I've been an audio engineer for 20 years specializing in rock and metal recordings. I also play guitar and produce original music for my band and other content creators.
It features a hybrid design, combining a single 12AX7 preamp tube with a solid state power amp, which is not that uncommon. But Orange did a good job at getting the tone just right.
It has good saturation and responsiveness that you don't normally expect from hybrid amps, let alone something as ridiculously small as this one.
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And since it uses an actual preamp tube, the tone is organic and lively, even more so when you crank the gain.
On the flip side, the cleans are neutral and quite stale, so if you're looking for sparkling clean tone, this is not for you.
Given its size, there's not much room for putting complex controls, so Orange opted for a simple 3-knob configuration that includes control for volume, tone and gain.
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The controls are intuitive and get the job done, but they are a bit limiting. There is no way to fine-tune the EQ, and there are no effects like reverb.
Still, this amp is not meant for extensive tweaking. Rather it is meant to produce great tone as quickly and as conveniently as possible.
Another praiseworthy trait of the Micro Terror MT20 is its distinct-looking metal lunchbox design. It doesn't look cheap, it feels solid, and it's hard to mistake for something else.
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Monoprice is a brand known for affordable tube amps, and the Stage Right 611815 is their 15-Watt all-tube combo amp with specs that normally command much higher pricing.
This tube combo amp comes in a 1 x 12 combo package, with three ECC83 preamp tubes and two EL84s in the power section. This is a popular tube combination found in vintage amps and their modern recreations.
More importantly, you get them without the premium price tag. Speaking of price, don't expect this amp to ship with premium-quality tubes, but they do get the job done. For best results, you can swap out the tubes for ones from a reliable brand.
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The amp section has controls for gain, volume, and tone, as well as 3-band EQ knobs. These controls allow for good versatility in terms of tone shaping and how the amp is driven. It also comes with built-in spring reverb.
Adding to the already impressive value of this amp is its use of a 12 speaker from a popular brand - a Celestion Seventy 80. Given its size, it is quite capable of being driven hard.
The volume is a bit limited, but it should be enough for home use or even small venue jamming. Note that driving the amp too hard can cause it to sound muddy.
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At lower gain levels, the amp provides a good enough clean tone but with a bit of grit. Raising the gain knob lets the amp go from clean to mid-gain dirty tone.
The voicing for both clean and dirty tones are similar to vintage amps, open and not overly compressed. This makes it ideal for classic blues, rock n roll, and similar styles.
Sound is very transparent, which can be an issue for those who want specific amp tones, but its generic voicing makes it a great platform for effects pedals.
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The value of this budget 1x12 guitar tube amplifier is hard to beat, even among other Stage Right amps. It is definitely one of the best tube amp deals to get for those working with a limited budget.
A lot of modern musicians in the Metal genre prefer to use either modelers (in the case of modern prog) or ratty vintage tube amps (for stoner/doom guys). The Orange Dark Terror is meant to cater to the latter.
The preamp has four stages of gain, like many modern high-gain guitar tube amps, paired with a cleaner power amp section. This results in a more saturated type of gain compared to the vintage-style voicings of the other Orange Terror amp series.
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The extra gain stages on the preamp also allow the power section to be kept clean enough, allowing for better utilization of its buffered effects loop.
True to the Terror line, The Dark Terror features a very minimal control setup. The shape knob takes the place of the typical 3 band eq. The Shape knob is a combination of a treble and bass control with a surprisingly wide range from really dark, Sleep-esque tones to scooped, old-school metal and everything in between.
What really surprised me is how good the clean tones are. They aren't as pristine as Fender amp cleans, but they do have a lot of vibe. It doesn't feel stiff like many high-gain amps' clean channels.
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In conjunction with the effects loop, the Dark Terror is able to be used with reverb and delay pedals for atmospheric cleans.
All that being said, the Dark Terror is still just a single-channel amplifier. That means to get to the clean tones, you either have to roll down the volume on your guitar or settle with one gain setting all throughout.
While intuitive, the Shape control can be limiting in terms of very specific tonal settings. I would have loved to have even a 2 band EQ in place of the shape knob.
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True to the Terror line, the Dark Terror features a very minimal control setup. The shape knob takes the place of the typical 3 band EQ.
The Dark Terror is aggressive but can also be pristine at recording volumes. But for those that rely on a clean tone, the headroom of the 15W amplifier might be a bit limited at lower gain settings.
This head was made to rock out, so if you're looking for a clean pedal platform, look elsewhere. But for live use, it's all out or get drowned. It can easily keep up with heavy-hitting drums on higher gain settings, especially when pushing the power amp tubes.
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The best application, and where I personally use my Dark Terror is in the studio. The 7W mode is great in the studio for getting more power amp saturation without overloading more sensitive mics like condensers. For doomy, sludgy tracks, the Dark Terror is what I plug into the most.
Where it really shines is getting that saturated chug in the studio at volumes that won't shake the walls. It's this controlled chaos that makes the Dark Terror a must-have in your amp arsenal. This ability to provide good chug allows it to stand toe to toe with more expensive modern tube amps.
The Vox AC15 is arguably the most important amp in the rise of the Britpop sound of the '60s. And despite being 15 watts, the humble AC15 was loud enough to keep up with a drummer and was a staple in many bands of the time.
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Today the AC15C1 continues this legacy with a modern twist, courtesy of the use of Celestion Greenback speaker - which is commonly associated with Marshall guitar amplifiers. This speaker gives the amp tighter low-end response compared to old AC15s. And with proper Guitar Micing, this amp gives you the classic sound that you'd expect from Vox.
This tighter response makes the amp better suited for today's indie and alternative rock styles. It also makes the amp pedal friendly, especially for overdrives.
This shift to a Greenback speaker won't make this the best tube amp under 1000 for purists who prefer original's Jensen speakers. But it helps expand the tones and use of the amp, which will appeal to today's guitar players who play multiple styles.
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Everything else is designed to reproduce the classic Vox chime, with chimey cleans and fat grit when pushed. Including its vintage style appearance and amp section, which is equipped with three 12AX7 preamp tubes and two x EL84 for the power tubes.
It even comes with the iconic Top Boost channel and its dedicated control knobs. The built-in reverb and tremolo are also quite good and deserving of special mention.
Thanks to its modern voicing, you don't have to be a fan of the Beatles to appreciate the AC15C1's harmonically rich tone. Definitely check it out if you are a fan of the Vox chime tone but want extra sonic legroom.
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The AC30S1 hails from the prestigious Vox AC30 amp but with a streamlined feature set to make it easier to use and carry around.
It is as straightforward as it gets with its single-channel format that puts the spotlight on the classic AC30 Top Boost tone and nothing else.
Controls are also kept to a minimum, so you can get from the familiar Chimey clean sound of old Vox amps up to smooth overdrive without the need for too much control fiddling.
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As expected, low gain clean tone is incredibly responsive and bright, but be warned that it can be too trebly for some applications.
At its core are dual 12AX7 preamp tubes and quad EL84 power tubes that give life to the touch-sensitive tone expected from a classic Vox tube amp.
Raising the gain gradually adds harmonically rich overdrive while retaining the amp's bright flavor. Don't expect this amp to extend into high-gain territory, but what it can do, it does best - which is
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