Peavey® invective™.MH 20/5/1w 8/16-Ohm 2Ch All-Valve Guitar Amp Head w/- 2 x EL84 Power & 3 x 12AX7 Pre-Amp Tubes, Noise Gate, Effects-Loop, Cab Emulation MSDI™ XLR (DI out) ★ BRAND NEW | SEALED BOX ★ FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL
SKU:
NTM-03618470-N
A$1,899.00
A$1,699.00
A$1,699.00
On Sale
per item
Peavey® invective™.MH 20/5/1watt 8/16-Ohm 2-Channel All-Valve Tube Guitar Amplifier Head w/- 4 x EL84 Power Tubes, 3 x 12AX7 Pre-Amp Tubes, Power Attenuator, Master Resonance & Presence, Clean Channel EQ of Gain/Low/High & Tight Switch & Lead Channel EQ of Pre-Gain/Low/Mid/High/Post-Gain w/- Gate & Boost Switches, as well as Noise Gate, Effects Loop, 20/5/1w Power Switch, T.S.I.™ Standby, Cab Emulation Out, MSDI™ XLR (DI out), 2-Button Footswitch.
★ BRAND NEW | SEALED BOX ★ FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL | NO INTEREST EVER Finance Available
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Peavey® invective™ Series invective™.MH
20/5/1-watt Guitar Amplifier Head
ALL THE HIGH-GAIN BRUTALITY IN A COMPACT SIZE
The invective™.MH head has been one of the most in-demand high-gain amps on the market. Developed in a collaboration with the talented Misha Mansoor, this was one of the first amps designed to be a perfect match for modern pedalboard-centric players.
The best-in-class clean channel is the perfect launchpad for your pedal-generated sound. The high-gain channel in the invective™ is based on the legendary 6505®, known as the amp that created today's hard rock sound. Now with the invective™.MH, you can get this versatile performance amp in a mini-head form factor.
20W GUITAR AMPLIFIER HEAD
Guitarists with heavier tastes looking for their next upgrade will find a sturdy solution in the new Peavey® invective™ range. With design input from Periphery's Misha Mansoor, these dynamic products are perfectly suited for helping players achieve the most revered metal sounds, from woody and clean to the most extreme of high gain tones.
Misha Mansoor Signature Mini Head
The Peavey® invective™.MH takes Misha Mansoor’s signature amp head and packs it into a 20-watt, 2-channel design. This MINI head retains many of its larger sibling’s player-friendly features — the cab-simulated output, super-tight noise gate, and footswitchable functions — while providing everything a guitarist needs for rehearsing and playing small gigs. And, of course, the Invective™.MH delivers the tight high-gain tones you’d expect from a Misha Mansoor signature head. If you’re searching for brutal, hard-hitting tones but don’t need to fill an arena, then you can’t go wrong with the Peavey® invective™.MH — it’s everything you want and more.
From pristine clean to punishing high gain
To pull off his genre-defining range of tones and techniques, Misha Mansoor requires an electric guitar amp head that delivers top-quality tones from crystal clear to over-the-top distortion. The Peavey® invective™.MH more than obliges. The Lead channel is voiced after Peavey's legendary 6505™ tube amp line, and the Clean channel is specifically engineered to deliver a completely clean tone at any volume level while also having footswitchable options to push it a bit harder. No matter what shade of gain you need, the Peavey® invective™.MH has it covered.
Loaded with features for today's player
The Peavey® invective™.MH all-tube amplifier head is packed to the brim with added features that are sure to benefit players wanting the same tonal flexibility as many modelling units. A noise gate is featured on the front of the unit that boasts an incredibly fast response — perfect for precise palm-muted riffs. The amp's power attenuator dials it down from a club-friendly 20 watts to rehearsal-friendly five watts to a bedroom-friendly single watt. And a buffered effects loop allows you to integrate your pedalboard and other external processors.
Powerful switching
Not only does the Peavey® invective™.MH sport a bevy of player-friendly features, but it also offers a brilliant array of switching options, allowing you to access all your tones quickly whether at rehearsal or onstage. Dual ¼" TRS footswitch jacks allow the Peavey® invective™.MH to engage or disengage the Tight voicing and any combination of Gate and Boost on the Lead channel. The effects loop is also footswitchable.
MSDI™ Direct Output
As we at NEWTONEMUSIC know, silent stages are becoming more and more prevalent in every genre of music. The Peavey® invective™.MH caters to this with its MSDI™ direct output feature. You're able to send a high-quality, cabinet-simulated signal to your front of house or recording console. And the ground-lift control ensures that your audience hears nothing but top-notch sound.
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Peavey® invective™.MH
Misha Mansoor Signature Mini Head
MONSTROUS TONES FROM A MINI HEAD
Misha Mansoor is a true pioneer of modern metal guitar tones. Through his work with Periphery, Mansoor has inspired today's generation of guitarists with his trademark tight and technical riffs. And, in order to achieve his distinctive sound, Mansoor relies on some very particular gear.
His signature guitar amp, the Invective, is a key ingredient to his massive yet precise tone. Unveiled at the 2019 NAMM Show, the Peavey® invective™.MH Mini Head is the little brother of the mighty Peavey® invective™.120. With 20W of headroom, this amp may sound under-powered to some, but trust us - it pumps out more than enough volume!
Inheriting many of the key features found on the larger head, including a buffered effects loop, Peavey's 'Microphone Simulated Direct Interface', built-in tight, boost and gate functions and much more, this amp is designed to meet the demands of modern metalheads, especially those looking for a more compact and portable rig.
Here's what PEAVEY say about the invective™.MH Mini Head:
Peavey Electronics® proves that good things come in smaller packages at the 2019 NAMM Show. In a second collaboration with Periphery guitarist, Misha Mansoor, the new invective™.MH amplifier packs all of the best tones from its 120w big brother into a much more portable 20w mini head format. At the heart of this little monster is a pair of EL84 power tubes shaped by three 12AX7/ECC83 preamp tubes, providing everything from pristine cleans to the infinitely chunky gated djent destruction.
The many features of the Peavey® invective™.MH will satisfy even the most discerning of gear heads. The onboard T.S.I.™ (Tube Status Indication) circuit helps the user diagnose a problem with the power tubes. The bias adjustment pot is located on the top of the small, rugged chassis. Additionally, foot switches allow the invective™.MH to engage or disengage the Tight voicing and any combination of Gate and Boost on the Lead channel, respectively. There’s also an independently foot-switchable buffered effects loop.
If there’s one key takeaway, don’t be deceived by the size or format of the invective™.MH. No matter the venue, this mini amplifier has plenty of oomph for small-to-medium sized gigs and can even work as a backline stage monitor with its attenuator switch directing power at 20w, 5w, or 1w to suit the need.
On the clean channel, adaptive low and high EQ help find the sweet spot with ease. The lead channel provides a three-band EQ. Master Resonance and Master Presence pots help shape the tone. In addition to its new sounds, the Invective MH has all of the recording hooks and flexibility of the other Peavey® MH amplifiers, including MSDI™ (Microphone Simulated Direct Interface) Output with XLR and ground lift switch, speaker-simulated USB, speaker defeat switch, power attenuator, headphone out, and more. Dual Quarter Inch TRS footswitch jacks allow for ease of MIDI control.
Offering a highly portable format, the Peavey® invective™.MH weighs just over 16.5 pounds unpacked. Pack it up for the trunk or backseat, and it’s approximately 14 inches wide by 7.5 inches tall, with a depth of just over 12 inches.
Written by
Elliot Stent, Anderton’s Music Co
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Peavey® Misha Mansoor Signature
invective™.MH Amp Head Features:
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Tech Specs
Type: Tube
Number of Channels: 2
Total Power: 20W (5W/1W settings)
Preamp Tubes: 3 x 12AX7
Power Tubes: 2 x EL84
EQ: 3-band EQ (lead), 2-band EQ (clean)
Inputs: 1 x ¼"
Outputs: 1 x ¼" (8/16 ohm), 1 x XLR (MSDI™ direct out)
Headphones: 1 x ⅛"
Effects Loop: Yes
USB: 1 x Type B
Footswitch I/O: 2 x ¼" TRS (channel, tight, boost, gate, fx loop)
Footswitch Included: Yes, 2-button footswitch
Construction Material: Black Leatherette
Power Source: Standard IEC AC cable
Height: 7.5"
Width: 14"
Depth: 12"
Weight: 16.6 lbs.
Manufacturer Part Number: 03618470
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MusicRadar
THE NO.1 WEBSITE FOR MUSICIANS
Peavey® invective™.MH Mini Head Review
The downsized version of Misha Mansoor's signature head is a state-of-the-art lunchbox that's perfectly voiced for metal
By MusicRadar (21 June, 2021)
OUR VERDICT
The Peavey® invective™.MH Mini Head is compact, convenient, user friendly, versatile and ferocious, capable of stripping the paint off the wall with its ridiculously awesome gain stage. It's everything a metal player would want in a moderately powered lunchbox head.
★★★★★ 5/5
PROS
When Peavey® and Misha Mansoor of progressive metal pioneers Periphery got together to spec up a guitar amplifier that could take the baton from the 6505 model and offer state-of-the-art high-gain performance they did not disappoint.
Peavey® invective™.120 Head was a 21st-century amp with monster levels of gain, some hidden depths too by way of very respectable cleans, and a very practical MSDI™ output that made it sound just as good when going direct either through a PA for live performance or straight into a desk/DAW for recording.
But with 120-watts under the hood, it was not going to be suitable for every setting. The tones were, sure, but many players – perhaps most of us – do not need that much power. That's where the invective™.MH Mini Head comes in. It takes the Invective concept, shrinks it into a two-channel lunchbox format offering 20 watts at full steam, but switchable down to five or a single watt.
Many of the features of its big brother are retained. There is a buffered and footswitchable effects loop, perfect for bringing your pedalboard online when needed. There is a speaker-emulated USB and cab-emulated direct output with XLR and ground-lift. With the invective™ designed to breathe fire into your riffs, it's good to know there's an onboard noise gate.
Gigging players will especially appreciate the Tube Status Indicator (T.S.I.™) lights on the front panel which let you know if there are any issues with either EL84 power tube. The LEDs glow red until you take the amp off standby, whereupon they'll glow green unless you have an issue.
The front panel is busy but clearly ordered. Peavey has positioned the Clean channel on the left-hand side with controls for Gain, Low and High.
Beside this, there are a quartet of buttons to engage/disengage the noise gate, switch channels, engage a TS-style boost or activate the invective™'s Tight mode, which does just that, replicating the Crunch channel of the 120 head and consolidating your tone for a fuller and more articulate chug. The Boost function adds some drive in the style of Mansoor's favourite Tube Screamer setting.
Channel switching and engaging the Tight mode on the Lead channel can be performed with the footswitch, and there is another set of inputs for your noise gate, boost, and effects loop footswitch.
The Lead channel has controls for Pre-Gain, Low, Middle, High, and Post-Gain, with the latter controlling the overall output level of the channel. Their global controls for Resonance and Presence to allow you to tailor the amp's response, with the former controlling low-end power amp damping and the latter the high-end.
Turn the amp around and you'll find a similarly busy set of I/Os and switches, with a USB output, two footswitch inputs, send/return, balanced XLR out with ground and speaker defeat footswitches, a ⅛" headphones output, speaker output with 8-ohms/16-ohms impedance switch, a three-way power scaling control and your AC power input.
The headphones output allows for silent practice and uses Peavey's Mic Simulated Direct Interface tech which emulates a 12" speaker that's mic'd three inches from the speaker cone.
At just 16.6lbs, the mini-head version of the invective™. is a lot more portable, a low more compact, but there's no quarter shown when it comes to performance. It translates its larger sibling's exceptional gain stage into a smaller and more manageable format while offering a Clean channel that's a super pedal platform but impressive in its own right. Of course, with no output level control on the channel, its voice ranges from glassy to a pleasingly musical crunch – with the two passive controls for bass and treble calling to mind a Princeton-esque channel.
Fans of the 6505™ will find a lot to like about the Lead channel. Its preamp was designed around the 6505™'s and it, too, has everything the metal player could need. Even without the boost engaged, the Lead channel has a generous amount of dirt. The gain is abundantly rich in harmonics and it is a truly inspiring channel for hard rock and metal players looking to split the atom with their solos.
Looking to lay down a tight rhythm piece? Well, the Tight switch can help. It actually takes a little of the gain off, but in adjusting the EQ it helps bring out all the details in your power chords, adding a sense of three-dimensional oomph to your rhythm playing.
Though the noise gate cannot be manually adjusted, it works very nicely indeed. Those who are tuning in on the strength of Mansoor's name and similarly wish to walk a polyrhythmic path into a staccato chug will love how it refines your performance.
The MSDI™ tech remains impressive and makes silent headphones practice a joy rather than the lifeless chore it can be with lesser emulated outputs. Amp technology is moving apace, with digital modelling amplifiers pushing the envelope of what is possible, but it is designs such as this and in Revv's G20 that we can see the future of the tube amp being secure.
The quality of emulated outputs for both the stage and the studio adds a level of practicality to the tube amp paradigm that should go some way to futureproofing it against its digital competition. So, too, the switchable power. At 20-watts, the invective™ Mini Head has a very loud bark, but at five- or one-watt, that bark can be housetrained for practice or attenuated for recording, without losing any of the high-gain venom along the way.
When you factor in the price, it really is a sweet deal. There is plenty of range here. The clean tones are musical and precise, and there's an expanse of uncharted gain to explore, from hot and dirty crunch to the sort of searing nuclear tones that sends the black t-shirt demographic into raptures.
MusicRadar verdict: The Peavey® invective™.MH Mini Head is compact, convenient, user friendly, versatile, and ferocious, capable of stripping the paint off the wall with its ridiculously awesome gain stage. It's everything a metal player would want in a moderately powered lunchbox head.
The WEB says:
Guitar World
"The Lead channel is a beast that generates the most harmonically complex distortion I’ve ever heard from a 20-watt EL84 amp, with rich saturation that rivals boutique heads costing thousands of dollars more. Although this channel’s gate feature only has an on/off function, it’s dialled in so perfectly most players won’t mind not being able to tweak it further. Fast-picked riffs explode from the speakers with tight, percussive attack, delivering astounding definition and clarity."
Premier Guitar
"If you’re into Misha Mansoor and modern metal, the Peavey® invective™.MH is a no-brainer, must-check-out amp. But it’s also surprisingly versatile, and whether onstage, in the bedroom, or the studio, just about any guitarist could find a use for this monstrous-to-mellow amp"
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Guitar World
Peavey® invective™.MH Head Review
This feature-rich, Misha Mansoor-designed head is one of the best high-gain amps you can buy
By Chris Gill (June 03, 2020)
OUR VERDICT
With harmonically complex high-gain tones that rival amps costing double or triple the price, and a host of pro features, this is simply one of the best amps you can buy under US$1,000.
★★★★★ 5/5
FOR
The Peavey Invective 120, designed with considerable input from Periphery guitarist Misha Mansoor, is one of the most exciting amp heads to come along in the last few years. As great as that amp is, it may be too much of a good thing as most players these days don’t need 120 watts of output power and prefer smaller, lighter amps that are easier to haul to gigs.
Fortunately, Peavey and Mansoor have collaborated on a sequel of sorts - the invective™.MH, with the MH standing for “mini head.” About half the size and one third the weight of the invective™.120, the Peavey® invective™.MH also delivers 100 watts less of output power and cuts more than US$1,000 from the price, while retaining most of the bigger invective™’s innovative features and awesome tones.
Features
The Peavey® invective™.MH may be housed in a mini head configuration, but it’s packed with more features than many full-size heads can boast. At its core, the invective™.MH is a 20-watt, two-channel amp driven by a pair of EL84 power output tubes (compared to the stock four 6L6 tubes in the mighty invective™.120) and three 12AX7 preamp tubes (compared to six in the 120).
The Clean channel provides Gain, Low and High controls, while the Lead channel offers Pre Gain, Low, Mid, High and Post Gain controls plus switches for Gate, Tight and Boost functions.
Master section controls consist of Resonance and Presence for fine-tuning bass and treble characteristics, respectively. A pair of LEDs do double duty as indicators for the Standby and Power switches and as T.S.I.™ (Tube Status Indicators) for each of the power output tubes, changing from green to red when tube performance is not as strong as it should be.
You’ll find that the invective™’s rear panel is similarly feature-packed, providing a voltage selector switch, an attenuator switch for 20-, 5- or 1-watt output power, a single ¼-inch speaker output jack with 8/16-ohm switch, the sophisticated MSDI™ (Mic Simulated Direct Interface) section with an XLR output jack, speaker engage/defeat switch, ground/lift switch and ⅛-inch headphone output, buffered effects loop, two footswitch jacks for controlling channel switch/tight and boost + gate/loop functions and a USB Type B jack that provides mic-simulated digital audio output.
A single two-button footswitch unit is included with the head for use with either of the footswitch jacks.
Performance
The invective™.MH’s list of features is impressive, but what is truly remarkable is how well all of those features perform. The Clean channel delivers stellar clean tones that are perfectly matched with closed-back speaker cabinets (whether 1x12, 2x12 or 4x12) to produce tight, round, full-bodied tones with ample sparkle and snap.
With high-output humbucking pickups, this channel subtly transforms to overdrive with the Gain control around 6, but even with the Gain at 10, immaculate clean tones are summoned either by playing more gently or by backing down the guitar’s volume knob slightly.
The Lead channel is a beast that generates the most harmonically complex distortion I’ve ever heard from a 20-watt EL84 amp, with rich saturation that rivals boutique heads costing thousands of dollars more. Although this channel’s gate feature only has an on/off function, it’s dialled in so perfectly most players won’t mind not being able to tweak it further. Fast-picked riffs explode from the speakers with tight, percussive attack, delivering astounding definition and clarity.
The individual EQ controls for each channel, added performance flexibility courtesy of the Tight and Boost switches, and powerful MSDI™ output section, which delivers stellar direct tones to a sound system, all make this a great choice for players seeking a compact rig for playing live. Paired with a 4x12 cabinet, it’s more than loud enough for clubs, but is also easier to “tame” in the studio, delivering “big stack” tones through a 1x12 cabinet at lower output levels.
Specs
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► CUSTOMER REVIEWS
Peavey® Invective™.MH Head Review
Overall Average Rating: ★★★★★
(5 out of 5 Stars)
★★★★★ Well made amp
Sold my MTS 15 and got this. No regrets .... this is a good low volume room amp. Gain Chanel resembles my Horizon apex with more clarity. Noise gate cuts a little early for leads and would be better if it were adjustable. Effects loop works very well. I've gone through many mini amps looking for what this amp does. Good job Peavey
by Customer on March 12, 2021
Rated 5/5
★★★★★ Great little amp with some (very) minor flaws
I got this amp about a week ago. I've been a big fan of the Peavey high-gain sound for quite a while--I used to play through an OG 5150 212 combo--and I was very excited to have a new Peavey tube amp. For the most part, I'm very happy with the amp. I think overall it's a crazy value for the price point. I haven't been able to really turn it up and blast it yet, I've been playing at low-ish volume on the 1-watt setting. But here's what I'd say so far:
Pros:
- Lots of gain on tap (though not quite as much as I had expected, but I like my sound *super* saturated, so...)
- High gain tone is very nice, dynamic, well-balanced
- Sounds good (not thin or fizzy) even at very low volumes on the 1W setting
- Responds well to pedals in the FX loop (see below)
- Sounds even better (much fuller) with an EQ pedal in the FX loop (I use the MXR 10 band EQ, which is amazing)
- Very useful and cool on-board features: boost, gate, tight, etc.
- The on-board 'boost' and 'tight' functions work very well together, sound great
- Clean channel sounds nice (good clean slate for pedals)
- Nice looking, solid fit and finish, lightweight
Cons:
- If you are a gain hound like me, you might need a little gain boost to get it *really* saturated at low volumes
- The on-board noise gate is, to my ear, too aggressive. It works *okay*, but it cuts out some of the punchiness and fullness of the tone along with the hiss and buzz (I've opted to used a noise gate pedal in the FX loop instead)
- Like many amps, the post-gain (i.e., volume) control is *very* sensitive. Even minor adjustments make a big difference in volume
Overall, I would recommend this amp, especially to anyone who is a Peavey fan or a Periphery/Misha Mansoor fan. I suspect the most direct competition for this amp is the PRS MT15 (Mark Tremonti) amp head. I've never played that amp, but I'd definitely like to. However, this invective™.MH has a number of features that the MT15 does not, and it's also $... cheaper new. So in that sense, the Peavey comes out ahead.
by Carry Osborne from Virginia on February 15, 2021
Music background: Hobbyist/amateur player, play mostly modern metal
★★★★★ Good amp for sure but..... do not be misinformed buy [ " modern day infomercial host" "aka you tubers" ] like I was as to the realistic capabilities of this amp
take your time and really think about ALL the tasks you are going to need to use your amp for? then ask yourself again ignoring what you tube says for a min, would a 20watt amp be able to deliver the power and decibel range that you need? I myself did not do this, I did not sit down and really use my own common sense. I just made the purchase on the more than likely paid word of those handful of you tube gear channels all of us gear nerds annoy our spouses with. LOL.
After several attempts of playing with a drummer in a 15x15 practice studio I decided to return my invective™.MH and try to find something with more wattage.
by Nick Sherman from El Dorado Hills, CA on May 21, 2021
Rated 4.5/5
★★★★★ Great Amp
Looking for a 20-watt amp for a while and am glad I went with the Peavey® invective™.MH.
by Ryan Griffiths on July 26, 2021
Rated 5/5
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PEAVEY® - We Are Innovation. Amplified.
Driven by an unmatched legacy of innovation and a total dedication to quality and reliability, Peavey Electronics embodies the pursuit of perfection in music and audio. It's our unifying spirit. It's proven - and it continues today.
For nearly five decades, Peavey has blazed its own path toward musical perfection. Founded by Hartley Peavey in 1965 as a one-man shop, today Peavey Electronics Corporation is one of the largest makers and suppliers of musical instruments, amplifiers and professional audio systems in the world—distributing more than 2,000 products to more than 130 countries.
Hartley has famously said, "In order to be better, by definition you must be different." What makes Peavey different is a commitment to approaching business with a unique vision, from product design to distribution to being the largest independently owned manufacturer in the business. His quest has led to more than 180 patents and innovations in the way we hear and play music.
Hartley Peavey is not only the visionary, lead engineer and chief executive, but also the lynch pin that connects a rich history to a bright future. And his founding principles of quality, reliability and innovation are still the focus of engineering and manufacturing operations that span continents and languages, customs and cultures.
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PEAVEY ELECTRONICS - CORPORATION HISTORY
Company Perspectives
Since its founding in 1965, our company goal has always been to build the best products available while at the same time making them affordable through the use of the most modern computer-assisted design manufacturing methods available.
Company History
The Peavey Electronics Corporation, founded in 1965 by Hartley Peavey, is a major manufacturer of guitars, amplifiers, speakers, electronic keyboards, and other electronic audio-enhancement equipment. In 1993, the company, solely owned by Hartley, then chairman, and Melia Peavey, his wife and president of the company, had sales estimated at $210 million. Exports to more than a hundred countries accounted for an estimated 40 percent of sales. Peavey® Electronics, with more than 1,600 different products, is also the tenth largest manufacturer in Mississippi, with more than a million square feet of warehouse and manufacturing space in east-central Mississippi, including a 40-acre headquarters site known as Peavey City in Meridian. The company also has manufacturing operations in Foley, Alabama, and in Corby, England, and distribution centres in The Netherlands and Canada. Its chief competitor is Yamaha, the Japanese conglomerate. Founder Hartley Peavey, whose "hometown boy makes good" story made him a local legend in Mississippi, has been the recipient of numerous awards for entrepreneurship, including the "E Star" award for success in international markets from the U.S. Department of Commerce. He was also inducted into Hollywood's "Rock Walk of Fame" in 1990 for his contributions to rock 'n' roll music.
Musical Ambitions in the 1950s
Hartley Peavey grew up in Meridian, Mississippi, and had early aspirations of becoming a rock 'n' roll guitar player. As a teenager in the late 1950s, he worked in the Peavey Melody Music Store, owned by his father, J.B. "Mutt" Peavey, and tinkered with building amplifiers for local musicians. When, as he once confessed to Inc. magazine, he turned out to be a "pretty lousy guitarist," Peavey decided his future was in making amplifiers.
In 1965, after graduating from Mississippi State University with a degree in marketing and management, Peavey, then 23, took the remaining $8,000 in his college fund and formed Peavey® Electronics, working out of his parents' basement. As he later recalled in "Music and Sound's Greatest Hit," published by Peavey Electronics for its 25th anniversary: "I would build one (amplifier) a week, go out and sell it, come back and start on another one." The amplifiers were inscribed with the lightning bolt logo that Peavey had designed as a college freshman.
A year later, Peavey moved the business from the family's basement to an attic in the building that had housed his father's music store. By then, his father had sold the music store but still owned the building. Peavey also hired his first employee, a salesman, so he could concentrate on building amplifiers.
In the mid-1960s, however, there were many larger, better-known companies making amplifiers, and Peavey soon expanded into building public address systems to keep his young business afloat. In the company's 25th anniversary retrospective, Peavey explained that as "I travelled and talked to music dealers, I realised there was no shortage of instrument amplifiers. But if you wanted a PA system there were essentially only two available and both were expensive systems.... Most folks think I got into the music business with guitar amps. Not necessarily so!"
Staying in Meridian
By 1968, business was good enough that Peavey decided to borrow $17,500 to build a small "factory" in Meridian. Over the next five years, Peavey Electronics enlarged the building seven times, and having grown to more than 150 employees, in 1973 the company began construction on Plant #3, which would become its main manufacturing facility. To hire enough skilled employees, Peavey Electronics established training courses at Meridian Community College.
Over the years, Peavey was often asked about his decision to keep the company in Meridian. In 1985, he told Inc. that Mississippi "unfortunately runs dead last in everything. You don't have the skilled people you need, you don't have the suppliers, you don't have the access to the freight network.... Back in 1965, when I got into this, I was too damn dumb to know it couldn't be done." He went on to say that he had "lost count" of how often he wished he had built Peavey Electronics somewhere else. In a later interview with his hometown newspaper, The Meridian Star, Peavey explained, "What I tried to say in the Inc. article was that Mississippi presented many difficulties in starting a high-tech business. And some of these difficulties exist to this day." In 1982, the City of Meridian honoured its hometown industrialist by proclaiming April 21 as Hartley Peavey Day.
In the late 1980s, when the company was considering building its first U.S. manufacturing facility outside of Mississippi, then-Governor Ray Mabus worked with Peavey Electronics and Meridian Community College to create The Meridian Partnership, the first private-sector use of the Job Skills Education Program, a technology and basic-skills program originally developed by the U.S. Army. In the early 1990s, Peavey Electronics opened a 58,000-square-foot training centre, complete with its own recording studio, for its employees and more than 1,200 dealers. In 1993, Peavey told The News in Boca Raton, Florida, where he and his wife had a second home, "People ask me why Mississippi and I say, Where do you think rock 'n' roll was born?"
Vertical Integration in the 1970s
It was in the early 1970s that the company began the vertical integration that would make it unique among major electronic musical equipment manufacturers. Unable to purchase reliable speaker components for its high-power amplifiers, Peavey Electronics began making its own loudspeakers. Eventually, Peavey Electronics would build everything it needed for its musical instruments, from cabinets and metal work down to making its own circuit boards and running its own advertising agency.
In 1990, Peavey explained, "If somebody local had been able to subcontract for me the things I needed to build amplifiers, I would probably still be using subcontractors. We had to learn to make our own chassis, our own circuit boards, and eventually everything 'in-house.' And while we thought it was a tremendous disadvantage, and in many ways, it was, we discovered that it was the best thing that could have happened."
In the mid-1970s, Peavey Electronics also began manufacturing electric guitars, again more from necessity than design. Several leading electronic instrument companies were gobbled up by conglomerates during the 1960s, including Fender Musical Instruments, which was purchased by CBS in 1964. These companies, with their immense marketing power, began encouraging dealers to sell their guitars and amplifiers as a package deal, cutting into sales of Peavey amps.
As he had when he adopted solid-state components for his first amplifiers, Peavey embraced state-of-the-art technology to produce guitars at lower cost, becoming the first manufacturer to use computer-controlled machinery to turn out guitar bodies and precision parts. Years later, Peavey recalled, "When we announced that we were making guitar bodies on computer-controlled machinery, some of the most prominent names in the industry said, 'Impossible. Everybody knows you can't make guitars with a computer.' That was a rather simplistic attitude, we thought, because, in fact, we weren't making guitars on computers. We were using ...computer-controlled machines to make precision guitar parts to tolerances that heretofore manufacturers couldn't even think about approaching. Guitar makers are always talking about hand craftsmanship. What hand craftsmanship is, in many instances, is the ability to fit together parts that are produced with a lot of 'slop' in them."
In the early 1990s, Peavey Electronics would establish a Computer-Integrated Manufacturing (CIM) system to link and track all aspects of its manufacturing, and increasingly the company was using robotics in its assembly processes. The company, however, had an unofficial no-layoffs policy and employees whose jobs were eliminated by technology were retrained for other positions. In 1994, Jere Hess, then director of public relations, told The Meridian Star, "No one in this company has ever lost their job because of automation."
Twenty-Fifth Anniversary
When Peavey Electronics celebrated its 25th anniversary in 1990, The Meridian Star published a 40-page special edition to honour the company that had become the area's largest employer. The newspaper noted that Peavey Electronics created more than 1,000 new jobs in east-central Mississippi between 1980 and 1989, including more than 850 in the Meridian area, and 73 percent of all new manufacturing jobs in Lauderdale County. Among those saluting the company was Mayor Jimmy Kemp, who said, "Of course the obvious things you think about when somebody in your community employs 1,850 people is the enormous impact it has on your city, which is fantastic. I'd hate to think what we'd do without Peavey Electronics as far as our city is concerned." Peavey Electronics was then the tenth largest manufacturing employer in the state.
In 1991, Peavey Electronics was one of 20 companies selected by the U.S. Department of Commerce to participate in a five-year program designed to stimulate export of U.S. products to Japan. As part of the program, the Department of Commerce arranged meetings between heads of the U.S. companies and Japanese officials, including Prime Minister Toshiki Kaifu and Minister of International Trade and Industry Eiichi Nakao. Peavey Electronics, which first entered the Japanese market in the mid-1970s in a short-lived relationship with industrial giant Yamaha Corporation, also agreed to participate in at least one trade show a year in Japan. Although the company contracted with other distributor, Japan was never a significant market.
In 1991, President George Bush chose Peavey Electronics as the site to give a speech on economic growth. The Meridian Star noted, "Hoping to pump fresh air into his sagging popularity, President Bush hailed the success of Meridian's Peavey Electronics Co. as proof that Americans can excel in a worldwide economic battle." The newspaper also quoted Peavey as stating that the company's "one real goal, perhaps unreachable, is to become a $1 billion company." At the time, Peavey Electronics was reported in the local media to have sales approaching $500 million a year, although company executives said that figure was greatly exaggerated. As a matter of policy, the privately held company did not release financial information, but annual sales in the mid-1990s were generally believed to be about $200 million to $220 million.
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A Brief History of Peavey Amplifiers –
A Legacy of Quality & Affordability
The story of how Peavey became one of the largest audio manufacturers in the world is one of humble beginnings and a well-deserved reputation for quality, value and innovation. Growing up as a guitar or bass player, you’ve probably owned or played your fair share of Peavey amps, since the company’s catalogue is so affordable, diverse and well distributed.
After graduating from Mississippi State in 1965, Hartley Peavey started his company above his father’s music store, building amps one at a time. Since then, Peavey has proven to be a pioneer in all facets of solid-state and tube-driven amplification, which has led to the design of some of the world’s best and best-selling amplifiers, including the Bandit and the 5150®.
Not only is the company passionate about sound, it is equally passionate about build quality and affordability. Peaveys are known for their innovative circuitry, being built like tanks and for being affordable enough for musicians at every level, across the globe.
Humble Beginnings
In 1961 Hartley Peavey made his first amplifier and adorned it with the instantly recognisable company logo, which he designed himself in high school. When he launched the company four years later, Peavey produced only two amplifiers: The Musician and Dyna Bass. Both models were high-wattage, solid-state amplifiers that included simple features for the working musician.
In 1973, Peavey began development on a series of vintage Fender Twin inspired amps, with 6L6 power tubes and two 6C10 pre-amp tubes. These amps had a different sonic signature than the Twin and had their own unique sound. Since solid state was all the rage back in the 1970s, later versions capitalized on new technology, which enabled the combination of solid-state pre-amps with tube power amps.
The vintage series was the precursor to the now popular all-tube Classic Series®, which features an EL84 power section that effectively combines classic Vox- and Fender-type tones in one convenient and versatile amp for use in many different styles of music.
Solid State Dominance
With solid state amps becoming increasingly popular in the ‘70s and early ‘80s, Peavey developed what is arguably its most famous solid-state amp: The Bandit®.
Conceived in 1980, the Bandit since has gone through many revisions and Bandit®s still are being produced today with Peavey’s own TransTube® technology. This innovative feature emulates the sound and feel of a tube amp using solid state power. Peavey accomplished this by modelling the overload characteristics of the amp and transformer as well as emulating the sound of asymmetrically clipping tubes.
Early model Bandits are instantly recognisable by their multi-coloured knobs and silver panels adorning the sides of the grill cloth. Varying in wattage over time, the Bandit has become a reliable tool in the solid-state amp lover’s arsenal.
More Gain for ‘80s Metal Players
When hair metal first hit in the ‘80s, players required more gain for new playing techniques, such as two-handed tapping and sweep picking. Marshall was ahead of the curve for this particular sound with the coveted JCM800 2203, but Peavey offered its take on that circuit with the Butcher and VTM series. Instead of Marshall's usual EL34 tubes, both series of Peavey amps used 6L6 power tubes, which yielded a darker sound and a less apparent upper-mid presence.
Many compare the VTM to a hot-rodded JCM800 and the Butcher to a normal JCM800, but even though these amps may share similar tonal characteristics, they are definitely their own beasts. These amps are extremely versatile and can be bought for much less than comparable competitors.
Modern Metal Mayhem
In the early ‘90s, more players began demanding even more gain, power and options, and Peavey moved to the front of the pack,via the three-channel Ultra Plus®, a currently undervalued amp.
The Ultra Plus® could cover any genre of music with its crisp-and-spanky clean channel for country; crunch channel for rock’s cutting mid-range; and ultra-channel for searing leads and metal riffs.
Using an active EQ section, the user could boost or cut any frequency with precision and dial in his own desired tone. Peavey seems to favour 6L6 power tubes, and at 120 watts this head could do the job for any situation. It was a precursor to the Triple XXX® series, which was a slightly modified version of the Ultra Plus, but it featured updated aesthetics, including a metal face plate akin to a Mesa Triple Rectifier. Peavey since has come out with the Triple XXX®II, which features switchable power tubes from the stock EL34s to 6L6s.
The Most Famous of Them All
The 5150® was unleashed in 1992 after a two-year collaboration between the creative minds of amp designer James Brown and guitarist Eddie Van Halen.
Featuring two channels, a 120-watt all-tube 6L6 power section and a shared EQ, the 5150® was able to produce a variety of rock and metal tones. The rhythm channel could be set clean or crunchy, but the lead channel is what this amp is famous for. With its super high-gain sound, it could be used for anything from tight and aggressive metal riffs to blistering lead tones. This led to the 5150®II with separate EQs for each channel, which made the amp even more versatile. In 2004, EVH parted ways with Peavey and the amp was re-branded as the 6505® and 6505®+ (also known as the 6505®Plus), along with the 6534™ and 6534™+ (also known as the 6534™Plus), which feature an EL34 power section for a more British flavour.
Since its creation, Peavey strives to make powerful, affordable amplifiers so that every musician can have the means to own one and the privilege to play through one.
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STOCK SUPPLY NOTES
A note on our rare, classic, vintage, collectable, and used musical instrument amplifier & musical instrument equipment items. While we offer a warranty on your purchase, because we run on very tight profit margins (meaning cheaper gear - which is good for you, the buyer), it also means that you need to make sure you actually want the items for their incredible tone, durability, and lasting quality rather than perfect looks. Any returns or refunds will incur a re-stock fee of around a third the value of your (already) low purchase price so please remember that while most of our gear is excellent for the age, these items (especially our valve amplifier) are indeed rare and represent the sound of an unrepeatable era. Even though we meticulously service, test, clean, polish and warrant all our gear, there may occasionally be some residual scuffs underneath or on the sides, or perhaps a tiny tolex rip on the rear. So, while our gear will be in EXCELLENT CONDITION (for the age), we will always advise you if the gear is in MINT CONDITION or if we feel that the item is perhaps of only AVERAGE CONDITION.
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* Footswitches, Cables, etc available if originally supplied to us by the donor
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★ BRAND NEW | SEALED BOX ★ FREE FREIGHT | 3YR WARRANTY | LIMITLESS LAYBY | PAYPAL | NO INTEREST EVER Finance Available
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Peavey® invective™ Series invective™.MH
20/5/1-watt Guitar Amplifier Head
ALL THE HIGH-GAIN BRUTALITY IN A COMPACT SIZE
The invective™.MH head has been one of the most in-demand high-gain amps on the market. Developed in a collaboration with the talented Misha Mansoor, this was one of the first amps designed to be a perfect match for modern pedalboard-centric players.
The best-in-class clean channel is the perfect launchpad for your pedal-generated sound. The high-gain channel in the invective™ is based on the legendary 6505®, known as the amp that created today's hard rock sound. Now with the invective™.MH, you can get this versatile performance amp in a mini-head form factor.
20W GUITAR AMPLIFIER HEAD
Guitarists with heavier tastes looking for their next upgrade will find a sturdy solution in the new Peavey® invective™ range. With design input from Periphery's Misha Mansoor, these dynamic products are perfectly suited for helping players achieve the most revered metal sounds, from woody and clean to the most extreme of high gain tones.
Misha Mansoor Signature Mini Head
The Peavey® invective™.MH takes Misha Mansoor’s signature amp head and packs it into a 20-watt, 2-channel design. This MINI head retains many of its larger sibling’s player-friendly features — the cab-simulated output, super-tight noise gate, and footswitchable functions — while providing everything a guitarist needs for rehearsing and playing small gigs. And, of course, the Invective™.MH delivers the tight high-gain tones you’d expect from a Misha Mansoor signature head. If you’re searching for brutal, hard-hitting tones but don’t need to fill an arena, then you can’t go wrong with the Peavey® invective™.MH — it’s everything you want and more.
From pristine clean to punishing high gain
To pull off his genre-defining range of tones and techniques, Misha Mansoor requires an electric guitar amp head that delivers top-quality tones from crystal clear to over-the-top distortion. The Peavey® invective™.MH more than obliges. The Lead channel is voiced after Peavey's legendary 6505™ tube amp line, and the Clean channel is specifically engineered to deliver a completely clean tone at any volume level while also having footswitchable options to push it a bit harder. No matter what shade of gain you need, the Peavey® invective™.MH has it covered.
Loaded with features for today's player
The Peavey® invective™.MH all-tube amplifier head is packed to the brim with added features that are sure to benefit players wanting the same tonal flexibility as many modelling units. A noise gate is featured on the front of the unit that boasts an incredibly fast response — perfect for precise palm-muted riffs. The amp's power attenuator dials it down from a club-friendly 20 watts to rehearsal-friendly five watts to a bedroom-friendly single watt. And a buffered effects loop allows you to integrate your pedalboard and other external processors.
Powerful switching
Not only does the Peavey® invective™.MH sport a bevy of player-friendly features, but it also offers a brilliant array of switching options, allowing you to access all your tones quickly whether at rehearsal or onstage. Dual ¼" TRS footswitch jacks allow the Peavey® invective™.MH to engage or disengage the Tight voicing and any combination of Gate and Boost on the Lead channel. The effects loop is also footswitchable.
MSDI™ Direct Output
As we at NEWTONEMUSIC know, silent stages are becoming more and more prevalent in every genre of music. The Peavey® invective™.MH caters to this with its MSDI™ direct output feature. You're able to send a high-quality, cabinet-simulated signal to your front of house or recording console. And the ground-lift control ensures that your audience hears nothing but top-notch sound.
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Peavey® invective™.MH
Misha Mansoor Signature Mini Head
MONSTROUS TONES FROM A MINI HEAD
Misha Mansoor is a true pioneer of modern metal guitar tones. Through his work with Periphery, Mansoor has inspired today's generation of guitarists with his trademark tight and technical riffs. And, in order to achieve his distinctive sound, Mansoor relies on some very particular gear.
His signature guitar amp, the Invective, is a key ingredient to his massive yet precise tone. Unveiled at the 2019 NAMM Show, the Peavey® invective™.MH Mini Head is the little brother of the mighty Peavey® invective™.120. With 20W of headroom, this amp may sound under-powered to some, but trust us - it pumps out more than enough volume!
Inheriting many of the key features found on the larger head, including a buffered effects loop, Peavey's 'Microphone Simulated Direct Interface', built-in tight, boost and gate functions and much more, this amp is designed to meet the demands of modern metalheads, especially those looking for a more compact and portable rig.
Here's what PEAVEY say about the invective™.MH Mini Head:
Peavey Electronics® proves that good things come in smaller packages at the 2019 NAMM Show. In a second collaboration with Periphery guitarist, Misha Mansoor, the new invective™.MH amplifier packs all of the best tones from its 120w big brother into a much more portable 20w mini head format. At the heart of this little monster is a pair of EL84 power tubes shaped by three 12AX7/ECC83 preamp tubes, providing everything from pristine cleans to the infinitely chunky gated djent destruction.
The many features of the Peavey® invective™.MH will satisfy even the most discerning of gear heads. The onboard T.S.I.™ (Tube Status Indication) circuit helps the user diagnose a problem with the power tubes. The bias adjustment pot is located on the top of the small, rugged chassis. Additionally, foot switches allow the invective™.MH to engage or disengage the Tight voicing and any combination of Gate and Boost on the Lead channel, respectively. There’s also an independently foot-switchable buffered effects loop.
If there’s one key takeaway, don’t be deceived by the size or format of the invective™.MH. No matter the venue, this mini amplifier has plenty of oomph for small-to-medium sized gigs and can even work as a backline stage monitor with its attenuator switch directing power at 20w, 5w, or 1w to suit the need.
On the clean channel, adaptive low and high EQ help find the sweet spot with ease. The lead channel provides a three-band EQ. Master Resonance and Master Presence pots help shape the tone. In addition to its new sounds, the Invective MH has all of the recording hooks and flexibility of the other Peavey® MH amplifiers, including MSDI™ (Microphone Simulated Direct Interface) Output with XLR and ground lift switch, speaker-simulated USB, speaker defeat switch, power attenuator, headphone out, and more. Dual Quarter Inch TRS footswitch jacks allow for ease of MIDI control.
Offering a highly portable format, the Peavey® invective™.MH weighs just over 16.5 pounds unpacked. Pack it up for the trunk or backseat, and it’s approximately 14 inches wide by 7.5 inches tall, with a depth of just over 12 inches.
Written by
Elliot Stent, Anderton’s Music Co
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Peavey® Misha Mansoor Signature
invective™.MH Amp Head Features:
- Misha Mansoor’s signature amp head packed into a 20-watt, 2-channel design
- Preamps designed around the popular 6505™ sound
- Pristine cleans available
- Power attenuation circuit, speaker defeat switch, and headphone output are great for practicing
- 2-band adaptive EQ (Clean channel), 3-band EQ (Lead channel), Master Resonance, and Master Presence
- Footswitch jacks allow you to engage or disengage the Tight voicing and any combination of Gate and Boost on the Lead channel
- Footswitchable buffered effects loop for integrating your pedalboard and other processors
- Noise gate is designed for incredibly fast sound cut-off
- Tube Status Indication lets you know your power tubes are still working properly
- Cab-emulated direct output with XLR and ground-lift control
- Speaker-simulated USB output for direct connection to a computer
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Tech Specs
Type: Tube
Number of Channels: 2
Total Power: 20W (5W/1W settings)
Preamp Tubes: 3 x 12AX7
Power Tubes: 2 x EL84
EQ: 3-band EQ (lead), 2-band EQ (clean)
Inputs: 1 x ¼"
Outputs: 1 x ¼" (8/16 ohm), 1 x XLR (MSDI™ direct out)
Headphones: 1 x ⅛"
Effects Loop: Yes
USB: 1 x Type B
Footswitch I/O: 2 x ¼" TRS (channel, tight, boost, gate, fx loop)
Footswitch Included: Yes, 2-button footswitch
Construction Material: Black Leatherette
Power Source: Standard IEC AC cable
Height: 7.5"
Width: 14"
Depth: 12"
Weight: 16.6 lbs.
Manufacturer Part Number: 03618470
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MusicRadar
THE NO.1 WEBSITE FOR MUSICIANS
Peavey® invective™.MH Mini Head Review
The downsized version of Misha Mansoor's signature head is a state-of-the-art lunchbox that's perfectly voiced for metal
By MusicRadar (21 June, 2021)
OUR VERDICT
The Peavey® invective™.MH Mini Head is compact, convenient, user friendly, versatile and ferocious, capable of stripping the paint off the wall with its ridiculously awesome gain stage. It's everything a metal player would want in a moderately powered lunchbox head.
★★★★★ 5/5
PROS
- Stunning levels of gain (and, whisper it, nice cleans).
- Footswitchable effects loop.
- MSDI™ emulation sounds real.
- Suitable for home, stage, and studio.
- Great price.
- No user controls for noise-gate.
When Peavey® and Misha Mansoor of progressive metal pioneers Periphery got together to spec up a guitar amplifier that could take the baton from the 6505 model and offer state-of-the-art high-gain performance they did not disappoint.
Peavey® invective™.120 Head was a 21st-century amp with monster levels of gain, some hidden depths too by way of very respectable cleans, and a very practical MSDI™ output that made it sound just as good when going direct either through a PA for live performance or straight into a desk/DAW for recording.
But with 120-watts under the hood, it was not going to be suitable for every setting. The tones were, sure, but many players – perhaps most of us – do not need that much power. That's where the invective™.MH Mini Head comes in. It takes the Invective concept, shrinks it into a two-channel lunchbox format offering 20 watts at full steam, but switchable down to five or a single watt.
Many of the features of its big brother are retained. There is a buffered and footswitchable effects loop, perfect for bringing your pedalboard online when needed. There is a speaker-emulated USB and cab-emulated direct output with XLR and ground-lift. With the invective™ designed to breathe fire into your riffs, it's good to know there's an onboard noise gate.
Gigging players will especially appreciate the Tube Status Indicator (T.S.I.™) lights on the front panel which let you know if there are any issues with either EL84 power tube. The LEDs glow red until you take the amp off standby, whereupon they'll glow green unless you have an issue.
The front panel is busy but clearly ordered. Peavey has positioned the Clean channel on the left-hand side with controls for Gain, Low and High.
Beside this, there are a quartet of buttons to engage/disengage the noise gate, switch channels, engage a TS-style boost or activate the invective™'s Tight mode, which does just that, replicating the Crunch channel of the 120 head and consolidating your tone for a fuller and more articulate chug. The Boost function adds some drive in the style of Mansoor's favourite Tube Screamer setting.
Channel switching and engaging the Tight mode on the Lead channel can be performed with the footswitch, and there is another set of inputs for your noise gate, boost, and effects loop footswitch.
The Lead channel has controls for Pre-Gain, Low, Middle, High, and Post-Gain, with the latter controlling the overall output level of the channel. Their global controls for Resonance and Presence to allow you to tailor the amp's response, with the former controlling low-end power amp damping and the latter the high-end.
Turn the amp around and you'll find a similarly busy set of I/Os and switches, with a USB output, two footswitch inputs, send/return, balanced XLR out with ground and speaker defeat footswitches, a ⅛" headphones output, speaker output with 8-ohms/16-ohms impedance switch, a three-way power scaling control and your AC power input.
The headphones output allows for silent practice and uses Peavey's Mic Simulated Direct Interface tech which emulates a 12" speaker that's mic'd three inches from the speaker cone.
At just 16.6lbs, the mini-head version of the invective™. is a lot more portable, a low more compact, but there's no quarter shown when it comes to performance. It translates its larger sibling's exceptional gain stage into a smaller and more manageable format while offering a Clean channel that's a super pedal platform but impressive in its own right. Of course, with no output level control on the channel, its voice ranges from glassy to a pleasingly musical crunch – with the two passive controls for bass and treble calling to mind a Princeton-esque channel.
Fans of the 6505™ will find a lot to like about the Lead channel. Its preamp was designed around the 6505™'s and it, too, has everything the metal player could need. Even without the boost engaged, the Lead channel has a generous amount of dirt. The gain is abundantly rich in harmonics and it is a truly inspiring channel for hard rock and metal players looking to split the atom with their solos.
Looking to lay down a tight rhythm piece? Well, the Tight switch can help. It actually takes a little of the gain off, but in adjusting the EQ it helps bring out all the details in your power chords, adding a sense of three-dimensional oomph to your rhythm playing.
Though the noise gate cannot be manually adjusted, it works very nicely indeed. Those who are tuning in on the strength of Mansoor's name and similarly wish to walk a polyrhythmic path into a staccato chug will love how it refines your performance.
The MSDI™ tech remains impressive and makes silent headphones practice a joy rather than the lifeless chore it can be with lesser emulated outputs. Amp technology is moving apace, with digital modelling amplifiers pushing the envelope of what is possible, but it is designs such as this and in Revv's G20 that we can see the future of the tube amp being secure.
The quality of emulated outputs for both the stage and the studio adds a level of practicality to the tube amp paradigm that should go some way to futureproofing it against its digital competition. So, too, the switchable power. At 20-watts, the invective™ Mini Head has a very loud bark, but at five- or one-watt, that bark can be housetrained for practice or attenuated for recording, without losing any of the high-gain venom along the way.
When you factor in the price, it really is a sweet deal. There is plenty of range here. The clean tones are musical and precise, and there's an expanse of uncharted gain to explore, from hot and dirty crunch to the sort of searing nuclear tones that sends the black t-shirt demographic into raptures.
MusicRadar verdict: The Peavey® invective™.MH Mini Head is compact, convenient, user friendly, versatile, and ferocious, capable of stripping the paint off the wall with its ridiculously awesome gain stage. It's everything a metal player would want in a moderately powered lunchbox head.
The WEB says:
Guitar World
"The Lead channel is a beast that generates the most harmonically complex distortion I’ve ever heard from a 20-watt EL84 amp, with rich saturation that rivals boutique heads costing thousands of dollars more. Although this channel’s gate feature only has an on/off function, it’s dialled in so perfectly most players won’t mind not being able to tweak it further. Fast-picked riffs explode from the speakers with tight, percussive attack, delivering astounding definition and clarity."
Premier Guitar
"If you’re into Misha Mansoor and modern metal, the Peavey® invective™.MH is a no-brainer, must-check-out amp. But it’s also surprisingly versatile, and whether onstage, in the bedroom, or the studio, just about any guitarist could find a use for this monstrous-to-mellow amp"
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Guitar World
Peavey® invective™.MH Head Review
This feature-rich, Misha Mansoor-designed head is one of the best high-gain amps you can buy
By Chris Gill (June 03, 2020)
OUR VERDICT
With harmonically complex high-gain tones that rival amps costing double or triple the price, and a host of pro features, this is simply one of the best amps you can buy under US$1,000.
★★★★★ 5/5
FOR
- Built-in attenuator allows users to set their chosen output to 20-, 5- or 1-watts.
- Gate, Tight and Boost switches provide “big amp” tones and performance.
- Excellent price point.
- Nothing.
The Peavey Invective 120, designed with considerable input from Periphery guitarist Misha Mansoor, is one of the most exciting amp heads to come along in the last few years. As great as that amp is, it may be too much of a good thing as most players these days don’t need 120 watts of output power and prefer smaller, lighter amps that are easier to haul to gigs.
Fortunately, Peavey and Mansoor have collaborated on a sequel of sorts - the invective™.MH, with the MH standing for “mini head.” About half the size and one third the weight of the invective™.120, the Peavey® invective™.MH also delivers 100 watts less of output power and cuts more than US$1,000 from the price, while retaining most of the bigger invective™’s innovative features and awesome tones.
Features
The Peavey® invective™.MH may be housed in a mini head configuration, but it’s packed with more features than many full-size heads can boast. At its core, the invective™.MH is a 20-watt, two-channel amp driven by a pair of EL84 power output tubes (compared to the stock four 6L6 tubes in the mighty invective™.120) and three 12AX7 preamp tubes (compared to six in the 120).
The Clean channel provides Gain, Low and High controls, while the Lead channel offers Pre Gain, Low, Mid, High and Post Gain controls plus switches for Gate, Tight and Boost functions.
Master section controls consist of Resonance and Presence for fine-tuning bass and treble characteristics, respectively. A pair of LEDs do double duty as indicators for the Standby and Power switches and as T.S.I.™ (Tube Status Indicators) for each of the power output tubes, changing from green to red when tube performance is not as strong as it should be.
You’ll find that the invective™’s rear panel is similarly feature-packed, providing a voltage selector switch, an attenuator switch for 20-, 5- or 1-watt output power, a single ¼-inch speaker output jack with 8/16-ohm switch, the sophisticated MSDI™ (Mic Simulated Direct Interface) section with an XLR output jack, speaker engage/defeat switch, ground/lift switch and ⅛-inch headphone output, buffered effects loop, two footswitch jacks for controlling channel switch/tight and boost + gate/loop functions and a USB Type B jack that provides mic-simulated digital audio output.
A single two-button footswitch unit is included with the head for use with either of the footswitch jacks.
Performance
The invective™.MH’s list of features is impressive, but what is truly remarkable is how well all of those features perform. The Clean channel delivers stellar clean tones that are perfectly matched with closed-back speaker cabinets (whether 1x12, 2x12 or 4x12) to produce tight, round, full-bodied tones with ample sparkle and snap.
With high-output humbucking pickups, this channel subtly transforms to overdrive with the Gain control around 6, but even with the Gain at 10, immaculate clean tones are summoned either by playing more gently or by backing down the guitar’s volume knob slightly.
The Lead channel is a beast that generates the most harmonically complex distortion I’ve ever heard from a 20-watt EL84 amp, with rich saturation that rivals boutique heads costing thousands of dollars more. Although this channel’s gate feature only has an on/off function, it’s dialled in so perfectly most players won’t mind not being able to tweak it further. Fast-picked riffs explode from the speakers with tight, percussive attack, delivering astounding definition and clarity.
The individual EQ controls for each channel, added performance flexibility courtesy of the Tight and Boost switches, and powerful MSDI™ output section, which delivers stellar direct tones to a sound system, all make this a great choice for players seeking a compact rig for playing live. Paired with a 4x12 cabinet, it’s more than loud enough for clubs, but is also easier to “tame” in the studio, delivering “big stack” tones through a 1x12 cabinet at lower output levels.
Specs
- STREET PRICE: US$699.99
- MANUFACTURER: Peavey
- AMP TYPE: Valve
- EFFECTS LOOP: Yes
- FOOTSWITCHABLE: Yes
- NUMBER OF CHANNELS: 2
- POWER AMP VALVES: EL84
- PREAMP VALVES: 12AX7/ECC83
- SPEAKER SIM: Yes
- WATTAGE RANGE: 11W - 30W
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► CUSTOMER REVIEWS
Peavey® Invective™.MH Head Review
Overall Average Rating: ★★★★★
(5 out of 5 Stars)
★★★★★ Well made amp
Sold my MTS 15 and got this. No regrets .... this is a good low volume room amp. Gain Chanel resembles my Horizon apex with more clarity. Noise gate cuts a little early for leads and would be better if it were adjustable. Effects loop works very well. I've gone through many mini amps looking for what this amp does. Good job Peavey
by Customer on March 12, 2021
Rated 5/5
★★★★★ Great little amp with some (very) minor flaws
I got this amp about a week ago. I've been a big fan of the Peavey high-gain sound for quite a while--I used to play through an OG 5150 212 combo--and I was very excited to have a new Peavey tube amp. For the most part, I'm very happy with the amp. I think overall it's a crazy value for the price point. I haven't been able to really turn it up and blast it yet, I've been playing at low-ish volume on the 1-watt setting. But here's what I'd say so far:
Pros:
- Lots of gain on tap (though not quite as much as I had expected, but I like my sound *super* saturated, so...)
- High gain tone is very nice, dynamic, well-balanced
- Sounds good (not thin or fizzy) even at very low volumes on the 1W setting
- Responds well to pedals in the FX loop (see below)
- Sounds even better (much fuller) with an EQ pedal in the FX loop (I use the MXR 10 band EQ, which is amazing)
- Very useful and cool on-board features: boost, gate, tight, etc.
- The on-board 'boost' and 'tight' functions work very well together, sound great
- Clean channel sounds nice (good clean slate for pedals)
- Nice looking, solid fit and finish, lightweight
Cons:
- If you are a gain hound like me, you might need a little gain boost to get it *really* saturated at low volumes
- The on-board noise gate is, to my ear, too aggressive. It works *okay*, but it cuts out some of the punchiness and fullness of the tone along with the hiss and buzz (I've opted to used a noise gate pedal in the FX loop instead)
- Like many amps, the post-gain (i.e., volume) control is *very* sensitive. Even minor adjustments make a big difference in volume
Overall, I would recommend this amp, especially to anyone who is a Peavey fan or a Periphery/Misha Mansoor fan. I suspect the most direct competition for this amp is the PRS MT15 (Mark Tremonti) amp head. I've never played that amp, but I'd definitely like to. However, this invective™.MH has a number of features that the MT15 does not, and it's also $... cheaper new. So in that sense, the Peavey comes out ahead.
by Carry Osborne from Virginia on February 15, 2021
Music background: Hobbyist/amateur player, play mostly modern metal
★★★★★ Good amp for sure but..... do not be misinformed buy [ " modern day infomercial host" "aka you tubers" ] like I was as to the realistic capabilities of this amp
take your time and really think about ALL the tasks you are going to need to use your amp for? then ask yourself again ignoring what you tube says for a min, would a 20watt amp be able to deliver the power and decibel range that you need? I myself did not do this, I did not sit down and really use my own common sense. I just made the purchase on the more than likely paid word of those handful of you tube gear channels all of us gear nerds annoy our spouses with. LOL.
After several attempts of playing with a drummer in a 15x15 practice studio I decided to return my invective™.MH and try to find something with more wattage.
by Nick Sherman from El Dorado Hills, CA on May 21, 2021
Rated 4.5/5
★★★★★ Great Amp
Looking for a 20-watt amp for a while and am glad I went with the Peavey® invective™.MH.
by Ryan Griffiths on July 26, 2021
Rated 5/5
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PEAVEY® - We Are Innovation. Amplified.
Driven by an unmatched legacy of innovation and a total dedication to quality and reliability, Peavey Electronics embodies the pursuit of perfection in music and audio. It's our unifying spirit. It's proven - and it continues today.
For nearly five decades, Peavey has blazed its own path toward musical perfection. Founded by Hartley Peavey in 1965 as a one-man shop, today Peavey Electronics Corporation is one of the largest makers and suppliers of musical instruments, amplifiers and professional audio systems in the world—distributing more than 2,000 products to more than 130 countries.
Hartley has famously said, "In order to be better, by definition you must be different." What makes Peavey different is a commitment to approaching business with a unique vision, from product design to distribution to being the largest independently owned manufacturer in the business. His quest has led to more than 180 patents and innovations in the way we hear and play music.
Hartley Peavey is not only the visionary, lead engineer and chief executive, but also the lynch pin that connects a rich history to a bright future. And his founding principles of quality, reliability and innovation are still the focus of engineering and manufacturing operations that span continents and languages, customs and cultures.
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PEAVEY ELECTRONICS - CORPORATION HISTORY
Company Perspectives
Since its founding in 1965, our company goal has always been to build the best products available while at the same time making them affordable through the use of the most modern computer-assisted design manufacturing methods available.
Company History
The Peavey Electronics Corporation, founded in 1965 by Hartley Peavey, is a major manufacturer of guitars, amplifiers, speakers, electronic keyboards, and other electronic audio-enhancement equipment. In 1993, the company, solely owned by Hartley, then chairman, and Melia Peavey, his wife and president of the company, had sales estimated at $210 million. Exports to more than a hundred countries accounted for an estimated 40 percent of sales. Peavey® Electronics, with more than 1,600 different products, is also the tenth largest manufacturer in Mississippi, with more than a million square feet of warehouse and manufacturing space in east-central Mississippi, including a 40-acre headquarters site known as Peavey City in Meridian. The company also has manufacturing operations in Foley, Alabama, and in Corby, England, and distribution centres in The Netherlands and Canada. Its chief competitor is Yamaha, the Japanese conglomerate. Founder Hartley Peavey, whose "hometown boy makes good" story made him a local legend in Mississippi, has been the recipient of numerous awards for entrepreneurship, including the "E Star" award for success in international markets from the U.S. Department of Commerce. He was also inducted into Hollywood's "Rock Walk of Fame" in 1990 for his contributions to rock 'n' roll music.
Musical Ambitions in the 1950s
Hartley Peavey grew up in Meridian, Mississippi, and had early aspirations of becoming a rock 'n' roll guitar player. As a teenager in the late 1950s, he worked in the Peavey Melody Music Store, owned by his father, J.B. "Mutt" Peavey, and tinkered with building amplifiers for local musicians. When, as he once confessed to Inc. magazine, he turned out to be a "pretty lousy guitarist," Peavey decided his future was in making amplifiers.
In 1965, after graduating from Mississippi State University with a degree in marketing and management, Peavey, then 23, took the remaining $8,000 in his college fund and formed Peavey® Electronics, working out of his parents' basement. As he later recalled in "Music and Sound's Greatest Hit," published by Peavey Electronics for its 25th anniversary: "I would build one (amplifier) a week, go out and sell it, come back and start on another one." The amplifiers were inscribed with the lightning bolt logo that Peavey had designed as a college freshman.
A year later, Peavey moved the business from the family's basement to an attic in the building that had housed his father's music store. By then, his father had sold the music store but still owned the building. Peavey also hired his first employee, a salesman, so he could concentrate on building amplifiers.
In the mid-1960s, however, there were many larger, better-known companies making amplifiers, and Peavey soon expanded into building public address systems to keep his young business afloat. In the company's 25th anniversary retrospective, Peavey explained that as "I travelled and talked to music dealers, I realised there was no shortage of instrument amplifiers. But if you wanted a PA system there were essentially only two available and both were expensive systems.... Most folks think I got into the music business with guitar amps. Not necessarily so!"
Staying in Meridian
By 1968, business was good enough that Peavey decided to borrow $17,500 to build a small "factory" in Meridian. Over the next five years, Peavey Electronics enlarged the building seven times, and having grown to more than 150 employees, in 1973 the company began construction on Plant #3, which would become its main manufacturing facility. To hire enough skilled employees, Peavey Electronics established training courses at Meridian Community College.
Over the years, Peavey was often asked about his decision to keep the company in Meridian. In 1985, he told Inc. that Mississippi "unfortunately runs dead last in everything. You don't have the skilled people you need, you don't have the suppliers, you don't have the access to the freight network.... Back in 1965, when I got into this, I was too damn dumb to know it couldn't be done." He went on to say that he had "lost count" of how often he wished he had built Peavey Electronics somewhere else. In a later interview with his hometown newspaper, The Meridian Star, Peavey explained, "What I tried to say in the Inc. article was that Mississippi presented many difficulties in starting a high-tech business. And some of these difficulties exist to this day." In 1982, the City of Meridian honoured its hometown industrialist by proclaiming April 21 as Hartley Peavey Day.
In the late 1980s, when the company was considering building its first U.S. manufacturing facility outside of Mississippi, then-Governor Ray Mabus worked with Peavey Electronics and Meridian Community College to create The Meridian Partnership, the first private-sector use of the Job Skills Education Program, a technology and basic-skills program originally developed by the U.S. Army. In the early 1990s, Peavey Electronics opened a 58,000-square-foot training centre, complete with its own recording studio, for its employees and more than 1,200 dealers. In 1993, Peavey told The News in Boca Raton, Florida, where he and his wife had a second home, "People ask me why Mississippi and I say, Where do you think rock 'n' roll was born?"
Vertical Integration in the 1970s
It was in the early 1970s that the company began the vertical integration that would make it unique among major electronic musical equipment manufacturers. Unable to purchase reliable speaker components for its high-power amplifiers, Peavey Electronics began making its own loudspeakers. Eventually, Peavey Electronics would build everything it needed for its musical instruments, from cabinets and metal work down to making its own circuit boards and running its own advertising agency.
In 1990, Peavey explained, "If somebody local had been able to subcontract for me the things I needed to build amplifiers, I would probably still be using subcontractors. We had to learn to make our own chassis, our own circuit boards, and eventually everything 'in-house.' And while we thought it was a tremendous disadvantage, and in many ways, it was, we discovered that it was the best thing that could have happened."
In the mid-1970s, Peavey Electronics also began manufacturing electric guitars, again more from necessity than design. Several leading electronic instrument companies were gobbled up by conglomerates during the 1960s, including Fender Musical Instruments, which was purchased by CBS in 1964. These companies, with their immense marketing power, began encouraging dealers to sell their guitars and amplifiers as a package deal, cutting into sales of Peavey amps.
As he had when he adopted solid-state components for his first amplifiers, Peavey embraced state-of-the-art technology to produce guitars at lower cost, becoming the first manufacturer to use computer-controlled machinery to turn out guitar bodies and precision parts. Years later, Peavey recalled, "When we announced that we were making guitar bodies on computer-controlled machinery, some of the most prominent names in the industry said, 'Impossible. Everybody knows you can't make guitars with a computer.' That was a rather simplistic attitude, we thought, because, in fact, we weren't making guitars on computers. We were using ...computer-controlled machines to make precision guitar parts to tolerances that heretofore manufacturers couldn't even think about approaching. Guitar makers are always talking about hand craftsmanship. What hand craftsmanship is, in many instances, is the ability to fit together parts that are produced with a lot of 'slop' in them."
In the early 1990s, Peavey Electronics would establish a Computer-Integrated Manufacturing (CIM) system to link and track all aspects of its manufacturing, and increasingly the company was using robotics in its assembly processes. The company, however, had an unofficial no-layoffs policy and employees whose jobs were eliminated by technology were retrained for other positions. In 1994, Jere Hess, then director of public relations, told The Meridian Star, "No one in this company has ever lost their job because of automation."
Twenty-Fifth Anniversary
When Peavey Electronics celebrated its 25th anniversary in 1990, The Meridian Star published a 40-page special edition to honour the company that had become the area's largest employer. The newspaper noted that Peavey Electronics created more than 1,000 new jobs in east-central Mississippi between 1980 and 1989, including more than 850 in the Meridian area, and 73 percent of all new manufacturing jobs in Lauderdale County. Among those saluting the company was Mayor Jimmy Kemp, who said, "Of course the obvious things you think about when somebody in your community employs 1,850 people is the enormous impact it has on your city, which is fantastic. I'd hate to think what we'd do without Peavey Electronics as far as our city is concerned." Peavey Electronics was then the tenth largest manufacturing employer in the state.
In 1991, Peavey Electronics was one of 20 companies selected by the U.S. Department of Commerce to participate in a five-year program designed to stimulate export of U.S. products to Japan. As part of the program, the Department of Commerce arranged meetings between heads of the U.S. companies and Japanese officials, including Prime Minister Toshiki Kaifu and Minister of International Trade and Industry Eiichi Nakao. Peavey Electronics, which first entered the Japanese market in the mid-1970s in a short-lived relationship with industrial giant Yamaha Corporation, also agreed to participate in at least one trade show a year in Japan. Although the company contracted with other distributor, Japan was never a significant market.
In 1991, President George Bush chose Peavey Electronics as the site to give a speech on economic growth. The Meridian Star noted, "Hoping to pump fresh air into his sagging popularity, President Bush hailed the success of Meridian's Peavey Electronics Co. as proof that Americans can excel in a worldwide economic battle." The newspaper also quoted Peavey as stating that the company's "one real goal, perhaps unreachable, is to become a $1 billion company." At the time, Peavey Electronics was reported in the local media to have sales approaching $500 million a year, although company executives said that figure was greatly exaggerated. As a matter of policy, the privately held company did not release financial information, but annual sales in the mid-1990s were generally believed to be about $200 million to $220 million.
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A Brief History of Peavey Amplifiers –
A Legacy of Quality & Affordability
The story of how Peavey became one of the largest audio manufacturers in the world is one of humble beginnings and a well-deserved reputation for quality, value and innovation. Growing up as a guitar or bass player, you’ve probably owned or played your fair share of Peavey amps, since the company’s catalogue is so affordable, diverse and well distributed.
After graduating from Mississippi State in 1965, Hartley Peavey started his company above his father’s music store, building amps one at a time. Since then, Peavey has proven to be a pioneer in all facets of solid-state and tube-driven amplification, which has led to the design of some of the world’s best and best-selling amplifiers, including the Bandit and the 5150®.
Not only is the company passionate about sound, it is equally passionate about build quality and affordability. Peaveys are known for their innovative circuitry, being built like tanks and for being affordable enough for musicians at every level, across the globe.
Humble Beginnings
In 1961 Hartley Peavey made his first amplifier and adorned it with the instantly recognisable company logo, which he designed himself in high school. When he launched the company four years later, Peavey produced only two amplifiers: The Musician and Dyna Bass. Both models were high-wattage, solid-state amplifiers that included simple features for the working musician.
In 1973, Peavey began development on a series of vintage Fender Twin inspired amps, with 6L6 power tubes and two 6C10 pre-amp tubes. These amps had a different sonic signature than the Twin and had their own unique sound. Since solid state was all the rage back in the 1970s, later versions capitalized on new technology, which enabled the combination of solid-state pre-amps with tube power amps.
The vintage series was the precursor to the now popular all-tube Classic Series®, which features an EL84 power section that effectively combines classic Vox- and Fender-type tones in one convenient and versatile amp for use in many different styles of music.
Solid State Dominance
With solid state amps becoming increasingly popular in the ‘70s and early ‘80s, Peavey developed what is arguably its most famous solid-state amp: The Bandit®.
Conceived in 1980, the Bandit since has gone through many revisions and Bandit®s still are being produced today with Peavey’s own TransTube® technology. This innovative feature emulates the sound and feel of a tube amp using solid state power. Peavey accomplished this by modelling the overload characteristics of the amp and transformer as well as emulating the sound of asymmetrically clipping tubes.
Early model Bandits are instantly recognisable by their multi-coloured knobs and silver panels adorning the sides of the grill cloth. Varying in wattage over time, the Bandit has become a reliable tool in the solid-state amp lover’s arsenal.
More Gain for ‘80s Metal Players
When hair metal first hit in the ‘80s, players required more gain for new playing techniques, such as two-handed tapping and sweep picking. Marshall was ahead of the curve for this particular sound with the coveted JCM800 2203, but Peavey offered its take on that circuit with the Butcher and VTM series. Instead of Marshall's usual EL34 tubes, both series of Peavey amps used 6L6 power tubes, which yielded a darker sound and a less apparent upper-mid presence.
Many compare the VTM to a hot-rodded JCM800 and the Butcher to a normal JCM800, but even though these amps may share similar tonal characteristics, they are definitely their own beasts. These amps are extremely versatile and can be bought for much less than comparable competitors.
Modern Metal Mayhem
In the early ‘90s, more players began demanding even more gain, power and options, and Peavey moved to the front of the pack,via the three-channel Ultra Plus®, a currently undervalued amp.
The Ultra Plus® could cover any genre of music with its crisp-and-spanky clean channel for country; crunch channel for rock’s cutting mid-range; and ultra-channel for searing leads and metal riffs.
Using an active EQ section, the user could boost or cut any frequency with precision and dial in his own desired tone. Peavey seems to favour 6L6 power tubes, and at 120 watts this head could do the job for any situation. It was a precursor to the Triple XXX® series, which was a slightly modified version of the Ultra Plus, but it featured updated aesthetics, including a metal face plate akin to a Mesa Triple Rectifier. Peavey since has come out with the Triple XXX®II, which features switchable power tubes from the stock EL34s to 6L6s.
The Most Famous of Them All
The 5150® was unleashed in 1992 after a two-year collaboration between the creative minds of amp designer James Brown and guitarist Eddie Van Halen.
Featuring two channels, a 120-watt all-tube 6L6 power section and a shared EQ, the 5150® was able to produce a variety of rock and metal tones. The rhythm channel could be set clean or crunchy, but the lead channel is what this amp is famous for. With its super high-gain sound, it could be used for anything from tight and aggressive metal riffs to blistering lead tones. This led to the 5150®II with separate EQs for each channel, which made the amp even more versatile. In 2004, EVH parted ways with Peavey and the amp was re-branded as the 6505® and 6505®+ (also known as the 6505®Plus), along with the 6534™ and 6534™+ (also known as the 6534™Plus), which feature an EL34 power section for a more British flavour.
Since its creation, Peavey strives to make powerful, affordable amplifiers so that every musician can have the means to own one and the privilege to play through one.
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We are the NSW Mid-North Coast Franchise Dealer for these (and more) quality musical instruments and equipment plus loads more guitar, drums, keyboard, recording, and live equipment brands
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CONTACT US
N E W T O N E M U S I C & GUITAR TRAINING CENTRE
58 COMMERCE STREET | TAREE NSW 2430
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[email protected]
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★For more than 25yrs N E W T O N E M U S I C we provide★
✓ FREE SHIPPING depot-to-depot to all states (except WA & NT).
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STOCK SUPPLY NOTES
A note on our rare, classic, vintage, collectable, and used musical instrument amplifier & musical instrument equipment items. While we offer a warranty on your purchase, because we run on very tight profit margins (meaning cheaper gear - which is good for you, the buyer), it also means that you need to make sure you actually want the items for their incredible tone, durability, and lasting quality rather than perfect looks. Any returns or refunds will incur a re-stock fee of around a third the value of your (already) low purchase price so please remember that while most of our gear is excellent for the age, these items (especially our valve amplifier) are indeed rare and represent the sound of an unrepeatable era. Even though we meticulously service, test, clean, polish and warrant all our gear, there may occasionally be some residual scuffs underneath or on the sides, or perhaps a tiny tolex rip on the rear. So, while our gear will be in EXCELLENT CONDITION (for the age), we will always advise you if the gear is in MINT CONDITION or if we feel that the item is perhaps of only AVERAGE CONDITION.
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* Footswitches, Cables, etc available if originally supplied to us by the donor
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