All user reviews for the Peavey Classic 50/212 (Discontinued)

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USE

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SONORITS

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NOTICE GLOBAL

Then! First of sorry for not following the rules I tt brand in global opinion c easier for me lol thank you!
so here I am still me but yeah di lamp c for blind to gender ca 10fois is more expensive than the transistor while ke sound as strong c c bo! big mistake was yours and I make my excuses to all the people i shocked lol! the sound is incomparable on my vieu lend a 100watt marshall a transistor preamp with a lamp I croi for heat distortion, and my peavey classic puts a Lamande volume 4 and the sound is the box that i ever heard!
clear sound crazy even at very high volume, it was almost burning hot lol!
a beautiful distortion I have achater a pedal to lengthen a bit possibiliter of the machine!
fau because he said that for the good I hear metal metallica iron maiden etc (not korn and slipknot why Lampl is not done (as master yoda)) Lampl just a little, but the quality is better than a good distortion pedal really realize the monstrous!
I have to say the line 6 ubermetal I rule the classic 50 10 10 pre and post 10 0 on bass middle and treble 10 and 0 in the presence and I rule the pedal on sprayed with the same tuning and i sound ki has managed to drop my Biblo daemon shelf!
in short a monster amp that is really its only a small gap equalization price for each channel have been good, but not good JMEN plain c my baby I love it!

There are a lot of opinions here, and I myself have left about the head version and the Classic 30. I will try to highlight the significant differences between these models, for those who know one or the other (ie by reference) or those who hesitate. But I must say I am very customer of this amplifier range. I said that the models 50/212, whether current or 90s, have changed very little, we really talking about the same amp, and the same sound. My own model of the 90s, with black hp, not the current blue marvel.

50w amp, 4xEL84, two switchable channels, and equa common reverb, presence, a clean volume, volume and channel two gain and master volume. Effects loop, impedance selector (4/8/16). On some amps, one equa per channel is needed, but here we have a true balance between the two channels, and music always clear channel, regardless of the setting. on the other hand, reverb assigned channel would be easier, but we do not blame her own fault that a large amount of two-channel amp.

I found the head heavy enough (even for a head), and the combo is no exception to the rule. The new models, a little narrower, should alleviate some of the 27kg beast. That said, it is a guarantee of stability and lower noise loss for an amp of this category (2x12 and 50w).

The differences with the classic 30 will therefore double hp, master volume, presence and stand-by. Note that the new Classic 30 (2013) now has a stand-by.

For me it is complete. I think the settings they could have been more would be detrimental sound (technically speaking).

UTILIZATION

Amp extremely simple, Plug & Play! The equa affects the sound with musicality, while remaining very intuitive. The amp is fairly medium in its sound, the same sound extreme settings. Equalized at noon, we already have a very nice sound.

The master does his office, even if you can not make the clean channel cruncher. Pushing the clean thoroughly and assaying the master not to be sprayed on the spot, one approaches the density can reach a classic 30 well adjusted, but can also be much more crystalline. The clean channel seems less shimmery C50 (less natural compression?) Than the C30 rounder, medium. But it allows him to be a true platform pedal distortion / overdrive / fuzz, remaining always accurate where the C30 colors too some high volumes.

So I put only 8/10. All this is easy to use, but access to the interface of HP, the footswitch and effects loop, it is anything. No doubt there is a good technical reason for this (I hope), but pluguer, vertically under the chassis of the amp ... It's really painful. You either switch the 27kg combo to identify the send and return, or crouch, see lie! Anyway, soon you'll stick a sticker on each side to indicate which is which plug jack, connecting all groping ... No glop!

SOUNDS

Start with the satellite channel. Typed vintage, it is hot and creamy, rocky as volume controls, presence, and of course, the guitar you use. It is not very versatile, but said in a universe from blues to rock, or even heavy rock (stoner). His most is to bring a different sound this kind of music (other than Fender, Marshall, Vox or Mesa) while placing immediately in "sound cannons." Hot, bold, incisive, it provides for fat riffs and aggressive solos, always with a phenomenal presence in the mix.

Compared to C30, we have a little more drive in the elbow (off boost mode) and master volume helping a medium bump somewhat less pronounced. This is a vintage hair less, but less fuzzy or rough, with more definition, bass. He collects suddenly much better "couillues" guitars mounted double coils. In contrast, the single coils lose very good compression on a C30. It's a bit (all things considered) as a Vox switch to a Fender. Finally this is an exaggerated picture, because it is much more subtle, and based on equivalent volumes of play in pushing the C50 a bit more than it should, we must find these sensations.

Where it hurts, it is clear the "2 in 1". Whatever the setting, whatever the output level of your guitar, the sound is clean, warm and balanced. What type of a good clean blues, see Gilmour solo with a tad of reverb or delay. I plugged in a lot of guitars in it, it still sounds hot, and there is not eaten by the personality of the receiver, as in most Fender. And this quality brings another advantage, much more difficult to get a Vox or Fender: it accepts and glorifies absolutely all distortion pedals and overdrive you submit it, and I tried some ! The drive is "clean", it will drool if you want (not like Fender). So you win the heat of the channel in addition to the color of your purpose, without any significant stress (low imprecise screaming acute or deaf).

So, with the neo-vintage drive channel with the clean channel, and one or more pedals Overd to complete your sound palette, you have a super versatile amp, but with a genuine warmth and a real character . Only the clean channel "flat" a Marshall 6100 or JSX head can do better in this case, but do not sound as good "nature." For me, the ideal clean channel with that of HIWATT, that tickles the ear plug ', but makes it sound any distortion pedal. This is rare!

OVERALL OPINION

I had a lot of amps (Brunetti, The Valve, Rivera, Fender, Marshall, Engl, Peavey, and almost all of this series), my main amp is a Marshall JCM800 2210.

The classic series 50 is in the line of this series, in the same spirit of sound, with the advantage due to some settings (master, presence) and its power to manage even better drive. The classic 50 runs better than the classic 30 bass, offering simply more, including live volume. If you prefer to have only one amp to do everything, even some pedal board drive, remaining "credible" in the universe as picky as blues, for example, this amp is a reference (just see commercial success).

So no, I never fell in love with this series for these amps. The classic series is still back in my legs at one time or another: classic 30 (3 in total!), Delta blues 15 inches, 2 heads classic 50. This series meets the great success thanks to the alliance of the vintage, and the possibility of versatility with a clean channel that does not invade the distortion pedals. Was not the ultimate amp, fighter aircraft at 30,000 euros. But it was a well-made tool, well thought out, which, with two or three pedals in addition, allows the musician to have the versatility without losing credibility.

No, Classic do not dream and have never wanted me. But I always came back to them in a rational manner. I have a classic 30 ultra convenient. I do not like the lead sound, but it poses alone in a mix, without blushing, and obeys the fingers unlike many current machines that sound to you, Blackstar in mind. I chose the combo 50 despite its weight and size, but because it is more versatile than its little brother, 30w, cash and more especially the double-coil, like the Delta Blues elsewhere. I could have a head start, but I play on Cabs in Celestion G12-65, which does not work with everything, and in this case with no model in the series. Having no budget to make me a cab adapted more and finding HP peavey at the time not too bad, even better than some existing dirt (though brand), the combo is imposed by itself.

Conversely, I really disliked the sound a little too flat for Delta Blues 115 (lack of medium compression and dynamic).

The +:
- Sounds good bases plug'n'play
- Good platform for pedals
- The look (tweed Fender) and vintage sounds credible ...
- ... But also suitable for use and a modern game
- Excellent sound distribution
- Quality / price ratio, especially occasion

The -:
- Weight. But you can not have your cake and eat it too, and it is reasonable.
- Location of the rear connector (hp / footswitch / FX loop) really sensitive-c .... on the other hand
- Mirror panel control. It's nice, but not always readable by the position (plus reverse)

In comparison to the Peavey Classic family. It is more versatile than the C30, but loses some of the "nasty" that can be drawn. A bit less vintage, it is more flexible to use distortion, whether the drive channel of the amp or pedals. Like the C30, the C50 has a good dynamic and sacred presence in the mix, but the config '2x12 definitely gives the top in terms of sound diffusion. It will push the C30 to its limits to achieve the same result, and logically, the power section will impact many more drives (amp or pedal) and not necessarily for the better, but to be really 100% vintage.

An amp that will not dream, but a real professional tool, all terrain, reliability and a quality / sounds / awesome price. You do not fall in love, but it will prove a faithful ally.

All Tube Amp, 50 Watts
In 2 (normal and bright)
2 channels (clean and lead)
- A gain knob for the clean
- 2 knobs (pre and post) for the lead
- A master volume
3-band EQ common to both channels
Effects loop
Reverb
Footswitch (channel + reverb ... vrifier)
A knob prsence
Switch on / off and standby

Trs complete, the only criticism that one might think it is the EQ common to both channels.

UTILIZATION

Super simple and intuitive, is heated, the branch is lit, and shoo it was sound.
The knob is enjoyable trs, trs and efficient, very easy optient it a good clean sound and a good crunch, and the volume that you want.

SOUNDS

Test in 10 minutes saw a purchase (if I l este on it I notice APRS complterais a further SE) with ue Gibson Les Paul, no effect.
The clean sound is super clear, trs enjoyable. He even took a lot when pushed down the trebble and the other two to have a sound "fenderien" (a little below where Similarly, do not push it), but on j'tait 'between' normal '. With between "bright," he must do better.
The crunch is warm, enjoyable. With both pre and post knobs is really RULES grain you want, clear sound prs crunch when you attack the strings a little more, a classic crunch, with a good grain amp Dad lights ... (Metallic, go your way!)
Trs sound goes everywhere, with little originality or personality but trs versatile.

OVERALL OPINION

I try the Classic 30 a few days ago ... the 50 is much more "politically correct" much easier to get a good clear sound and a good crunch with 50, and of course, with two bowls 12 "instead of one, the sound has more beacoup scale and on the little prsence tgnieux.
Just APRS, I try a Fender all-tube (with the same scratches), of course, the Peavey can not fight for its clear (well, it is not ridiculous either), but the Classic 50's crunch is far more enjoyable trs than the fender ... Both taient the same price, then these two the choice is quickly made, the Peavey wins hands down.
This category in the best amp I've tried until now.

- What kind of amplification (lamp, transistor ,...)?
50W all-tube combo amp, but about effective 100w (try pushing for fun!).

- What connection?
Two inputs and Hi Normal, effects loop, footswitch, speaker extension.

- What are the rglages the effects?
1 prsence, a master volume, three band eq, a pre and post gain for the channel volume for the saturated one clear sound.

UTILIZATION

Config mga intuitive, one can triturated knobs and found no problem sounds clear and trs sympatic crunch, the sound is downright fun as well equilibrated frequencies and above all very powerful! two 12 "Blue Marvel ensure correct rpartition sonore.Bon in space, I find that the personal rverb drool a little on the blunt attacks, but it is correct to coat lgrement trs sound.
I have never seen the manual, but I do not know if it's really ncssaire to have ...

SOUNDS

Frankly, what I do, it is super nice: fairly dark rock (!?)

I use a std strat us and a gibson les paul std, a distortion marshall shred master (to have more fat distos: bluesy amps death), a vox wah, a phaser, a Boss DD2 Dly.

With my config I have a super wide range: from crystal clear sound even distos grazing and heavy, its frankly very fat! !

Personal I use no distortion of the amp I got too noisy, I use my prfre Shred Master, worse when you push a little bte, adcolle the floorboards!

OVERALL OPINION

I use it for 3 years now, I prfre on this amp is its power assurment dmoniaque (n'ayont not mince words!), Jai tried a fender hot rod deluxe too slamming, an old Marshall JMP, but the lamps taient cooked a Valvestate (we forget that l) Finally, is any way on the best amp I've ever jou (relatively guards).
correct price quality ratio is good stuff, it was worth the bl!

I exprience with this remake choix.Surtout that I pay a misra a friend!

Everything is already said about it ....

UTILIZATION

Like this: ................... very simple, the sound on .......
conventional equipment and complete

SOUNDS

I use it in all situations: reweighed concerts, big scenes, clubs .... I sometimes use only the clear sound with distos in pedals, but soon I return to my not connect and wha Tubescreamer between my guitar and the monster, and all my effects loop in the background ............ I find the dynamics, clarity, and my guitars are met .... the roots are somewhat saturated, in fact, but with judicious juggling of the pedals, you get a really wide range of sounds I like ... particularly add to my Tubescreamer saturation of the amp ...... it rocks ... I played with Start, tele, SG, Les Paul, Ibanez half cash, Vigier Excalibur equipped with EMG, and even with my electro acoustic ................... always SOUND!!

OVERALL OPINION

I play a wide repertoire of funk to hard through the reggae .... chic, luke, ac / dc, toto, phil collins, likin'park ...... anything goes!! after playing on different config rack (JMP1, POD pro, marshall amp boogie pregnant effects tc elec ...), and various combo: anniversary marshall, fender deluxe ... with my current set is: analog pedals brand diverse and varied classic 50 and I got the best sound ..... I have no hesitation, as often as possible to couple it to an extension cabinet, and there ..................... it kills Satan!
Only downside: weight: 2hp 12 and super robust chassis with fan etc. .......

50 watt amp a lamp! It sounds terrible!
all standart settings ...

UTILIZATION

For any use ... of which mounts the volume knob, ca emits thunder!
I play mostly rock, but we can do it all, jazz, blues, funk ...

SOUNDS

I play with a les paul ... I have a different sound .. and more I add my pedals or by the loop (delay, chorus, tremolo) or direct (distortion, overdrive, fuzz, wah) it sounds very clear and with a presence out there has a background slamming his very ... we play very well with the setting ..

OVERALL OPINION

I use it for 5 years ... I have paid almost nothing ... have a ca OCCAZ worth ...
I love both HP!
very good value for money ...
nothing like a Marshall Valvestate ... I prefer it too, my marshall jcm 800
I keep this choice! for sure!

3 12AX7 pramp
4 EL84 power
Send / Return & Footswitch two channels clear and drive.
3-band EQ & prsence.
a master, a clear channel volume, a rglage "prquot; drive and a volume of" post "drive.
An adjustable and controllable in rverbe footswitch.
Standby and PowerSwitch and two jacks of a normal one + bright.
Two HP 12 "which I do not know the brand (no entry on them)
Tweed Finish roots combo format.
In the 25kg (my back still remembers).

UTILIZATION

The manual is not provided trs but adequate.
It plugs into a tritouille a little EQ and volume and sounds good right now.
This ct s no problem.

SOUNDS

It's a pretty versatile amp.
It's Personal but nothing more, making it the Confre versatile.
A stratum, an LP or a hollowbody, everything is exploitable.
Funk, Soul, Blues, Rock you name it.
For heavier styles will require a good prvoir pedals on the other hand
because the Drive channel is too lightweight for this style and becomes rough when pushed
BEYOND graduation 9.
Between the bright grains are fleurte with the Vox.
The light is not too bad but it's not the Fender Twin or Vox pure.
The Leads are somewhat more oriented English, how versatile!
I like the use of styles das "roots" Blues, Funk, Soul, Jazz, Reggea ...
It becomes INTERESTED when you push the master background
and we take this power Tagus.
But hey, we must assume the volume APRS.
The reverb is usable.
For more tips and prog fusion prfre my head I ENGL
ct that a more "t'montrer I'm gonna ..." and three channels!

OVERALL OPINION

I have since 1994 and despite rcurante sciatica and 25Kg
I can not leave me rsoudre.
Finally I think the head and into the combo box concerver 2x12 "
that PSE than in the 15kg without the amp.
I love its versatility and ct roots both in terms of sound and design.
I changed 3 times amp and test a collection of her before m'arrter
returned to the era in my budget and my needs rpondait.
I had a small crash in 12 years and this rcemment
(A Power Resistors on filtering of power supply).
He has traveled extensively and has never wavered.
I concidre report quality price INTERESTED.
This is not the most beautiful grain amp in terms of its
but it is honorable and easily exploitable.
A kind of man do anything good in all respects.
A good balance between sound quality and clear sound saturated.
No regrets!

T say everything on the subject.
I put 8 for qualisation common to the two channels

UTILIZATION

The manual is not complete trs (it's the least we can say) but hey, there's no real need. one connects and rings.
I play a tele highway that I connect with a live or sd-1 or an OD100 and makes trs trs well.
the amp is versatile trs (but not all mtal trs except add a big distortion pedals ...).
What a simple and effective. 9 / 10 because no one is perfect

SOUNDS

This amp should have done my all / my style of music: classic rock through the latest issue: radiohead, divine comedy, sma pumpk. for reggae: trs good too, the sound is clear and allows a refund well as roots or middle position pickup.
Clean channel: the wheel "presence" allows for a sound trs prcis no crunch unless you want of course! Bon is not a fender but it is good qd same trs.
Lead channel (saturated: the distortion is progressive qd it up the sound, a spit! Good is not a big heavy distortion and modern, but a vintage distortion albeit putting the pr 12, began send! Lack of precision a tad my taste. I add an sd-1 and I have the big sound

AFTER SEVERAL MONTHS OF USE
I complte this opinion because I just "swap" my C50 against a small combo mesa (Subway Blues) and I realized the diffrence standard for clean sounds. Those are certainly the peavey enjoyable but sometimes lack precision in lead channel, the distortion is "roots" ok but suddenly really lacks precision in arpge, it is sometimes difficult to distinguish notes cheeks .... and when I compare the mesa (which has no saturated channel to which I add my DS1, there is no picture for a second.
therefore a good versatile amp, but not worthy of note that I almost perfect setting him some time ago

OVERALL OPINION

I've had two months and I am satisfied with TRS. 50 W (x2 hp 12 ') are effective and can rev a good spread of sound. Trs power is ample to make scne middle aprsy have a subculture on the sound system ... As the cot be no worries, there is room! consideration: weight: 27 kg! but there is something for nothing.
What I like most: versatility, the precision of rglage his look (tweed finish ... it is superb).
I do it again this choice without hsiter ... next time, I think I indulge in a good AC 30 but it is not in my price range!
I highly recommend this amp is also trs reliable APRS everything I've read on the subject.

Lamps with any 2X50 EMINENCE 2 bowls (but it seems that the new is not the same), it is best for rendering and sound diffusion.
it is a good compromise!
easy as pie for rglages, do not do studies like all current and multi-effects to 3 hours for troubadours with a sound effect used plthores nothing.
sends a sec! and immediately y'as ds picture and not be pushed a lil bit! this is an amp APRS application at all.
I play it with a parker nitefly, a Squier Start through a luxury pod2 live or nothing
it's a good amp! trs versatile light to crunch and hard and heavy, he spent not a loser by far compared orients am saying amps big sound!
I find that the cons by fan is a bit noisy, it seems that it is normal for peavey, otherwise I finally change it!
I play in the apartment above, j'vite to push it often so I do not want a rebellion but an amp that does not want to be pushed! There's a big engine, we feel it right away to the cif or scne, is not
ridicule.JE recommend it if you find one of OCCAZ, there's a deal can be done
A +

UTILIZATION

No need to manual for someone not too silly!

SOUNDS

I play Skynyrd, purple, Popa Chubby, Hendrix, Zeppelin and others it is built for the music lbr /> good versatility
no worries, it will not make you mouth! and asks for more

News of 09/03/06: I just do rviser resoldering prampli card (many welds Scheer) (audiomaintenance in Lyon) and in 4 Retube Sovtek EL 84 + change to a low noise fan aluminum + HT SWITCH change a 12AX7
I was quite expensive but great job! and sound!!
nine is an amp!

OVERALL OPINION

3 years of use never changed still loupiotte (3x12AX7 + 4 EL 84) if I remember, have to say I will run it more often is made to turn it on!
put it in a place ca ar hot, what normal for the lamp otherwise, that means it is dyed! ahhhhhh
I love not in loupiotte amp is like everyone the weight! there is nothing nothing is on, if you want the sound, sustain, have to put on weight and dough, finally y'as not complain, it is not too expensive, we have seen worse and worse ! c'tait so again, I do it again, especially for the versatility, ease of use (must not get out of st cyr) and 2 bowls + Lamps, ca has nothing to do with a small combo a bowl, should be say!

All-tube amplifier 50Watt, 2 channel gain and EQ, but separate volume pool, 2 x guitar, a loop, reverb and 2 bowls.

UTILIZATION

Super simple setup, the sound is very fast there, the EQ is quite effective volume and earnings are leveled. The knobs are very large, the switch too. Is very nice. The use poses no problem really is so simple and basic. A volume / gain for the clean and two separate knob for the drive (named for the pre and post gain for volume). A master section very useful.

SOUNDS

The clean sound is very "light" that is very dynamic and enveloping. It can be slammed as a fender, but it has more heat, the beautiful mid-bass and serious. With sh-4 I had to clean up the volume up to 6 or 7 to begin to saturate and that's pretty neat, it does not saturate immediately.
The sound is typed saturated fat overdrive sounds somewhere to Orange, this one is far from Fender. It's a bit of marshall and more beautiful, cleaner and wider as well, hence my coparaison with Orange. It goes from clean to overdrive very large ideal for all that will be in the English rock or AC / DC, but no more gain level. It is not an overdrive and distortion sounds and then these will need a pedal.
The entrance is relatively bright bizarre dedant my guitar sound was not much clearer, but I lost against a lot of momentum and scale. This is an entry that reminds input "2" fender of some, but not called bright, on the contrary ...

OVERALL OPINION

On the same day and various shops I played it several times and compared to all other lamps (HotRod JCM900 TSL122 AC30 F30) and for me it was the best. I think when I sub I would take it because I really enjoyed playing it and the distortion pedal going very well too. the clean is for me better than the hot rod because it saturates much more slowly than the fender (which saturates the gain to 2) and is a little warm, saturated sound, too, with its much fender more loud and rough that peavey typed English.

These amps are a step i n the wrong direction for Peavey. To me what they do quite well are there uber high gain metal amps that have huge amps of gain, distortion, and tone. These amps have failed on me and have no real soul in the tone if that makes sense. I just don't feel compelling to play when playing this amp. There really isn't a solid tone that makes me feel the connection I want to have with the amp.

These amps are fairly cheap and that is a good thing. Peavey seems to keep their prices very affordable for most of the guitarist out there. I commend them for doing that with most or all of their products across the board.

UTILIZATION

Details
Type Tube
Number of Channels 2
Power 50W
Speakers 2 x 12" Blue Marvel
No Effects
Reverb
EQ Bass, Middle, Treble
No Amp Modeling
Preamp Tubes 3 x 12AX7
Power Tubes 4 x EL84
Inputs 1 x Instrument
No Outputs
Footswitch I/O
Effects Loop
Height 21.5"
Width 27.62"
Depth 12.62"
Weight 59.6 lbs.

SOUNDS

The tone from this amp is not really my cup of tea. The is geared toward the classic rock player who needs a good Fender tweed style amp, but wants more versatility. The amp is versatile for that kid of player. Having the boost switch is stretching in terms of classic Fender style EQing. Also having another channel is going to be a bit much for some old guys who this amp is marketed towards. However, if you need that versatility and the price is an issue then this would be a good amp.

The clean tone is a pretty decent clean tone. You can crank the volume up more and it will get a mild overdrive tone. When you engage channel two there you will get some good distortion much like a tubescreamer would get in front of an already overdriven Fender classic amp.

OVERALL OPINION

I would recommend this amp to anyone who needs a good two channel tweed amp and doesn't want to spend too much to get it. For me this isn't my favorite amp from Peavey, but it is a decent amp. This is a good amp that will give you solid creamy rich classic rock tones all day long. At new these amps come in at around $880. Not a bad price for two channel tweed deluxe style amplifier. You will get a very usable clean tone and a solid distortion tone fit for classic rock, country, and pop music.

I suggest playing this amp before buying since this is a bit of a different feel and tone to most of Peavey products. If you are used to Fender amps then you will be in good company with this amp.

This is basically the same amp as the 30 watt version only in a higher wattage which is 50 watts and an extra 12 inch speaker. All the same features and tone are there. However, you will get a slightly different change in the headroom since there are 20 extra watts and another speaker which will drive more air.


Peavey Classic 50/212 Combo Amp Features:

50 watts (rms) into 16 or 8 ohms
Fan cooled
Four EL84s and three 12AX7s
2-channel preamp
Normal and bright inputs
Pre- and post-gain controls on lead channel
Active presence control
3-band passive EQ (bass, middle, treble)
Master volume control
Standby switch
Reverb level control
Effects loop
External speaker capability
Footswitch selectable channel switching and reverb
Classic tweed covering material
Chrome-plated chassis

UTILIZATION

Details
Type Tube
Number of Channels 2
Power 50W
Speakers 2 x 12" Blue Marvel
No Effects
Reverb
EQ Bass, Middle, Treble
No Amp Modeling
Preamp Tubes 3 x 12AX7
Power Tubes 4 x EL84
Inputs 1 x Instrument
No Outputs
Footswitch I/O
Effects Loop
Height 21.5" (packed)
Width 27.62" (packed)
Depth 12.62" (packed)
Weight 59.6 lbs.

SOUNDS

The tone from this amp is not really my cup of tea. The is geared toward the classic rock player who needs a good Fender tweed style amp, but wants more versatility. The amp is versatile for that kid of player. Having the boost switch is stretching in terms of classic Fender style EQing. Also having another channel is going to be a bit much for some old guys who this amp is marketed towards. However, if you need that versatility and the price is an issue then this would be a good amp.

The clean tone is a pretty decent clean tone. You can crank the volume up more and it will get a mild overdrive tone. When you engage channel two there you will get some good distortion much like a tubescreamer would get in front of an already overdriven Fender classic amp.

OVERALL OPINION

For me this isn't my favorite amp from Peavey, but it is a decent amp. At new these amps come in at around $880. Not a bad price for two channel tweed deluxe style amplifier. You will get a very usable clean tone and a solid distortion tone fit for classic rock, country, and pop music.

I would recommend this amp to anyone who needs a good two channel tweed amp and doesn't want to spend too much to get it. This is a good amp that will give you solid creamy rich classic rock tones all day long.

The Peavey Classic 50 is one of the flagship models of Peavey's venerable Classic line of amps. The 50w model is a 2 channel amplifier that is powered by EL84 power tubes. It has two Peavey Blue Marvel speakers as stock and as the name implies, it delivers 50 watts of tube power.

The amp itself has two channels, a clean and a drive channel. The layout is set up like many Peavey amps. The clean channel has a "Normal" volume control, whereas the drive channel has "Pre" (gain) and "Post" (volume) controls. Basically, in simple terms, your clean channel has a volume control, and your drive channel has separate gain and volume controls. There is a single set of bass, middle, treble, and presence controls for your equalization, and to top it off, the amp has a reverb and a master volume to control the overall level being produced by the amp.

The amp also has a decent series effects loop which works well for running delays or other time based effects that may be used. All in all, the features of this amp are fairly typical for an amp such as this, but they just work, simply, and effectively.

UTILIZATION

Because of the fairly simple control layout, I had very little trouble with dialing in a tone that I could use and was happy with (especially compared to my previous amplifier). The amp's nature is supposed to be that of a "workhorse" or "catch all" sort of amp that can play most styles fairly well, and it certainly does live up to the name. The clean channel reacted very well for more country or blues tinged stuff, and it would get a bit of that throaty blues tone when I hit that channel with an overdrive unit. The drive channel reacted much the same way, going from clean to mean with use of the gain and volume controls, as well as the volume and tone controls on my guitar. I had especially good results with my Gibson Les Paul Junior USA straight into the CL-50 for a very straight up, seventies/early eighties hard rock tone that fit my band at the time very well.

The biggest issue I had with the amp was that the tubes were old and it was grimy and dirty, so I partly have to wonder if it could have sounded BETTER, but such is life. I didn't have it long enough to invest in new preamp or power tubes, but as it was it had a great tone, just much quieter than I expected for a 50w amp.



SOUNDS

When I owned/used this amp, my rig was a pair of USA Gibson LPs (Traditional Plus and a Junior), and a USA Peavey Wolfgang archtop. I was using it primarily for rock based stuff at the time, though I did put it through its paces in cleaner settings for jazz, blues and country type things.

The clean channel is a very typical sounding clean to my ears. Fairly bright and responsive to fast passages. It was obviously designed to excel at country (not surprising given Hartley Peavey's musical interests) and it does a bang up job there. Jazzier tones were also easy to get by using the neck pickup on the guitar and rolling the treble back on the amp (or tone on the guitar, whichever works). Also like I stated earlier on in the review, you can get a nice Texas sort of raunch by hitting the front end of the clean channel with a boost (I had great results with a modified BOSS Super Overdrive as well as a BOSS FDR1).

The drive channel is more British voiced than you might expect from a Peavey amp that looks and feels so American. The amp is powered by EL84 power tubes and this channel is where you really start to hear their voice come through. Though the amp doesn't have a whole lot of gain on tap (I found myself maximizing the gain control for the majority of music I'd play), when you turn it up there's a wonderful British raunch. Hitting the front with a boost such as the aforementioned BOSS SD1 kicked it into that snarling tone used by the heavy hitters of the eighties and beyond.

The only caveat I really had with the tones (other than the lack of gain on tap) was the fact that the Blue Marvel speakers sounded fairly closed and one dimensional at lower volumes. I prefer a more open sounding speaker and the Blue Marvels just did not hit the mark for me enough to enjoy the amp fully.

OVERALL OPINION

All in all I think Peavey's got a really underrated gem in their crown with the Classic line. Most people seem to scoff at these as being very basic and simple amps and pass them up. This may be true but in reality, they are easy to dial in, very versatile, and sound great. A killer thing about Peavey as well is their reliability, so you know you'll get a good amp that will last a while when you grab one of these. Mine had lived a hard life before I got it and was a bit rough around the edges, but despite this (and the old, probably stock power tubes) it continued to work and sound great. I'm sure if I had put more $$$ into it to replace the tubes and speaker it would have sounded much better, but as it was I enjoyed it. The main reason I traded it was because I needed something with more gain on tap for the hard rock project I was in at the time, so it and my archtop Wolfgang went in separate trades and I went with the prerequisite "eighties" rig of a pair of older Ibanez 540R and RG550 guitars and a Mesa Boogie rackmount rig.

Specification Detail
Type Tube
Number of Channels 2
Power 50W
Speakers 2 x 12" Blue Marvel
Effects No Effects
Reverb Yes
EQ Bass, Middle, Treble
Amp Modeling No Amp Modeling
Number of Models 0
Number of Tubes 7
Preamp Tubes 3 x 12AX7
Power Tubes 4 x EL84
Inputs 1 x Instrument
Outputs No Outputs
Footswitch I/O Yes
Effects Loop Yes
Manufacturer Part Number 583170

UTILIZATION

Pretty simple amp, although it does have some cool features, really works like an old vox or marshall still, good and simple, yet enough control to make it versatile.

SOUNDS

I mainly use a les paul and a strat with this.
Clean:

The clean on this amp, is. well, passable. nothing amazing, but you can coax some marshall round clean tones out of it. It also does an okay voxy thing if you tweak it right (treble super high and the mids scooped slightly)

Overdrive: great crunch sounds here, very marshally. tons of clarity in the mids and if you push it hard it has great early AC/DC sounds. it gets pretty heavy (Hair Metal tones) like ratt and Bon jovi. if you want anything super heavy you may want to look elsewhere though, it can do it with a boost, but its not ideal by any means. if you want great crunch and medium high gain though this is hard to beat, it really sounds great and if you change the speaker it gets even better, this thing LOVES greenbacks and V30s and I highly recommend changing the speaker out, it helps with the clarity issues that are there and can really make this amp shine.

OVERALL OPINION

For a smallish gigging amp I highly recommend it, although I think it is a little bit overpriced if you buy it new, I do highly suggest it used and if you have the money a tube and speaker change can really help it out.

overall I say go for it for pretty much any vintage rock tone.