly vaults we have had issues in the past with wheels breaking or breaking off. Over the years we have had to come up with better versions of that that are more rugged and we have done a pretty good job with that to date…

What are the least practical, and perhaps therefore most “rock star” thing anyone’s ever requested you make for them?

We do not judge… We have made cases for everything you can think of. If someone wants it then it is a valid request. We have made cases for bars, for alcohol bottles, for vanity mirrors, hidden compartments for who know what (not our business) nitrous bottles, whip cream bottles, weapons of every single kind. You name it and we have made a case for it…

guitar case for gigging

What’s your biggest guitar case you’ve developed, and can you tell me more about it?

The largest case we do is for a 12 space vault- Acts as a guitar boat on stage and transports 12 guitars anywhere in the world in an airline container in the cargo hold of an aircraft. We have quite a few customers who freight their guitar vaults to the farthest corners of the globe. This case might come off as expensive but, when compared to 12 individual cases it is quite a bit less expensive. In terms of value and use it is a great product.

How protective are your cases, and how much does durability and protection figure into things?

Durability, protection, ease of use, and aesthetic are the 4 most important factors in designing a guitar case…if it does its job easily, takes the riggers of the road, and looks good doing it then you have made something great that the customer will be pleased with.. That is really the most important thing we do here.

Anything planned for the near future that readers should know about?

Anything planned for the near future that readers should know about?

We are really getting into pedal boards and pedal board cases. A lot of guys want something slightly different than all of the standard sizes available. We want to give them an easy to use affordable tool to make that happen…On our site they can input the size and color of the board they want, add tiers and basically make the board they want with a couple of clicks and make it happen… Try it out at


Thank you very much!

custom road case for electric guitar

Recommended Videos

If you have any comments or questions, please leave them below!  Also – check out GOMC Road Cases on Facebook here.

Dunlop JHOC1 Octavio Pedal Review


Even after all these years and countless technological achievements we saw, people still enjoy the good old vintage stuff.

Of course, we’re talking about guitar players who sometimes really love to dig deep in search of a great tone. While doing so, they sometimes end up finding the rarest of the rare, some of the most unusual vintage pedals by some long-defunct manufacturers.

Aside from the tube amp stuff, there are plenty of other fun little gadgets from the old times that are worth checking out. For instance, those fuzz octave pedals that were capable of creating some really thick tones.

Despite replicating old and broken amplifiers, they managed to captivate many of the guitar players with specific tastes over the years. But since these old original fuzz pedals might get too expensive, there’s something from Dunlop that might be worthwhile if you’re into that kind of stuff.

Called JHOC1 Jimi Hendrix Octavio, it will definitely help you get those vintage-ish psychedelic bluesy tones.

Jimi Hendrix Octavio

Since there seems to be a great trend of the 1960s and 1970s throwback in rock and other genres, we’ve figured we could take a closer look at this pedal and see what it’s capable of. Now, let us dig in.


All the fans of the vintage stuff usually like their amps and pedals and other effects straightforward. Just look at any fuzz, overdrive, and distortion pedal from the old days or most of the amps from the ’60s and the ’70s. It’s not that rare to find an amp or a pedal with just two knobs.

Well, such is the case with JHOC1 pedal. What you get is input, output, control for volume level, control for fuzz, on and off switch, and… Well, that’s it! It is intended to be as simple and as straightforward as possible.

The idea was developed by engineers from Dunlop to replicate some of the old tones Jimi Hendrix had back in the day.

This particular pedal is a complete copy of the very old legendary “Octavia” made by technician Roger Mayer for Hendrix. The one that’s inside the museum in Seattle, Washington.

The old Octavia was based on the idea that distorted tone should have a really rich harmonic content. Maybe too rich for today’s standards.

In fact, many of the guitar players today, playing modern-oriented stuff would not find use for such a pedal. Nonetheless, Dunlop developed this one as a great throwback for the ’60s and ’70s psychedelic music.

Aside from adding fuzz (a lots of it, in fact), Octavia added lower and higher octave in the mix. This unusual blend created a weirdly pleasant mushy fuzz chaos that Jimi Hendrix exploited so well. And Dunlop’s version of it is intended to do the same.


We don’t really know what to think of this pedal’s design. It’s as if the original builder was told to come up with something that’s both ugly and beautiful at the same time. But all the jokes aside, just like its features, operation, and its tone, the pedal’s design was taken from the old Octavia made by Roger Mayer.

roger mayer

It’s pretty minimalistic, which is certainly something that brings back the old vibes. Unlike modern pedals we have today, with inputs and outputs on the left and right side and the pots on the front panel, the JHOC1 has input and output on the top side and the two knobs for volume and gain right above them. The front panel is completely blank, except for the “Octavio” sign written on the very top and the one switch on it.

Placing it on your pedalboard with all the other modern pedals, it will look like some sort of a time traveler from the 1960s.


As we already mentioned, it has a really rich harmonic content with one higher and one lower octave added. Of course, these octaves are blended in an unusual way. The upper octave is somewhat more pronounced, but it goes in so well. In a way, it sounds like there are added harmonics to your regular signal.

The fuzz itself is pretty solid, reflecting on those classic tones from the 1960s. What’s really interesting is that it can be paired with overdrives as well if you want to add a different flavor to it.

But in our opinion, it works the best with the clean channels of classic tube amps, especially old Fenders or anything that replicates that vintage American vibe with 6L6 tubes in the power amp. On the other hand, it might sound a bit dull plugged into solid-state amps.


Look, it’s a pedal that definitely gives you that little piece of Jimi Hendrix. However, it’s not for everyone. There have been some negative reviews about JHOC1 online, but we believe this is due to people buying the wrong kind of pedals for themselves.

Yes, that happens, especially with young and enthusiastic beginner players who are automatically drawn to the Jimi Hendrix’s name on it. The secret, however, lies in how you implement it and how you combine it with other pedals and amps you have.

Hating on fuzz pedals is not unheard of. It’s especially the case with ones that have such high gain operation and really rich harmonic content, in addition to the higher and lower octave.

As we already mentioned, it’s the best option if you’re into those vintage psychedelic rock tones and already have a vintage or a vintage-style tube amp. Otherwise, there’s no point in getting your hands on the JHCO1.

On the other hand, it is a bit expensive for such a simple and straightforward pedal. Not to be too negative, but it seems to us that this was Dunlop’s attempt to cash in on Hendrix’s name.

Since this particular model is not in production anymore, you can find it used for around $100 up to $130, depending on its condition. Just don’t hold your expectations too high thinking this is for tight heavy riffing and power chords.

Featured Video

What do you think of this guitar pedal?  Comment below!

Orange Bax Bangeetar Pre-EQ Review


There are so many different ways for you to get quality distortion these days. Some love their tube amps and the “organic” smooth overdriven tone that they get when they push the volume way up high on the clean channel.

Some others may prefer those scorched distortion tones of classic pedals like Boss DS-1, and some might be into digital modeling amps and all the replications of both classic and modern tones.

Be that as it may, the technology of guitar pedals has advanced and we have some of the most colorful and harmonically rich distortions at our disposal.

The one that we would like to take a closer look at is made by the legendary Orange Amplification, who are known for their amps with very specific dark and “fuzzy” tones.

The pedal in question is called Bax Bangeetar Guitar Pre-EQ and is one pretty interesting and exciting piece.

Bax Bangeetar

It’s actually more than just a regular distortion pedal. But not to spoil anything in these first paragraphs, here is the review below.


What’s easily noticeable at a first look is that Bax Bangeetar pedal is pretty well-built. Whatever your ambitions are, it seems like this one can be taken on a tour without any fears of it getting smashed easily.

But going over to the standard properties of a guitar pedal, the Bangeetar has a lot of exciting features. The first one we would like to point out is the speaker cabinet simulated output.

The pedal has its own cab simulator circuit ñ appropriately named “CabSim” ñ that allows you to plug it directly into a mixer. This way, it turns it into somewhat of a preamp pedal.

According to the company, the cabinet they replicated here is their 40th Anniversary PPC412, the one that is loaded with four 12-inch Celestion G12H 30-watt speakers.

Aside from the standard on and off footswitch, the Bax Bangeetar has an additional switch that adds more boost when the distortion is engaged. This is not a classic “more gain” boost but just adds 6 more dB to it.

Kind of like those classic clean boosters, only it’s integrated into the pedal. This can come in handy for some tube amps if you want to use more of their natural tube drive.

Going over to controls, Bangeetar has an interesting feature in this regard as well. Aside from the obvious volume and gain controls, there is a 3-band EQ with sweepable mids.

In fact, there are three separate knobs just for mids. One regulates the level, one is for frequency tweaking, and the third one adjusts the frequency range. This way, you can select a specific section of the mid spectrum and either boost it or cut it.

As for the power, it runs on standard 9-volt batteries or classic AC adapters.


It doesn’t take more than one glance to realize that this pedal is made by Orange Amplification. All of the knobs are labeled with classic symbols you see on Orange amps.

These might be a bit confusing, maybe even annoying, to those who don’t know much about them. But still, you’ll also find regular labels for each parameter.

The metal handle below the controls is kind of unusual but it looks nice and doesn’t interfere with its operation. The whole thing is rounded up with black finish and pots with a recognizable shade of orange.

Of course, there are some other versions, featuring white finish, white knobs, and black labels.

The colors of the LED indicators could have been different though, as blue and green might not be the best option for darker venues. But not to be nitpicky, it’s overall a great looking pedal.


To put it simply ñ this pedal is all Orange. Just like classic Orange amps, it’s heavy on the mid to high-end spectrum of the tone. It also brings the very well-known “fuzziness” into the tone, while still managing to keep it tight in the low end.

We would say that this pedal’s greatest strength lies in its equalizer. All the guitar players who use distortion all the time know that mid-range control is of essential importance for a great tone.

And this pedal allows very detailed control over this part of the tonal spectrum. Whatever you want to do with mids, cut them or boost them, the Bax Bangeetar will give you control over that.

The pedal’s unique tone is achieved without back-to-back diode clipping which you usually find in standard distortion devices. This way, the tone resembles those classic Orange amps.

Now, there would be some discussions about whether true bypass or buffered bypass is better.

Whatever your thoughts are, Orange Amplification argues that buffered is the way to go, and such is the case with Bangeetar. This way, they keep all the clarity and the high ends in the tone.

Not to bore you with all the technical details, but Orange has done some magic with this pedal and the internal voltage is doubled. So you have 18-volts with a 9-volt power source.

This way, as they claim, you get a better dynamic response. And we could say that this is true. Despite not being a tube-driven pedal, it brings some solid dynamic response to it.

The cab simulator works pretty well too. We’re not sure if it fully replicates the exact cab that they said, but it does give that natural cabinet feel if you plug it into a mixer or an audio interface.

Along with its dynamic response, it’s pretty useful for studio recordings in case you don’t want to bother with miking up your amp.

At the end of the day, it’s one very versatile little pedal. It delivers anything from the smooth bluesy crunch, up to some pretty heavy djent stuff.


Released in 2015, Bax Bangeetar comes as the company’s first pedal since the 1960s. We can say that it’s definitely a great comeback. The only downside here would be the price.

But although a bit overpriced, it doesn’t mean that it’s a bad pedal. In fact, it’s one of the best distortion pedals that you can get these days.

Video Demo

Peterson Stomp Classic Strobe Tuner Review

Peterson Stomp Classic Strobe Tuner review

This goes for guitarists and instrumentalists of all the genres – you NEED to stay in tune. 

Look at what happened to poor Slash here!  Playing “School’s Out” on a out of tune electric guitar.  Fire that tech!

Even if you’re playing obscure microtonal music, there are still rules to follow, and failing to keep your tuning and intonation in order will have disastrous results.

And we really take the technology for granted today. We have some pretty cheap tuners in various different forms, either as pedals, clip-ons, and classic pocket tuners.

But back in the old days, not many guitarists had access to precise tuners. In case they didn’t have a decent piano at their disposal, they had to find creative ways to what to tune their instruments up to.

During the 1960s, so-called strobe tuners became popular among professional rock musicians. The same concept is also being used to this day, mostly because it provides the most precise tuning.

However, there are some digital tuners that use the same principle, only applied to digital technology and LCD displays. One of those is the Stomp Classic by a company called Peterson Strobe Tuners.

Peterson Stomp Classic Strobe Tuner

It’s a very interesting professional-grade device that offers really precise tunings. One of these can also be found in the signal chain of the legend himself, ZZ Top’s Billy Gibbons.

Well, if he thinks it’s good, then it must be good. Right? Let’s find out more about it.

Strobe tubers

To those who are not familiar, strobe tuners have a black and white disk spinning over a strobe light. The flickering of the strobe light corresponds to the frequency of the note being played.

These black and white discs have a very specific color pattern: Each one is divided into rings with black and white blocks.

Going from the center, each ring has double the blocks than the previous one, and all the blocks are half of the width from the previous ring.

These discs rotate at a different speed, depending on what note you want to tune up to. The strobe light that we mentioned essentially takes a “snapshot” of the disc in the given position.

When the frequency of the open string matches the desired one, you get this optical illusion as if the disc has stopped. It’s a very old method, developed way back in the 1930s, but it’s proven to be the most precise one.


While Peterson’s Stomp Classic is a digital tuner with an LCD display, it relies on this particular method. Instead of the physical disc, it does the same thing on its high-definition display.

First off, it’s enclosed in a vintage-styled and very robust casing that fits on any pedalboard. It basically operates like most of the pedal-based tuners – you just step on it, it mutes the signal, and it shows the name of the note that you’re playing on a separate display, while the main screen shows the “spinning disc.”

Next up, it’s a true bypass pedal, which is somewhat of a surprise for a tuner. In addition, there is a switch that lets you control the signal level in case you have a higher output instrument. There is also a ground lift toggle that can help you deal with unwanted hums.

But aside from being a tuner, Stomp Classic can act as a classic DI box. There is a mode switch with three settings – monitor, true bypass, and the DI. This surely opens up a lot of possibilities both for studio work and live performances.


The main display has a very smooth operation and high-definition quality. It’s kind of like looking at 60fps videos. The display is designed to be visible both in dark and in direct sunlight. This is also thanks to its fairly high contrast.

About the pedal’s construction, it’s pretty safe to say that Stomp Classic is one of the most durable pedals out there. The casing is made from a very thick metal, plastic is of top quality, and all the internal mechanical switching components are pretty sturdy as well.

Overall, when you get a hang of it, it’s a pretty simple unit to use. It also ensures some insanely precise tunings, with the full precision of +/-0.1 cents, which is basically like 1000th of a fret.

The additional features are more than just fluff as this one can also be used for controlling your signal with different modes. The DI box mode is a very useful thing here.

A bit of a downside would be that the small display showing notes is not always useful to some. It’s fairly difficult to see whether the display is showing a flat or a sharp tone.

The contrast and visibility are all great, but the symbols a really small. With all these great features, sturdy vintage-like design, and clear operation, it is definitely a letdown.


Sure, it may not be like the old strobe tuners, but Stomp Classic is way more precise than any other “conventional” digital tuner these days.

You may think of an average tuner as a fairly simple little device, but this one takes it to a whole new level. Testing it out against a few other standard tuner pedals will show you exactly why Stomp Classic is superior to anything else.

However, you should always remember that this is a fairly expensive (about $200) professional-grade piece of equipment.

To be fully honest, you don’t really need it unless you’re a touring pro musician who often performs at broad daylight, has an extremely busy schedule, and doesn’t really have time or patience to deal with unreliable tuners with some minor annoying issues.

Well, it has one issue that we mentioned, the surprisingly small display for sharp and flat symbols. But still, it’s something you can get used to and have a fully functioning piece that can also work as a DI box.

Now, what you want to make of it is up to you. Some may argue that it’s crazy to give $200 for a simple tuner. Others, however, can’t stand even the slightest error in the pitch.

Video Review

We Review the Best Amplifiers for Acoustic Guitar

best acoustic guitar amps

While playing electric guitar brings an abundance of possibilities with all the effects and the wide palette of sounds that you can make, there’s just something about acoustics that cannot be replaced. That true resonating tone coming directly from the instrument and not any outboard effect makes it so pure.

acoustic electric guitar

Of course, acoustic guitarists also want their tone to be amplified. Some might prefer to mic it up – a bit of a delicate process for an acoustic instrument but that brings great results.

Another way to amplify it is via piezo pickups, which is more practical but might not give as full of a tone as a miked up guitar.


Either way, whatever your preference might be, there are some great amps out there specialized for acoustic guitars.

In some way, they are like smaller PA systems designed specifically for acoustic guitars and occasional vocals.

Whether you’re a professional or an amateur player, here we will be taking a closer look into some of the best amplifiers for acoustic guitars that you might want to check out.

Marshall AS50D

marshall AS50D

We’ll start things off with AS50D by Marshall. This 50-watt amp has two 8-inch speakers and an additional tweeter for high-end tones.

There are two inputs on it, one of which is a standard 1/4-inch instrument jack, and the other one an XLR for microphones. What’s great here is that both of these channels have separate volume, bass, and treble controls.

The amp also features a solid chorus effect circuit integrated into it. You can apply this chorus either on one or both of the channels. As for other features, there’s anti-feedback control, reverb, and even an effects loop.

It’s a fairly simple amp with great tone and some useful features added to it. Most certainly worth the price.

Here’s a video demo of the Marshal AS50D Acoustic Guitar Amp by Wickham Road Music.

Yamaha THR5A

Yamaha THR5A

Okay, this is a bit of a smaller one, but we can’t help but mention Yamaha‘s THR5A on a list like this. Its 10 watts might not be much, but the amp can deliver enough power for practice sessions, street performances, and even some smaller gigs.

Just like on Yamaha’s small electric guitar amps from the same series, the tone goes through two 3-inch speakers, which impact the tone in their own way.

The strong point of THR5A comes with different onboard effects and digital microphone models. All this with the capability of powering it via eight AA batteries which give about six hours of playing time on average volume levels.

And not only can you add backing tracks via auxiliary input, but there’s also USB connectivity that turns this amp into a convenient little 2-channel audio interface for home recording. Pretty wild what this amp is capable of, despite having only 10 watts of power.

Here’s a demo of the Yamaha THR5A Acoustic Guitar Amp by Andertons Music Co.

Roland AC-60

Roland AC-60

Roland is a company well-known for their quality products. Their amps are famous for their clear tone that goes well with any kind of additional effects.

While we’re familiar with their Cube series for electrics, there are pieces like the AC-60, also known as the Acoustic Chorus amp. This one bears the power of 60 watts and two 6.5-inch speakers for stereo output.

There is also an onboard multi-effects processor with delay, chorus, and reverb, as well as the additional feedback control.

There are a few more useful features on it like stereo outputs, both for PA and for any recording device. In addition, there’s also a separate subwoofer output. The whole thing is rounded up with footswitch connectivity.

What’s more, the amp also has its own integrated tilt stand that offers some more acoustic positioning options. Overall, it’s a fairly versatile piece that gives some pretty solid and crystal clear tones.

Here’s a video demo of the Roland AC60 Acoustic Amp by Alvin Deleon.

Vox VX50AG

Vox VX50AG

While we mostly remember Vox for their electric guitar stuff, like the legendary AC15 and AC30 amps, they also have a solid acoustic amp like the VX50AG.

Although it’s a bit of a budget option, this thing can offer some serious tones for acoustic guitars. There are, of course, two inputs ñ classic 1/4-inch one for piezo and an XLR for microphones.

There’s also a phantom power feature in case you want to use a particular condenser mic.

Both of the channels have their own separate controls for volume, bass, mid, and treble, and the instrument input also has chorus and reverb effects.

It’s pretty easy to operate, it works well, it sounds great, and it’s fairly cheap. You can’t go wrong with the Vox VX50AG.

Here’s a video demo of the VOX VX50 AG by CKMusicOnline.

AER Compact 60/3

AER Compact 60:3

Now here’s a bit more serious amp for those who seek fully professional gear. Although expensive, the price here is definitely justified.

It’s designed to be a fairly simple piece that reproduces the natural tone of your guitar. However, this also means that you’ll need to have a quality high-end acoustic guitar in order to get the full potential out of it.

Although simple, you have some additional features, like the onboard effects, effects loop, and the tuner output.

Generally speaking, the pristine tone reproduction is this amp’s biggest strength. Whatever is the type of acoustic guitar that you have, it will reproduce its tone with all of its distinct features and nuances.

What’s more, the AER Compact 60/3 is pretty light to carry around, something that is pretty impressive for a 60-watt amp.

Here’s a video demo of the AER Compact 60/3 Acoustic Amp by Acoustic Guitar Magazine.

Boss Acoustic Singer Pro

Boss Acoustic Singer Pro

Another professional-grade acoustic guitar amp, Acoustic Singer Pro by Boss is a powerful little thing featuring 120 watts.

There are two standard channels, one with an instrument input and the other one with a combo line/XLR jack and phantom power. Both of the channels have completely separate controls.

But what’s really exciting is that the amp has looper feature for the instrument channel and the harmonizer effect for the mic input. This means that you can add vocal harmonies and do a few layers of guitar tracks on a loop.

To implement its full potential, there’s also USB connectivity that allows you to use it as an audio interface.

It’s an amp of great quality that’s really fun to use. Is there anything more that you need?

Here’s a video demo of the BOSS Acoustic Singer Pro Amplifier by gear4music.

Other Options…

Here are some additional options when it comes to gigging with an acoustic guitar, if you need it to be louder.

We spoke with Tom Anderson of Anderson Guitarworks, in Newbury Park, California, and his best bet isn’t even an amp!

Tom says, “I run from an LR Baggs Session DI into the house PA system.”  What kind of house PA, we asked.  “Whatever the venue has, most are pro installations with good wedges for monitoring.”

Here’s a look at the LR Baggs Session DI…

LR Baggs Session-DI Acoustic Preamp

According to LR Baggs’ website, “Inspired by the LR Baggs Handcrafted Video Sessions and our experience in some of Nashville’s great studios, the Session Acoustic DI brings our signature studio sound to your live rig. The Session DI enhances your acoustic pickup and imparts the rich sonic character that you’d expect from an experienced audio engineer using some of the world’s finest studio gear. We’ve captured this studio magic and put it into a compact, easy-to-use DI that will transform your live sound.”

Please let us know what you think of these amps, any experiences you’ve had with them, by leaving a comment below!

We Review the Loudest Guitar and Bass Amps

we review loudest guitar and bass amps

There’s probably not a better feeling in the world than cranking your amp way up high and playing a juicy riff with that perfect tone dialled in.

That’s basically been a dream for anyone who ever started playing electric guitar. Whatever your genre of preference might be, blasting your electric guitar as loud as you can (possibly even on a high gain setting), brings such a joy that barely anything in your life would be able to compete with.

guitar face

And isn’t that just the whole point of starting electric guitar – playing so loud that your neighbours end up calling the cops? But all the joking aside, in this brief rundown, we would like to take a closer look at some of the meanest and most powerful electric guitar amps.

In fact, some of these are so powerful that they can easily cause hearing loss, if you’re not careful.  You will probably want to put in some earplugs so you don’t develop tinnitus.

Whether it’s for guitar or a bass, neither of these amps we’ll mention will have power under 200 watts. Pretty scary when you think of it, right? So let’s get into it.

Note: In case you do get one of these, you’re playing at your own risk. We warned you.

Table of Contents:

Let’s get into it!

Orange Amplification Thunderverb 200

Orange Amplification Thunderverb 200

Orange have built their reputation over the years for making some of the heaviest-sounding guitar amps. Back in the band’s early days, Tony Iommi of Black Sabbath rocked on one of their guitar amps, eventually paving the way for some other metal guitarists to get more into the brand.

Although not produced anymore, the company’s Thunderverb is a monster featuring 200 watts of output power. Sure, it can deliver solid cleans as well, but the skull-crushing distortion at the higher volumes setting is what makes it stand out. The fuzzy and slightly “grainy” tones typical of Orange amps get even more extreme at this power.

It has an abundance of controls, at least compared to some of the classic straightforward Orange amps. There are two channels with the clean one featuring a standard 3-band EQ and the distortion channel with the good old “Shape” control that became so popular among the Orange amp models over the years. However, despite all this, the biggest Thunderverb’s strength is its sheer power. (And the really cool name.)

It packs four 12AX7 tubes in the preamp, one 12AT7 in the FX loop, one 12AT7 for the reverb effect, and four 6550 tubes in the power amp section.

Here’s a demo of the Thunderverb 50/200 by Orange Amplifiers.

Up next, the Marshall EL34 100/100 Dual Monobloc…

Marshall EL34 100/100 Dual Monobloc

Marshall EL34 100:100 Dual Monobloc

And there would be no way to avoid Marshall on the list of deafening guitar amps. However, this time we’ll include the EL34 which is a power amp featuring 200 watts. This means that you’ll need an additional preamp unit to properly play on it.

This rack-mounted piece is one of Marshall’s Dual MonoBloc products, which means that there are two channels that work separately. Each of the channels on the EL34 100/100 has a total power of 100 watts, summing up to the incredible 200 watts. Of course, both channels have their own gain and presence controls, allowing some tone-shaping within the power amp itself. However, a huge portion of your tone will still depend on what preamp you’re using. As for the EL34, it’s here mainly to provide guitar players with brutal power.

This rack-mounted power amp utilizes eight EL34 tubes, four for each of the channels. Just like its name would suggest.

Here’s a demo of the Marshall EL34 100/100 Dual Monobloc by Jacksonke1t.

Up next, the Blackstar Series One 200…

Blackstar Series One 200


Making some of the best and most powerful guitar amps out there, we should definitely mention at least one piece by Blackstar. For this purpose, we’re choosing the Series One 200, one very versatile and extremely strong tube amp.

Although mostly popular among metal players, there’s so much stuff that you can do with it. There are four channels on it, with a total of six modes. Whichever it is that you implement in your music – Clean, Crunch, OD1, or OD2 ñ they all can utilize the full 200 watts.

However, in case you want to get solid tones and use the full potential of its ECC83, ECC82, and KT88 tubes without blowing everyone’s heads off, there’s a separate control on the front panel which allows you to reduce the power gradually as low as 20 watts. So if you really happen to like its tone, you can also use it for smaller gigs as well.

Here’s a demo of the Blackstar Series One 200 by Premier Guitar.

Up next, the Hiwatt DR401…

Hiwatt DR401

Hiwatt DR401

Of course, there’s some love to give to bass players as well. Bass amps usually have a stronger output than guitar amps as the bass guitar’s tonal spectrum is not as ear-piercing.

However, having 400 watts of power even for a bass guitar is something to be afraid of. And that’s exactly the amount of power that Hiwatt’s DR401 is armed with, all backed with the warm and full tone of three ECC83, one ECC81, and eight KT88 valves.

Sure, it might be a bit expensive to maintain an amp with so many valves in it, but that’s definitely worth it if you want to have a great and powerful tone.

Here’s a demo of the Hiwatt DR401 by Aussie Floyd.

Up next, the Fender 400 PS…

Fender 400 PS

Fender 400 PS

But for the ultimate king of ridiculously powerful guitar amps, we’ll have to go back to the late 1960s.

As these were the times of innovation and strong competition within the guitar industry, Fender decided to go all-out and release their 400 PS. Impressively enough, this absolute beast had 435 watts of power and could be used for both guitars and basses.

But to fully exploit the power of this amp, one would need to connect it to no less than three cabinets. Of course, this ridiculous amount of power saw no significant commercial success and the guitar players were still focused more on some other of Fender’s products.

Either way, it’s pretty fun to see what some guitar lovers were ready to play on, and a 435-watt amp is definitely worthy of praise.

Here’s a video demo of the Fender 400 PS by Retro Sound Works.

Thanks for reading!  Leave a comment below…

We Review the Best Amplifiers for Heavy Metal

best amps for heavy metal

Back in the late 1960’s, rock music began going into many different directions. However, one of the new movements stood out and has, later on, evolved into a genre of its own.

Usually considered to be its inventors, Black Sabbath pioneered heavy metal along with Led Zeppelin, Deep Purple, Judas Priest, and a few other bands who rose to fame during the 1970s.

black sabbath 1969

The sinister-sounding guitar riffs and intricate lead sections were enhanced by a huge distorted guitar sound.

Although it was a bit difficult to achieve a great distorted tone back in the day, companies slowly began making great pedals and amplifiers that eventually became of great importance to the genre.

In case you’re trying to achieve some seriously sinister tones, here are some of the best amplifiers for heavy metal that you should check out.

Table of Contents:

Let’s get into it!

Diezel VH4

Diezel VH4

This particular amp became somewhat famous among metal tone lovers after Adam Jones of Tool began using it. Although he uses the “Blueface” version of the VH4, the ones you can buy today are pretty similar. Of course, these are all really expensive amps, but what you get is worth it.

Featuring a peculiar looking front panel, this is an amp with four channels with individual controls and includes four 12AX7 tubes in the preamp section, as well as four JJ KT77 tubes in the power amp section.

Aside from a presence knob that can often be found on other amps, the VH4 also has a “Deep” feature that allows more shaping in the low-end spectrum.

Here’s a video demo of the Diezel VH4 100W 4-channel Tube Head by Sweetwater Sound.

Up next…the Randall Thrasher.

Randall Thrasher

randall thrasher

Randall is a company known for its high gain metal amps, and the Thrasher 120-watt head is most certainly one of their best products. With its two channels and different parameters, you have solid control over the high gain tones. The addition of the gain boost switch is also very welcome.

Overall, as its name suggests, the Thrasher is designed for the classic thrash metal tones and can achieve both mid-range-heavy and scooped tones. Although its drive works well, Thrasher’s clean channel has some great potential if you want to use specific distortion pedals.

Here’s a video demo of the Randall Thrasher by Joey Concepcion.

Up next…the Peavey 6505 Plus.

Peavey 6505 Plus

Peavey 6505 Plus

Of course, there’s no way to avoid Peavey on a list like this one. Within the huge arsenal they built over the years, we would like to single out 6505 Plus amp head with its 120 watts of power, “Rhythm” and “Lead” channels, and separate detailed controls for both of these.

What’s interesting here is that you have pre and post gain controls for specific tone shaping as well as presence and resonance knobs for each of the individual channels.

The “Rhythm” channel also features “Bright” and “Crunch” modes that allow some sparkling clean and specifically overdriven tones. With these, you can even do more than just metal, making it a bit of a diverse product.

Here’s a video demo of the Peavey 6505+ 112 Combo by Peavey themselves.

Up next…the Friedman Amplification BE-100.

Friedman Amplification BE-100

Friedman Amplification BE-100

Looking at this amp, it’s pretty clear that the model is inspired by some of those vintage British hard rock and metal amps from the 1970s and the 1980s. With the configuration of four 12AX7 and four EL34 tubes, you can expect some of the classic rock and classic metal tones and can even dive into some serious high gain territories.

While the amp is designed for some older metal, it can also satisfy some modern tone tastes. In addition to standard knobs, there are a few switches on it that can further help you define lead and clean tones. There are even different voicing options and the “bright” feature for those sparkling tones.

Here’s a video demo of the Friedman BE100 Tube Amp by Sweetwater Sound.

Up next…the Marshall JVM410H.

Marshall JVM410H


While we’re at it, Marshall deserves a mention on the list of the best amps for heavy metal. The company’s JVM410H is an interesting piece since it adds the functionality and tonal spectrum to the classic British vibe that these amps are known for.

All of the four channels ñ Clean, Crunch, OD1, and OD2 – have detailed controls for some serious tone shaping. Whatever is the guitar that you’re playing, you can get anything from sparkling cleans to crunchy bluesy tones, all the way to screaming metal leads.

However, despite its versatility, the JVM410H is specifically designed for some seriously heavy tones.

Here’s a video demo of the Marshall JVM 410H by Guitar Interactive.

Up next…the Orange Brent Hinds Terror.

Orange Brent Hinds Terror


Speaking about metal, there’s one pretty interesting piece done in cooperation between Orange Amplification and the modern guitar champion, Mastodon’s Brent Hinds. Nicknamed Terror, this 15-watt amp head certainly justifies its name.

However, Orange amps are usually designed for those with specific tastes as the high gain tones often get a bit fuzzy. Of course, this is in no way a bad thing, but it should be noted that they’re designated for those who like stoner metal or the early Sabbath vibes.

Aside from its simple layout, this little tube-driven monster has power attenuation. The full power of 15 watts will be enough for gigs and rehearsals, but 7-watt, 1-watt, and 0.5-watt options come in handy for practice sessions and home use.

Here’s a video demo of the Orange Brent Hinds Terror by Riffs, Beards & Gear.

Up next…the PRS MT 15 Mark Tremonti.

PRS MT 15 Mark Tremonti


Aside from the signature guitars with the company, Mark Tremonti of Alter Bridge has a signature Paul Reed Smith amp called MT 15. Featuring relatively lower power output, there’s an abundance of tones that you can get with the MT 15 and its clean and lead channels.

But what’s so great about this one is that it can deliver quality tones even in the highest gain settings. You won’t have any issues with those blurry or muddy tones and even some chords will manage to sound good played through the MT 15. Also, there’s a power soak option that delivers 7 watts.

Here’s a demo of the PRS MT 15 Mark Tremonti Signature Amp from Anderton’s Music Co.

Up next…the MESA/Boogie Triple Rectifier.

MESA/Boogie Triple Rectifier

Mesa Boogie Triple Rectifier

Many would argue that Mesa Boogie is the best amp brand for metal. While this is open for discussion, we’re most certainly aware of why this is the case. After all, Mesa Boogie made the famous Triple Rectifier, known for some of the most brutal tones of all time.

While there’s an abundance of things that you can do with its three channels and all the knobs and switches, it became famous for its use in heavy metal music. The 150 watts of sheer power will simply blow you away, no matter the specific tones you’re trying to dial in.

Here’s a video demo of the MESA/Boogie Rectifier by Ola Englund


Heavy metal is more than just a guitar tone – it’s a state of mind.  But if you happen to have both going for you, plus some lightning-fast fingers, you’ll be unstoppable.  Let us know if there’s some amps you know of that belong on this list that we missed, we always enjoy hearing from you!

Thanks for reading!