All user reviews for the Peavey 6505+ Head

What type of amplification (lamp, transistor, ...)?
all-tube head, everything is Detailed in other reviews
What is the DLivre power?
What connection?
What rglages the effects? ...dropoff Window


USE

Is the configuration simple?
the configuration is EXTREMELY easy

Gets it easy to sound good?

this is the third time that I use, and I am left when u every time on it and I have not found a rglage that suited me. I like when you turn it sounds and the c not, but that's just my humble opinion.
Is the manual clear and sufficient? ...dropoff Window


SONORITS

Is it your style of music?
However, it is suitable to any style of Mtal it is not very versatile.
With what (s) guitar (s) / low (s) or effect (s) do you play?
I tried with deluxe ltd ec 1000 with EMG 81 pickups and another ltd with EMG 60 pickups.

What kind of sound you get and with what rglages ("crystalline", "bold", ....)?

the clean sound is clean but but it is not a PRVU amp AC was therefore not expect miracles.
level g crunch too apprci this lack of mdium.
pou finish level distortion, j = I was a little. ca lack of precision, it lacks bass and it's pretty dirty.
but hey I repeats this is only my opinion, therefore, necessary to test an idea to do this.
I prefer my Laboga mr hector which is much prcis and right.




NOTICE GLOBAL

How long have you use it?
I have used many times for a long time including RPTES buddies who possde

What is the particular feature you like best and least?

most: power
least: the sound estcrade
Have you tried many other models before acqurir?

Laboga mr hector, mesa, trpLE x peavey and I prefer the Laboga that g eventually acqurir despite my desire today resale.
How do you report qualitprix?
the price quality ratio is correct, but you really have to test avt buy. me it is a head that does not suit me as I play Mtal.

With experience, you do again this choice? ...dropoff Window
I have not done many a dressing after I count pa do but it is my opinion (I ramble)

100 watt all-tube amp with a very useful heating and cooling the lamps before and after playing standby mode.

2 channels:
- Rhythm: clean and crunch
- Lead: overdrive

A 2 EQ per channel with gain, bass, mid and treble.
2 settings "Resonance" and "Presence", one per channel.
1 volume per channel, but no master.
No reverb or effects except for a "bright" button that boosts the acute on the clean channel.

1 effects loop.
Output 2 HP 4, 8 or 16 ohms.
1 footswitch input pin 7 (there is no footswitch jack 6mm), the footswitch and cable 7-pin is provided.
Control bias.

UTILIZATION

Configuration is very simple, we get a sound very quickly. A manual is provided, but it is only a few pages and anyway if it is not his first tube amp is not necessary.

The EQ is basic but well made birch. According to Peavey, 2 EQ have a different impact on the sound. Controls "Resonance" and "Presence" do not feel that already 7/10. They allow, respectively, to boost the bass and treble.

The volume on the lead channel it must grow at least 0.8 or 1 to start to have the true sound of the lamps. But even at this level the volume is very very strong. I have to reduce it by lowering the output volume on my compressor (a DBX 266XL), placed in the effects loop.

SOUNDS

I play mostly hard rock, but with this amp I also put the metal. And for good reason as the Peavey 6505 + is a high gain amp and is dedicated to this style of music.

This is why the clean sound is very average. It is well below a Fender or Marshall. But no matter, it is not playing classical or jazz you buy a Peavey 6505 +. However, the clean is usable for intros and bridges in the rock record. With a small chorus and operated "bright" button the clean improved significantly, but still a notch below. As for the crunch I'm not any expert, but it is correct with respect to a Marshall. But for this type of Marshall sound is better.

I mainly play with two guitars, Ibanez DTX (EMG59 and 81) and LTD EC1000 (SD 59 and SH5). With my Ibanez I get very large saturation with lots of gain. Natural or artificial harmonics out on their own so it's easier on this type of amp. And my LTD, I get a sound much more British, a kind of super boosted Marshall.

To give you some examples, with Ibanez and Micors EMG, I play Avenged Sevenfold, Black Veil Brides and my LTD and Seymour Duyncan, I play Steel Panther, the Guns N Roses (by reducing the gain) of Slaughter, and other groups of 80/90. I would love to try Seymour Duncan Blackouts in my opinion that should provide great sound on this amp. In any case within two registers (metal and hard rock) this amp is excellent.

OVERALL OPINION

Bought new 1400 € is twice cheaper than Mesa Boogie, Peavey and yet brings a popping sound amazing. Parfais with my two guitars sound very different. The sound is clear and has a true identity. A very active grain with overdrive heavy and shiny times (presence at max). The possibilities are very large saturation. Plam mute, solo, rhythm, tapping, harmonic, everything sounds to perfection.

Although the clean and crunch are not great but do the job for short passages in a rock record (intros, bridges, ...).

I went from a Marshall JCM 2000 to Peavey 6505 +, because I was looking for a high gain amp that has a true musical identity. I'm very happy. I added it in the effects loop a DBX 266XL compressor and a BBE Maximizer to sublimate his Peavey. The DBX also serves me reduce hiss and a little feedback that are on this type of high gain amp.

Peavey has been producing quality, American Made music equipment at an honest price point for 47 years. All except for a select few products are still manufactured in Meridian, Mississippi under the ultimate oversight of Hartley Peavey, who founded Peavey Electronics in 1965.

The Peavey 6505+, formerly known as the 5150II, is an all-tube, 2 channel high-gain guitar amplifier boasting 120 rated watts of 6L6GC power, and a staggering 6 stage preamp. The channels, labeled Rhythm and Lead, are both capable of obscene amounts of gain.





UTILIZATION

The 6505+ is easy to dial in, and good tone can be found on both channels. The FX Loop is tube buffered, and as far as I could tell, did its job with not a lot of loss to signal integrity. There is also a Preamp line out, which functions in the same way and quality that most of them do. You get all of the preamp tone up until the phase inverter. Some like to use this signal when mixing it with the signal from the speaker cabinet.

The head itself is sufficiently well-built to Peavey's high standards of durability, though not as bulletproof as their amps of yore. I'm still wondering just what exactly they used for tolex back in those days! Tough stuff, for sure.
The 6505+ sports a rather garden-variety grade of softer tolex. Chickenhead knobs make settings easy to pinpoint and see on a dark stage. An ohms selector switch on the back makes matching the head to a 4, 8, or 16 ohm cabinet possible, and a footswitch connects via 5 pin DIN connector in the back as well.

An ALMOST good feature on the back is the addition of bias test points on the back, which actually only read grid voltage, and says nothing about actual plate current, which is the important measurement in power tube bias. Still, with a standard set of 6L6GC's, one can set the bias by ear and be safe in the -50 to -45v range.

SOUNDS

Unlike the 5150/6505, the +/II doesn't share one set of EQ controls, and global Resonance and Presence add clean highs and punchy lows to the mix.

The Rhythm channel is switchable between Clean and Crunch modes. The Clean mode is famous, or rather infamous, for being not a very good clean tone. And indeed it is rather flat, lifeless, and too hairy when the Rhythm Gain is cranked. This is due to the fact that the 6505+ doesn't switch out extra gain stages to obtain the clean sound, and instead chooses to switch in a circuit that greatly attenuates the signal coming off the first gain stage while leaving the preamp topology largely intact.

That being said, the clean channel can be usable to some, depending on how it is set up. Delay, chorus, and external reverb effects (the 6505 series has no reverb) can help the player get a better usable clean sound.

The Crunch mode is excellent, and gives a nice, clear grinding sound that can also be rolled back to produce some convincing classic tones.

Many metal players prefer the lower gain and fast response of the Rhythm Channel's Crunch mode over the Lead channel, and prefer to run this channel with the gain maxed and boosted with an overdrive pedal for a smidge extra gain and a tighter lowend.

Still, the Lead channel is usable and packs plenty of punchy, raunchy grind with a little extra juice for solo work.


OVERALL OPINION

The 6505 series was heavily inspired by a classic Soldano Circuit, but takes things a step farther with more gain stages. As a result, clarity can sometimes be lost in the wash of preamp distortion, and a lot of people complain of the "fizzy" nature of the 6505's, as well as the background hiss that comes with the territory of high gain. And that's a fact of life. With gain comes noise, and this is why some amplifiers from different companies that possess similar levels of gain are also equipped with built-in noise gates to combat the hiss and noise.


The 6505+ is an adjustable fixed bias amp, and comes from the factory with a safe, colder bias range (no doubt to maximize tube life and prevent tube meltdown from accidental over-biasing) and many have found that the cold, brittle, fizzy sound of their stock 6505+ was greatly improved by changing out the bias voltage dropping resistor with one of a lower value to allow for a hotter power tube bias.



All things considered, the 6505+ is an amazing value, squeezing face-melting gain, lots of power, and revered tone into a quality, American-made package.

120 watt 2 channel all tube head. 4x 6L6 power tubes, 6x 12ax7 preamp tubes. Designed by Peavey in the late 80s early 90s, Peavey went to Eddie Van Halen to have him endorse the amp. EVH had it named the 5150 and a new amp was born. 15-ish year later Eddie splits and takes the name 5150 with him. The design, still owned by Peavey, becomes the new 6505 with the name standing for 40 years (1965-2005) of Peavey Electronics. The 6505+ is the renamed 5150III, which was a modified 5150 by giving it a tighter, slightly lower gain lead channel as well as a cleaner rhythm channel (still not quite clean). Also gave the amp individual EQ for each channel and a MIDI controlled footswitch compared to the 1/4" used on the 5150/6505.

UTILIZATION

This amp is very easy to setup, which is part of the reason for it's success. It has a pretty decent sound at any setting, but just gets better with tweaking. Compared to some amps that sound like garbage until you find the sweet spots. The manual while very informative and helpful really isn't needed. This amp is very straightforward and simple to use.

SOUNDS

Widely known as the standard for modern metal tone, being used by bands ranging from Alice In Chains and Van Halen all the way to Killswitch Engage and Machine Head. The Rhythm channel with the crunch off has a passable clean tone, it breaks up pretty quickly and doesn't have much headroom but most people using this amp aren't using for the cleans so it doesn't matter to most. With the crunch on it's darker and much more gain. It's smoother and less gain than the lead channel but still easily pulls off metal tones with a boost. Machine Head has been known to use the rhythm channel of a 5150 (little more gain in the 5150/6505 compared to the II/+) with a Maxon OD808 for their heavy tone. The lead channel has more gain than I'd ever know what to do with. It's much heavier, aggressive, and brighter than the rhythm channel. It's super tight and used by almost every modern metal band of the past 10 years, and for good reason.

OVERALL OPINION

Overall this is an amazing metal amp, a metal heads dream. Put a boost in front of it to tighten the low end slightly and this thing becomes a weapon. From Van Halen all the way to Machine Head, this thing is a beast. And for $1100 new I can't think of any other high end metal amp that can touch it's sound OR it's price.

Retailer The specs are below:

For résumé, 120W rms, 4 6L6GC power and six 12AX7 in pramp. An On / Off button Power button + lamp On / Standby to Sparer prchauffage the lights and sending the signal through the loop of power.

UPDATE June 11, 2007: my power tubes are 6L6GCM RUBY STR-made in China, this means a copy of the famous performing trs Philips Sylvania STR. This is the high-end home RUBY. In pramplification, there are six 12AX7EH in Russian Electro-Harmonix which is more reputable to do. Again, it's high-end trs 12AX7 as the Electro-Harmonix select United States are among the best lights in Sovtek. Like what, Peavey does not cares of the mouth in the world with the lights from the factory. Remains around ... see the electronic

Rglages simple: clean & lead 2 channels each with their legalization 3 voice, gain and volume. In addition, a crunch channel is grafted on the clean channel and provides additional non ngligeable gain. Each channel also has a spar of rglage prsence and rsonnance (SETTING THE frquences mdium and some high and the sound envelope). The rest of the classic very effective: an effects loop, a switch for connecting a speaker in 4, 8 or 16 ohms, a bias well Checker sr a footswitch jack that, the diff ence of a 5150 or 6505, is a MODEL, not a multi-pin jack Stereo. The footswitch mtallique in question is (still big diffrence with the plastic footswitch) with three buttons that are left-right effect, and crunch channel, viewable via 3 LEDs. The cord connecting the supplied footswitch the head measure 10 meters and is looking pretty robust.

Trs-class appearance with a simple and rather opaque screen on the front grille and a honeycomb in front rear. The knobs are vintage with a touch extremely enjoyable is that both rigid and flexible, a rgal.
Between the instrument unique is that direct high gain without taking low gain (small diffrence here with the 5150 and 6505).
The weight of around 25 kilos bte ...

The same simplicity in the service of a great versatile. A must in the genre.

UPDATE May 12, 2009
Some lamps have become progressively pramplification microphone (background noise "too good" Capts, intermittent signal loss etc.).. These were the lights in position V1 (nvralgique is the lamp of signal!), V3 (effects loop) and V6 (clear channel). I gave a 12AX7EH in V3, but I added a JJ ECC83 in V6 and a Tung-Sol 12AX7 monstrous in V1. Rsultat races: more than plop in the select or deselect the effects loop (cool!), A clear, smooth and shiny once (with a bit of extra gain tary and a crunch phase linear trs), and finally the top, a lead that his oats as it failed with very little wind (thank you the Tung-Sol!). If you want a configuration that is evil (death / thrash priority), then paste a Tung-Sol 12AX7 (only one!) In V1 in your amp. However, the brightness of the lamp will not suit everyone, it sounds bigger thrash 90 'as Neo-Metal (which suits me well trs ) ... Finally, try various combinations of lamps (Sovtek, JJ, EH, Tung-Sol, Chinese etc..) To find "boot sound" his foot!

UTILIZATION

Configuration is very simple, the door to any guitarist at least warned. The rglages are similar those of a Bandit 112 Transtube example, so no frills but are essential for a range of sounds INTERESTED. Nothing to do with a Mesa Boogie's point of view of rglages. Almost the Plug & Play (get a good 5 minutes asked her) ...

Otherwise, test with a Lag Rockline Bdarieux in EMG 81 + EMG 89 and a baffle 412 ENGL Vintage 30:

Clean: The clean channel is probably the hardest rgler: it must be Tager its legalization and to consider the guitar pickup select. With a good microphone neck (like EMG 85 or 89), a request trs shortly. It takes quite serious stuff in the amp for roundness. The dynamics are INTERESTED and restores the game to perfection. However, this is not the strong point of this amp. In the end the channel is clean INTERESTED but not overwhelming. on the other hand, it is impractical to gain trs low (between 1 and 4) cruncher not to sound a sharp attack on ...

Clean + Crunch: the crunch of a whatever game guitarist. With EMG81, you can really play the big rock with a trs low gain (the gain is not high that breathless play guitar with simple vintage microphones), the roundness EMG89 providing ind be denied and a super hot grain. For use with a minimum of rglages too. The crunch also brings extra rverbration (zero otherwise) to use it solo.

Lead: no quarter. The 6505 + is for a. The ds bte purrs that the gain is pushed del 3, 5 and above, with active pickups is Hiroshima. I put the gain between 5 and 5.5 the very most, because with the EMG81 and EMG89, we are constantly on the ropes. The precision is monumental. No error is Tolra game. I play in a band ranging from the technical death thrash the big amricaine, the 6505 + like its ancestor the 5150II and the 6505 and 5150 versions are cut to a. The most alarming is the dynamic that is clean, burr-free, ultra prcis, round, warm, whatever the rglage. Ms. qualisation a hollow cry mdiums the gogo giving her a monumental prsence. Impossible to inaperu with this amp. This is a machine for a soloist (After all, that's what E. Van Halen!) That DSIR be trs forward in a group. In addition, my guitarist uses dj comprising a cabinet with a 5150 Marshall 1960A (thus rendering is diffrent), the combination is monstrous ...
Otherwise, a little out of breath but nothing mchant. Finally, the natural but also artificial harmonics stand out brilliantly. The slap.

Finally, a saturated channel of madness and a clean channel a little more innocuous but has its charm. 10/10 for the lead and 8 / 10 for the clean (UPDATE: a good 9 / 10 in the replaceable 12AX7EH V6 in a JJ ECC83 !)... Otherwise complies with the amp and guitar speaker cabinet on which we play, no worries the top!

UPDATE May 12, 2009
Some tips for using shovel-mal to your amp and prserver prcieuses lamps:
- Always connect the speaker when the receiver is turned off to avoid the possibly fatal short circuit between the two terminals of the jack when introduced into the orifice;
- Connect your guitar when the head is off-line or stand-by, but not APRS (amps lamps do not like open circuits prfrent they have a little imp of dance!);
- Allow hot stand-by the head for a good little minute before sending the Bouzin;
- Before lighting, and dye your amp, please as far as possible, put the volume knob 0 (a maximum Vitera possibly a transient current in power tubes) Ditto for the effects : set the output level of your FX 0 before the dye still to avoid transients possibly ... ;
- Wait a few minutes (10 minutes if you can!) That the lamps have cooled slightly before handling the head: I think the concerts, for example, then dye the amp in the first when dbarrasse sc no!;

And good use!

SOUNDS

For my style (thrash + death) is the full walk, especially if the other guitarist uses a similar amp. But this amp is not a limit at all ...

I do sound a Lag Rockline Bdarieux the 1994 upgrade with two EMG81 (bridge) and 89 (neck) and a Jackson Kelly Pro. Seymour Duncan SH6 climbs. My effects are simple as shooting a good old pdalier Zoom 4040 (ask for Brian May!). The baffle is a ENGL Vintage 412 with good old Celestion V30!

The "fat" is hard to get with this amp, unless they involve a cabinet like Marshall that allows some approximation and bass more. With a Mesa Boogie or ENGL of the same type, it is a different story: it prcis and dynamic trs crystalline clean or lead. This amp is all muscle, which may put off some but that's what I was looking for the base. For cons, the temperatures requiring review its game: no mistake, because the bread is immediately audible rdhibitoire. This is not a beginners amp as might suggest its rglages simple.

The sounds are the most impressive lead, but none is really above the other, adpend the game is being proposed. As I often say: there is no bad amps, but ill rglages and / or bad scratch.

UPDATE March 17, 2010:
I currently use this amp in a rock band / Mtal Stoner. The amp has been tested with guitars bestow R (Jackson & Kelly DiMarzio Custom CS3 77) and baffles Engl 412S & Marshall 1960A. The head returns trs though the sound of guitars, and with the Custom 77 CS3 (mahogany body), the heat is really Submitted like how the head is well suited to guitars and can tickle all styles. For those who DSIR lot of heat, a well-rounded and Dfine grain and a soft saturation, I advise users of 6505 to replace the lamp of (see all!) By JJ-Tesla ECC83. These lamps are also sometimes installed on the 6505 heads, but not always. They are much less "nags" that the Electro-Harmonix 12AX7EH communment install. So if you want rduire the gain of the can (it is monumental in dpart), it's good to know!

Used for a Lag Arkane Absolute (a must), diffrent guitars including Les Paul, a Marshall 1960A cabinet, a Rocktron Intellifex in the loop and so on. Nothing wrong. Guys who prtendent their head has its cradingue should take over rglage amp (see guitar lessons too). QED.

OVERALL OPINION

I use it for a week (it's short, but full of instruction trs) ...

The special INTERESTED: simplicity precision, respect of instruments, dynamics, sound, power, sound spectrum, but typ INTERESTED ...

Cons: not DTECT big problem ...

Testing other models: 5150, Mesa Boogie Mark IV, Engl Powerball. I was looking for a particular sound, I did.

Qualitprix: excellent. Much better than a Mesa Boogie or worse, a VHT or Bogner. Peavey thank you not to take us for cow milk (or money, your choice).

In the end I do it again this choice. If j'tais millionaire, I would not spit on a Dual Rectifier, but résumé, the 6505 + is perfect for what I do!

UPDATE June 11, 2007: Three months of use, some dj gigs in fact. No problem ... I would say that even the head has a better sound for some time, probably in rdage four 6L6 power requiring few hours of practice before sending the sauce. For cons, I noticed that the power tubes and a priori pramplifications lamps are sensitive to the tension between. There is a switch the rear of the head that can select or 220/230 V or 240 V. the diffrence is minimal stepfather, but it is not. I noticed that the heated normment 6L6, even in standby. The grain silent correct, but this warming seemed pretty suspect. APRS CONTRL a little tension in the sector, s'avre he is 240 V. So I switched the head of 240 V and the miracle, much less heat lamps and the grain is better, clearer, with less feedback so I can play with a little more about the therefore gain teeth. To remember ...

Unlike Previous notice, I trs little breath compares the 5150 uses my collgue. Again the choice of lamps is crucial, and it is the Tagus pramplification that has played. My 12AX7EH rputes is precisely for trs little breath, this probably explains that.

The Peavey 6505+ is the updated version of the famous Peavey 5150 II as popularized by it's signature endorsee Edward Van Halen. The original 5150 was noted as a great rock amp, but eventually was recognized as a killer amp for metal music. Eventually Peavey took things one step further and released the updated 5150 II. When Ed left Peavey in 2004 he took the 5150 designation with him... and so in 2005 Peavey renamed the 5150 II the 6505+ (the 5150 was called the 6505). The 6505+ is a 120 watt firebreather of an amp, featuring two channels.

Each channel features a preamp and post gain controls (basically gain and volume controls, but relabeled) as well as an EQ set of bass, middle and treble controls. Also available to each channel is a set of resonance and presence controls, which control low and high end response respectively. On the back it has two speaker jacks, a switch to select between 4ohm, 8ohm and 16ohm impedence, a ground switch and send/return jacks for the effects loop.

Tube wise it features six 12AX7 preamp tubes and four 6L6GC power amp tubes to unleash the fire within.

UTILIZATION

The Peavey 6505+ is an extremely easy amp to set up. Peavey amps in general don't require much tweaking in general to sound great. The two channels are set up identically, so there's no new interfaces to learn and there's not really a learning curve with the EQ or gain structures like say a Mesa Dual Rectifier. Something to note about these amps... they are LOUD. When I had mine, I could barely dial the control to one without it being too loud for the room. In a band setting I found that two or three on the volume would overpower the drums... as a result I didn't keep it very long. Essentially, if you want one of these amps, be prepared to deal with the volume.

SOUNDS

I primarily used this amp with a Les Paul, a Charvel San Dimas and (for a short time) a Schecter 7 string. The two channels are meant to be a clean and lead, however the clean channel really doesn't do great cleans. The clean channel is more useful as a crunch channel, especially when boosted with a good overdrive. I tried to get decent cleans out of this amp, but what I was greeted with was fairly flat and unremarkable. I had more fun turning the gain up full bore and just using channel one as a crunch channel. Channel two is a great high gain lead sound for any modern player. Despite the fact that I never tried it with any delay/reverb effects, I noted that on its own, the amp had more than enough sustain (via saturation) to play great lead passages as well as quite a few different types of hard rock and metal riffs. It doesn't really do the eighties thing all that well... which is somewhat surprising considering it's basically the EVH signature amplifier (though I've noticed that EVH has steadily gone for a more modern tone over time).

OVERALL OPINION

All in all, the Peavey 6505+ is a great sounding amplifier head for anyone who wants a loud, gain heavy, loud, really saturated, loud tone. They are about $1,300 new and can be had for about $700 used, which is a killer deal for a USA made head. Peavey gear is quite reliable and I'd have no qualms using the 6505+ for more rigorous applications. I partly wish that the "clean channel" was cleaner and sounded a little clearer, but used as a crunch channel it's fine. The lead channel is high gain, but it's still controllable and the excess saturation can be used to your advantage if you allow it to. Definitely worth looking into if you want a great metal amp for not a whole lot of money.

Peavey has made some classic amplifiers and I'm not talking about their classic series. I'm talking about the 5150, 65605 and their Rock master preamps. They have made some skilfully woven metal high gain monster amps. They have a reputation of creating some of the worlds most highly used and highly requested tone machines.
This amp is a very forgiving amp but still has the tightness to use low tunings for modern music. The 6l6's compliment the tone for this amp as well which gives it more of a low end thump than you would get from El34's.

UTILIZATION

Peavey 6505 Plus Guitar Amp Head Features

Two distinct tube channels with footswitch control
LED "active" indicators for each channel
Bright switch for Rhythm channel
Crunch switch on Rhythm channel with footswitch control
Separate equalizer sections for each channel
Separate power amp controls (Resonance and Presence) for each channel
Separate preamp controls (Pre and Post Gain) for each channel
Standby power switch
Bias test points on rear panel
Effects loop with footswitch control
1/4 inch Preamp output jack
Speaker impedance selection switch (4, 8, 16 ohm)
Two parallel 1/4" speaker output jacks
120 watts output power
Metal three button footswitch with detachable 25-foot cable

SOUNDS

The resonance and presence controls really enable this amp to do what you want with the the bottom end of the tone. The two controls are the key to this amp in my opinion. What sets this amp apart from the regular 6505 is the independent EQ control for each channel. The other one shares the same EQ for both channels.This amp needs to be played with a humbucker pickup guitar such as a Gibson Les Paul or a Gibson Explorer. It needs that rock guitar for the gain style this amp produces. You can play any guitar single coil or humbucker but I think it sounds the best with the proper high gunner pickup.



OVERALL OPINION

At new these amps come in at around $1199 which is a freaking steal of a price. You can get a lot for this kind of money but you sure can get a stellar sounding Peavey amp.

You can't go wrong with this amplifier. I would recommend this amp to anyone needing to stay within a tight budget and needs a proper sounding metal or hard rock amp.

This amp comes from the tone of the 5150 amps that Peavey did years ago with Eddie Van Halen. This is basically the exact same amp but with a few minor tweak from over the years. This amp is a beast of an amp. You can get some serious tone and balls with this amp.

This amp is a very forgiving amp but still has the tightness to use low tunings for modern music. The 6l6's compliment the tone for this amp as well which gives it more of a low end thump than you would get from El34's.

Some of the bands that rock this amp are 3 Doors Down, Ted Nugent, Atreyu, Steve Morse, In Flames, Arch Enemy, Visqueen, God Forbid, HIMSA, Darkest Hour, Sworn Enemy, Unearth, and Spades and Blades.

UTILIZATION

Peavey 6505 Plus Guitar Amp Head Features

Two distinct tube channels with footswitch control
LED "active" indicators for each channel
Bright switch for Rhythm channel
Crunch switch on Rhythm channel with footswitch control
Separate equalizer sections for each channel
Separate power amp controls (Resonance and Presence) for each channel
Separate preamp controls (Pre and Post Gain) for each channel
Standby power switch
Bias test points on rear panel
Effects loop with footswitch control
1/4 inch Preamp output jack
Speaker impedance selection switch (4, 8, 16 ohm)
Two parallel 1/4" speaker output jacks
120 watts output power
Metal three button footswitch with detachable 25-foot cable

SOUNDS

This amp needs to be played with a humbucker pickup guitar such as a Gibson Les Paul or a Gibson Explorer. It needs that rock guitar for the gain style this amp produces. You can play any guitar single coil or humbucker but I think it sounds the best with the proper high gunner pickup.

The resonance and presence controls really enable this amp to do what you want with the the bottom end of the tone. The two controls are the key to this amp in my opinion.

OVERALL OPINION

At new these amps come in at around $1200 which is a freaking steal of a price. You can get a lot for this kind of money but you sure can get a stellar sounding Peavey amp. I would recommend this amp to anyone needing to stay within a tight budget and needs a proper sounding metal or hard rock amp.

This is a 100w, two channel, all tube monster. It uses 6 12AX7 preamp tubes to give you a ludicrous amount of gain, and 4 6L6 power tubes. It has footswitchable lead and rhythm channels and FX Loop. It has a 3-band EQ, Pre and Post gain, Presence, and Resonance controls for both channels. The Rhythm Channel has a Bright and Crunch switch. It has 3 speaker outs for 4, 8, and 16 ohm cabs.

UTILIZATION

This amp is easy to get an awesome sound out of if you know how to do it. It is also easy to get a muddy, horrible sound out of. This thing has more gain than you will ever use, so it's better to keep the Pregain as low as you can for what you want to play. Push it too high and it WILL be muddy. It's very easy to make this amp sound great.

SOUNDS

This is a metal machine. End of story. Nice, Thick, aggressive, powerful gain. Can be as tight or as loose as you want it too be. Throw an OD in front to tighten things up and you've got an awesome amp, suited perfectly for Metal. It has more of an American voicing, and has a load of mids. Very easy to cut through the mix using this amp.
The cleans aren't as bad as some people will lead you to believe, but they're not stellar. They're some what thin and a little lifeless, but a Chorus and Reverb helps greatly.

OVERALL OPINION

All in all, this is one bad-ass amp. Perfect for any style of metal you can imagine, and also can do Rock and hardcore without batting an eye. It's the go-to amp for high-gain tones, and for good reason. It's a solid amp with a great tone for an awesome price. There are amps that can out do it, but those cost a lot more. This is the king of the $1000-1500 metal amps I've played, and sounds even better with a boost.

Specification Detail
Type Tube
Number of Channels 2
Power 120W
Effects No Effects
Reverb No Reverb
EQ Low, Mid, High
Amp Modeling No Amp Modeling
Number of Models 0
Number of Tubes 9
Preamp Tubes 5 x 12AX7
Power Tubes 4 x 6L6GC
Inputs 2 x Instrument
Outputs 2 x Speaker
Footswitch I/O Yes
Effects Loop Yes
Height 10"
Width 26.63"
Depth 11.75"
Weight 48.3 lbs.
Manufacturer Part Number 575660

UTILIZATION

It does take a little tweaking, but it really is just a one trick pony and is pretty simple to dial in, make sure you keep the mids high and you'll be fine

SOUNDS

Mainly a Les Paul.

man this thing SCREAMS you want chunking huge rhythms? YOU GOT IT. You want pristine cleans? well. maybe not that, but it'll do its darndest.

Honestly though, it sounds great and for metal leads and rhythms it is very much a standby in the metal world, and for good reason, its very hard to beat both for the price and the sound you get. it really is very responsive in pretty much every way.

Cleans: Very well, clean, and thats it, they're boring and kind of lifeless, but if you must use them you can.

Crunch: now this channel is quite amazing and is really kind of a secret weapon in my opinion, very clear and defined and makes for great medium and high gain rhythm tones, especially with a boost, I would buy this amp based on this channel alone probably, its that good.

Distortion: This is what metalheads buy this amp for, it SOUNDS HUGE. and for leads its hard to beat.

the bad of this amp is it does get very muddy if you don't know how to control it, but you'll be ok if you keep your mids high.

OVERALL OPINION

Great amp, just be wary of its down falls. one trick pony? yes. but gosh darn it its a heckuva good trick