: My first amp. Huge piece of shit that only worked right about half the time. Traded it along with a couple cheap guitars for my B.C. Rich USA Gunslinger.Marshall MG50RCD
: A bit underrated, actually. The old MG-RCD line didn't sound too bad for metal, although it took me a while to get used to the sound...especially coming from a DOD Death Metal distortion pedal! The clean channel had a "gain" knob, rather than a volume knob, intended to make it act like a non-master-volume amp. This meant that any distortion pedal run through the clean channel sounded absolutely awful when the amp was turned up. I also ran a Johnson J-Station
through the FX return for a while, which sounded ok, but I always had trouble cutting through the mix with that rig in a band context, and I got a lot of feedback.
MG50RCD clip: netmusicians.org - the guitar gear mp3 databasePeavey Transtube Bandit 112 (black/silver '90s)
: I traded one of my old high school bandmates the Marshall for this. It actually sounds pretty good for metal (I still have it), and for a short time, I was using it as a head through a Genz-Benz G-Flex 2x12. Decent clarity, but relatively boring sound that makes most guitars sound similar, but takes to a clean boost pretty well. Currently used as my at-home practice amp.Red Bear MK120 / Genz-Benz G-Flex 2x12
: My first tube amp. Basically a 120W, 6L6-powered JCM800 clone built in Russia and sold by Gibson in the US. More low-end than anyone could/should ever need (especially combined with that cab). Needed to be LOUD to do metal effectively, but I found myself needing to use settings that sounded a bit harsh in order to have an aggressive enough sound for me. As I recall, this meant the mids and highs were turned up a good bit, with the gain and volume around 7 (
). It LOVED bright guitars, too, and I found that anything on the darker side wasn't very pleasing to my ears. I ended up having it modified for more gain, along with less extreme highs and lows, and to take 12AX7s (the stock preamps tubes were some oddball Russian ones). It sounded much better to me that way, and I used it for about a year, before selling it for something else. Capable of Slayer/early Metallica and other '80s thrash type sounds, but nothing really modern.Peavey Rock Master / Mesa/Boogie 20/20 / Genz-Benz G-Flex 2x12
: Cool little rack rig that sounded awesome at lower volumes, but the EL84 breakup from the poweramp wasn't really to my taste. I did a short tour with this rig, though, and it worked out pretty well. The Rock Master preamp is basically a Peavey Ultra series amp in preamp form, with three channels, FX loops for each channel, and a master FX loop for the whole thing. Capable of most types of metal tones, with an active EQ on the Ultra channel. It has push/pull gain knobs that give some extra compression and balls, somewhat along the lines of a clean boost in front.
Rock Master clip: netmusicians.org - the guitar gear mp3 databasePeavey Ultra+ / Genz-Benz G-Flex 2x12
: Pretty much the same sound as the Rock Master rack rig, but louder and with more balls due to 120W of 6L6 power. It's the predecessor to the Triple XXX, and came out around the same time as the 5150. Usually found for $400 or less used, and arguably sounds better than later amps from the Ultra Series lineage (Triple XXX, JSX, 3120). I had some issues with this amp and a 7-string, but I think that was due to the particular guitar, and nothing to do with the amp. Definitely a solid lower-budget metal amp, and I wouldn't mind giving it another shot at some point, since it's been a few years since I've played one of these.
Ultra+ clips: netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 databaseAmpeg VH-150 / Genz-Benz G-Flex 2x12
: The perhaps slightly-less-known brother to the VH-140C, with a single 150W power amp, and no chorus. Solid state brutality, capable of metal tones with the gain knob at 3, and voiced perfectly for death metal. I also used it for a while as my primary amp in a power metal band, which it also did well with. Good clean channel, but nothing really amazing...pretty much a one-trick pony, definitely known for being one of the best solid state metal amps available.
VH-150 clips: netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 databaseEngl Savage 120 / Ampeg V-412TL with CL80s & V30s
: This is what I sold my Ultra+ to get. After having the opportunity to borrow one of these heads and a cab loaded with the aforementioned speakers for a show where I was unable to use my own amp, I decided I needed one. Absolutely badass high-gain sound on channel 4, with a nice midrange emphasis, neither too dry or saturated, and very tight and punchy due to the 6550/KT88 power section. A bit like a more refined-sounding 5150II. MIDI switchable, 2 FX loops, lots of features, and actually capable of being used as a preamp while in standby mode (meaning that you can run a line-out into another amp's power amp, or record directly from the XLR or 1/4" line-out without needing a speaker attached). Listen to Darkane and Nocturnal Rites for an idea of what channel 4 can do. Channel 3 is tighter, lower gain, and also very cool, but artificial harmonics have a somewhat unusual sound to them, that I'm a little iffy on. Listen to Angel Dust's album "Bleed" for an example of what I'm talking about.
Savage 120 clips: netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 databaseVHT/Fryette Deilverance 60 / P50E-loaded 4x12
: No doubt about it, these tend to be love-or-hate amps. One channel (with a switchable 4th gain stage), nothing footswitchable, no FX loop, and the ability to go from clean to metal with your guitar's volume knob. Typical VHT/Fryette stiffness and clarity (another 6550/KT88 power section), and extremely sensitive to small details in your playing and the rest of your rig. This amp has forced me to become a better player, and learning how it responds to dynamics has affected the way I play other amps as well. It responds extremely well to a clean boost for some extra saturation, but is capable of metal on its own...from early stuff like Maiden and Priest, all the way up to modern stuff. Great for low tunings and extended-range instruments.
Deliverance clips: netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database netmusicians.org - the guitar gear mp3 database
I'm pretty sure that covers everything I've owned (that's worth speaking of, at least).