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Manufacturers like Blackstar, MESA/Boogie and Fender are using old and new technologies to design a bright future for tubes
Despite all the technological advancements we’ve seen in guitar amplification, tube amps are still the platonic ideal for many guitarists.Of course, no one would argue that amp modelers and digital replacements for tubes haven’t always come close to the real thing, but for many players, finding the best tube amp remains the primary goal of the quest for tone.
In this guide, we’ll take a look at vintage combos inspired by the tones that helped propel the electric guitar into the pop culture sky.We’ll also focus on tube amps that acknowledge the limitations of time-honored designs and employ onboard smart digital technology to compete with the rising wave of innovation that makes the amp modeling market so exciting.
We have something for every budget, which also proves the health of a tube amp as a concept.It shows that players of all ages and abilities will be inspired by this idea, and that the mysterious, glowing glass valves still hold a certain magic to guitar players, even if they are a relic of early 20th century technology we are now living in digitally. era of transformation.To make it easier to find the style of tube amp you’re looking for, we’ve listed the amps in order of price, starting with the most affordable.
Some people might scoff at tube amps because it’s just a one-trick pony, but that’s bullshit.The Blackstar HT Club 40 MkII 6L6 is perfect for any electric guitar player.Be sure to play jazz on it.Play the blues.But it also has enough gain to please metal players, and it’s totally convincing no matter how you like your sound.A triumph of modern amp design, it’s also very affordable.
Harley Benton leverages its efficiency of scale (the brand is owned by German retail giant Thomann) to assemble a gear like the Harley Benton Mighty-15TH at such a low price.In a blindfolded taste test, this will be on par with amps in the next price range and above, whose overdriven sound is seasoned by the EL84 hot sauce under the hood.Forget the price, the Mighty-15TH is an addictive, fun and musically inspired amplifier.
Who says top tube amps can’t be priced for beginners, students, and any of us who care about the bottom line?This is of course a special ability of the Harley Benton.We’ve seen it on the company’s line of electric and acoustic guitars, and it’s most exciting to see it on the full-valve lunchbox head.Before we talk about tone, we must mention the build.The Mighty-15TH has a precision folded steel chassis and the electronics are mounted on a double-sided PCB that is fully plated for durability.When you turn on the Mighty-15TH, you get a pleasant surprise – no noise.
That bodes well and positions this priced practice lunchbox head as a potential ally for studio recording.The tone doesn’t disappoint.Under the hood, you have a pair of Ruby Tubes EL84C in your power amp, which gives the Mighty-15TH a tweed look once the tone starts to crack a little.This is where the Mighty-15TH really begins.Cleaning is lovely and meticulous, but crunch is another story.Musical and addictive, this is a remarkable feature for an amp at this price.
Switchable power settings allow you to turn it down to 7W and hit interruptions faster – perfect for the home or studio.But at a full 15W, we think you’ll like headroom.Sadly, the onboard enhancements are not available via the footswitch.This is the only fly in the ointment, nothing to complain about.Not when you just spent $200 on an amp that would put off some of the pricier competitors.The Mighty-15TH has a 5W sibling – the Mighty-5TH – which may appeal to those who play at home.But the 15TH onboard boost (very good), three-band EQ, and extra power overshadowed it for us.It will perform and record well.
Cub-Super12 is an example of value.Check out this little cookie.It couldn’t have cost less than $525/£500, but we’ve got it, and it would be a crime for people to miss it.Crafted in dark grey vinyl, this is an elegant portable tube combo.The two EL84s bend inside this power amp section, and when you’re generous with the volume, it makes a pleasant roar.It can handle small gigs, but afternoon practice at home will also be a breeze, and its onboard attenuator allows you to plug in a low power output for a very domesticated 1W setting.Of course, this is ideal for practice, but also for recording situations where you don’t want to put too much volume through the microphone.
The classic design belies a contemporary sensibility, and the Cub-Super12 happily uses the pedal well, providing an effects loop on the rear panel, and the floor showcase extends to its footswitchable digital reverb and onboard enhanced.The boost is excellent, and a strong case that all tube amps in this class should have a similar footswitch function.
Elsewhere, the digital reverb borrows from Laney’s Black Country Customs Secret Path pedal’s spring reverb algorithm, and it’s brilliant—just the kind of decorative splendor that goes well with the tweed-era Fenders’ heat-pipe tonal character.The low noise when you turn it on is another sign that everything is fine.
The Vox AC15 is a veritable behemoth of British amp sound, known for its clear and dynamic chimes, the luscious juice of overdrive, and the hot, buttery mids that are vibrant and musically nourishing.In a sense, the Vox AC series has a sound that exists in itself.It’s one of the foundations and it does blues, rock, indie and pop.It can even be a great alternative to a country luxury reverb.
The power of the show is more than enough.In fact, for a 15W 1 x 12″ combo, the AC15 is so loud that the master volume will make a difference if you stick to it at home. There are two channels – normal and top boost – but you’ll be hard-pressed to get rid of the back Well, it’s not just because channel surfing doesn’t have a footswitchable option.
The Normal option is a simple channel that provides a single volume control – however, further adjustments can be made with a global treble cut and master volume.It is rich in crystal bells and works well as a platform for pedals.The Top Boost channel, meanwhile, offers a full suite of tricks, from the screeching bells begging for the Rickenbacker 330, to the rich shimmer of the treble, to the naturally compressed overdrive.wonderful stuff.
Some might say that the second-generation HT Club 40 is the perfect guitar amp.Once you factor in the comprehensive feature set, price, and performance, you may find yourself agreeing with them.
The HT Club 40 MkII 6L6 does just that.It’s perfect for gig players who may need a variety of timbres – anyone playing weddings or covers will love it.But with a little tweaking, this jack-of-all-trades is a master of experts.Here, Blackstar took the two-channel format and expanded it, adding a very MESA-esque touch by applying a voice switch on both channels.
The clean channel is tuned to sound great, offering transatlantic performance that lets you switch between glassy American cleans and British chimes, and it’s an excellent pedaling platform.40W has plenty of headroom, but if you want to break up a little earlier, then the 4W setting is ideal.
Go to the gain channel and you’ll see the US/UK accent again.Or, like a bad actor, you’ll find yourself somewhere in between; just adjust the Infinite Shape Feature dial to your desired American or British tone, and it will change the gain channel’s three-band EQ accordingly. response.
There’s a lot of gain under the hood.The HT Club 40 MkII 6L6 is more than enough for hard rock and most metal styles – if you really want to split the atom, just throw a mudbox in front of it.It’s a modern design and build and you have a great effects loop and a level switch to integrate your “board”.Meanwhile, at the back, there’s an analog output for recording directly or sending your signal to PA speakers.The HT Club 40 MkII 6L6 is too practical to say that it sounds so good.
The Orange Rocker 15 is an amp you can do whatever you want.A lot is happening here.There are two channels – Natural and Dirty.As you’d expect or do ask for any amp with the Orange name, the Dirty channel isn’t easy to train internally.It allows you to dare to keep turning it up, starting with the EL84 bells and flashes and gradually increasing the grit, proving why they named it the Rocker 15.That said, at lower gain levels, it’s a strong choice for blues, while the bright EL84 flash is perfect for all styles of indie and rock, and the Dirty channel’s powerful three-band EQ provides ample range.
Natural channels are exactly that.We talk a lot about timbre transparency, but this channel just gives you a separate volume control and doesn’t go through an EQ before it hits the speakers, making it the perfect platform for pedals, or just having a colorless channel to capture the sound Your playing and your guitar.
Designed by Orange’s Technical Director Ade Emsley, the Orange Rocker 15 features an all-tube signal path that can run at 15W or scaled down to 0.5W for bedroom playing – another example of a tube amp that stays true to guitar tradition and realizes today’s players’ needs.Orange is also clearly aware of your budget – so this amp is definitely a hit.
Blues Junior are as ubiquitous in guitar circles as the minor pentatonic scale, and for good reason.It offers great performance at a great value for an incredible Fender clean – all bouncy beats and dynamic ringtones.When you get a sense of the volume, it responds with a hot, rough drive that appeals to many players.
Of course, Blues Junior does the blues – as the name suggests.But you can use it for country, rock, indie, etc.At 15W, it’s a decent pedal platform, and a decent size for both home and small gigs — although if your drummer is a creatine-made slugger, you’re probably going to be squeamish for the head struggling with space.
The simplicity of its design is one of the Blues Junior’s strengths.You have a single channel with a chicken head dial to control volume, a three-band EQ, master volume (invaluable for bedroom players) and reverb.If you need a boost, the Fat switch injects some tonal concrete into the low end to give your tone a bit more oomph—not the same stubby response you’ll find on a Bassman.
Of course, the Blues Junior is more portable.In a 3/4″ thick particleboard cabinet with proportions that complement the narrow panel tweed amps of the ’50s, you’ve got the best 12″ Celestion A speakers that give the Blues Junior a wide, clear sound.If you think the regular version is a bit old-fashioned, there are all kinds of special models on the market, and lacquered tweed is still the coolest.
Not everyone can get the most out of one of Misha Mansoor’s full-size iconic Peavey avatars.At 120 watts, if you light it in a bedroom, it could strip paint and drywall from the walls.Even when performing on Fox & Djent, it would overshoot everything in its path, sending the glasses flying off the gantry.But what about the abusive MH?Well, we can work.
MH stands for Mini Head, and that’s what you get – a shrunken, more manageable version of the original.The Invective MH comes in a dual-channel lunchbox format with a maximum power rating of 20W, which can be scaled down to 5W or a single watt.Totally, this thing is a flamethrower, but what makes it so appealing is how easily it flexes its high-gain muscles on any of the three power stages.
With the built-in noise gate, you can get some brutal tones out of the Invective MH without unwanted hiss – perfect for recording when you have a mic in front of the cab.However, with its speakers emulating USB, it’s also great for connecting directly to your DAW.There’s also a cab analog output with XLR and a ground lift control for direct access during live performances, making it an ultra-compact and portable flying rig.There’s also a headphone output, putting silent practice on the menu (explore our guitar amp headphone guide for compatible cans).
Tone-wise, the Invective series is based on Peavey’s legendary 6505, with an ultra-clean clean sound, crisp, chewy drive, and industrial grind when the gain stage is maxed out.But consider Mansour’s tone.He resisted the urge to overwhelm with supersaturated gain, and had a lot of detail on Invective.You’ll hear all the notes, making you glad you learned those intricate add11 arpeggios after all.
When PRS launched its 100W Archon head in 2014, it was a statement of intent.It’s well designed, easy to set up, and versatile.Its USP, however, is the level of gain it can deliver to metal, with impressive mids and a rich harmonic sweet spot.
Since then we’ve seen 25W combo, 50W Archon heads – now this new 50W combo has been added to the range.The Archon complements some really great cleans with its great high-gain sound, which PRS says has won it over a loyal group of country players who love the amp’s headroom and crisp sparkle.
On the surface, this sounds surprising, but a quick look at the Archon 50W’s capabilities will open up many musical opportunities.It’s the 21st century, and it works with your pedalboard.If you’re on a dime, the overdrive will sound busy, not harsh or mushy.
Under the hood, a pair of 6CA7 power tubes give the Archon a response somewhere between classic British and American tube amps.Sometimes amplifiers sell themselves on one thing they do better than anyone else.Others, like the Archons, provide a blank slate for adventurous guitarists.This could be the ideal amplifier for the Nashville Session Selector with the always-on Dyna Comp.This may be the death metal guitarist’s choice to track with a 3D high gain tone that shows all the notes in the lowered chord.In fact, this could be anyone’s amp, which is pretty exciting.
With the Revv G20, it’s important not to mistake its lightweight design for a sign of weakness.This is an amp with the most intense high-gain tone you’ll ever hear, and it’s designed to have everything you really need when performing live or recording.
With the onboard Two Notes Torpedo reactive loading technology, you can send it directly to a PA when performing live, or directly to a mixing console or audio interface when recording.It comes pre-installed with 6 impulse responses (128 when connected via MIDI), of course, you can customize these to suit your sound.What about another neat trick?Well, the G20 has a pair of 6V6s in the power section, but you can switch them and change the amp’s response and character without opening the aluminum case, all by simulating the power function using two notes.
The future of tube amplifier design lies in this embrace of technology.It refutes the argument that tube amp designs are impractical.As for the sound, of course, you have a lot to gain.But not only that.You can tighten it with the Aggression switch.The Wide switch applies a quick global EQ fix to enrich your sound – ideal if you’re the only guitarist in a band and want to dominate the mix.With all these mod cons, it’s no surprise to learn of a buffered series effect loop.Revv has thought of everything.
The Silver Jubilee was first released in 1987 to celebrate the 25th anniversary of the Marshall amplifier.As is customary for limited-edition amplifiers, it comes and goes.But not before Slash changed the course of music history by recording one of the best and best-selling rock albums of all time, Guns N’ Roses’ Appetite For Destruction.
For all intents and purposes, the Silver Jubilee is a Slash amplifier.Get yourself a jack and coke, dial in lots of crunch, choose the bridge humbucking pickup on the Les Paul and dig deep.Like all great electric guitar tones, the Jubilee will take you to the vulgar overdrive of Sunset Boulevard on the magic carpet.Or, plug in a distortion/boost pedal in front of it and you’ve got Kerry King-style killer tone – and Judas Priest-style British crunch just a turn of the dial.
One advantage the Silver Jubilee has over the JCM800 from which it was produced is harmonically enhanced distortion, provided by Marshall, a diode-limiting circuit designed using a pair of LEDs.In fact, Marshall had a blast on one of his own from the very beginning and created a cult classic.
Not to be overlooked are the clean shades.For an example of this, see the work of John Frusciante circa Californication.We’re sure you’ll agree they’re pretty good.But Marshall cleaning has always been overlooked, even if the oeuvre of Frusciante and Hendrix suggests otherwise.For some, the silver Tolex will light up, but Marshall seems to admit it’s one of the best amps it makes, having released both Black Snakeskin and Black Elephant Grain versions.No matter how you dress up, the Jubilee is a beast.
The golden age of pedals calls for a new kind of pedal platform – preferably one with headroom, a nice transparent effects loop, a gorgeous bottom tone with a solid bottom end and musical presence…good Well, you know what?It has one.Technically, it has two.
The Supro 1968RK Keeley Custom 12 is a revised version of the 1 x 10 inch combo developed in conjunction with Supro by Robert Keeley of Keeley Electronics.Featuring the same sleek finishes as the original—custom Blue Rhino Hide Tolex, silver/blue grille cloth, white piping, and dogbone handles—it looks and feels like a remarkable piece of kit.
The effects loop is designed to be a fully transparent cordon for the modulation pedal, keeping them away from the gain pedal and the amp’s preamp gain stage to keep the signal true, while the amp’s front end will welcome any overdrive/boost, distortion or blur you can throw at it.The price is also attractive considering the quality of the build.
The Princeton Reverb has long been a favorite of gig and studio players.Its compact size and sufficient power make it suitable for a variety of situations.and tone?Well, they’re a fine example of Fender amplification, with substantial low-end integrity, crystal-clear high-end detail, and plenty of warm heat and grit when you crank up the volume after midday.
The Princeton Reverb will work its best in the Fender catalog, using the Strat for loud, bouncy tones and the Tele for light tones.Are there any jazz masters?Then spend a dime on the well-tuned reverb and head out to the surf.Honestly, it works well with all types of guitars, and this custom ’68 Silverface-era Princeton guitar has been modified to work well with your effects board.
Fender has also reduced negative feedback on this reissue model so that overdrive comes a little faster, and it’s still a lovely touch-sensitive amp.The more you dig, the more it splits.You can get some great tones by dimming the guitar and taming the volume.
There are two inputs on the front panel, one of which is stuffed to reduce your input gain by 6dB – a neat way to get more headroom when using humbucking pickups.You also have a simple dial complement that includes volume, bass, treble and reverb, as well as speed and intensity controls for the onboard vibrato.Under the hood, you have a custom Schumacher transformer, three 12AX7s and a 12AT7 in the preamp, a 5AR4 rectifier and a pair of 6V6 power tubes.The cabinet is made of seven-ply birch maple and holds a 10-inch Celestion Ten 30.Reverb and vibrato are footswitchable.