​When I play with my own band, I mainly play a RedPlate standard Magica head with a “blackface” clean.  I chose this amp because it fits my personal playing style, as well as the style of the music being played.  I do not spend a lot of time on the clean channel, but when I need clean, it has to be sparkly clean and the blackface tone fits that need perfectly.  As far as drive goes, I basically live on drive 2 and change my pick attack and guitar volume for cleaner sounds for the different songs we perform.  I normally play classic rock and blues rock (think Gary Moore) and that is what I am shooting for most of the time.  Currently, I play the Magica with a RedPlate 1×12 loaded with a Celestion Vintage 30, but I am constantly trying different speakers.  I prefer lower output humbuckers and use the gain of the amp for my tone.  If I need a bit more push, I have been using a Thorpy Dane drive/boost pedal.  The Magica’s drive sound is exactly what I want as far as feel and how it cleans up.  I can go from Led Zeppelin II to early Van Halen, just with my pick attack and guitar volume and that is exactly what I need.

When you receive your new RedPlate Amp, it is highly recommended that you spend some time with the amp and get to know what all the controls and switches do. 

Tone controls are self-explanatory, but, the volume for each channel, gains in some channels, and levels in some channels all interact and change the sound of your amp.  For example, on an amp that has cascading channels, like a BlackVerb or BluesMachine, the level that you set the first volume of the clean channel dictates how the entire amp will sound.  If the volume control is too low, there will never be enough signal at the drive channel to get any gain out of the amp.  We highly recommend you start with the first volume around 10-12 o’clock on a BlackVerb and 12-1 o’clock on the gain and volume of the clean channel on a BluesMachine.

On an amp like the BlackLine, the clean and lead channels are separate, but the lead channel is still a cascaded channel from an internal circuit feeding the drive section.  The gain, drive, and level controls all interact giving different tonal characteristics to the drive section.  Gain is basically the amount of guitar signal getting in to the lead channel.  If you run gain and drive high and level low, the sound will be very “fusionesque” with a smooth drive and lots of compression.  If you back off the gain and drive to about noon and bring the level up to 10-12 o’clock, the drive channel will “open up” and be more dynamic with less compression.

So, give the knobs a spin, and try different settings.  There is A LOT of tone in a RedPlate Amp!

We are often asked if RedPlate Amps can be built for use outside of the USA. The answer is absolutely! Whatever your voltage requirements, we can meet those specifications at the time of the build. Be sure to give us the information when we contact you after your deposit is paid.  

RedPlate tube-buffered serial effects loops are on all of our current amps with a master volume.  The effects loop is probably the most underutilized part of the amp and may be misunderstood.  Yes, it is the best place to put your time-based effects like chorus, delay and reverb, but there are other things that can be done with the effects loop:

1. Master Volume Control: If you put a volume pedal (preferably one that is buffered, as to not load down the amp signal) into the loop, you can control obviously your volume; however, it is right before the power section so it has no bearing on the sound or amount of gain from the preamp, just volume.  This way, you can use your guitar volume to roll back/ease up on gain or punch on the front end, and use the volume pedal in the loop as a master volume control. You can back off for rhythm playing and toe down for a solo “boost”.
2. Solo Boost: If you put a clean boost pedal in the loop, you can use it as a solo boost whenever needed without changing the tone of the amp unless, of course, the boost pedal changes the tone.
3. Stereo Effect: The loop return jack is also great for accessing just the power section of the amp. For example, if you were running two RedPlate amps, you could create a stereo effect. Using one as your main amp, send from the main amp to a stereo delay and return from the delay to the main amp return and the second amp’s return. Now, the second amp has the preamp sound of the main amp but is working as a power amp for the stereo effect.
4. Warming Digital Modeling Gear: If you are trying out some modeling gear and want the digital preamp to have some warmth and tone, try taking the output of said unit into the return of the amp. Now, set your master volume as needed, and listen to the digital tone take on the big blossoming tone of an all-tube power section.

Most importantly, experiment and have fun. Have any suggestions? Leave them in the comments below or on our Facebook page.

On all Magica amps built since the third quarter of 2016, a mini two position switch has been placed near the back of the amp between the two tubes furthermost to the right.  The switch points down towards the bottom of the cabinet.  This may not be the most convenient location for the switch, but it is the shortest distance for the signal and does not create any unneeded noise.

When the switch is pushed toward the front panel, it is in “M” mode and when it is pushed toward the back of the amp, it is in “D” mode.  The difference is “D” favors lower mids and “M” favors upper mids.  This only effects the overdrive channel(s).

There might be a little pop when the amp is on, and the toggle is switched, but it is safe to use when the amp is on so you can experience the difference for yourself.

Here are some simple directions on to accomplish this task.

Using a multi-meter, preferably a digital unit, set the meter to DCmV (the 200 range, if you have to choose on your model). 

Turn on the amp, turn down the master volume, and take it out of standby and place into operate mode. 

​Let the amp run for a few minutes.  Take the red lead of your meter and place it in the red tip jack on the back of the amp.  Place the black lead on a screw head on the amp.  We like to use one of the four screws that hold the amp in the cabinet as those screws go to the chassis ground.  Check your bias reading and adjust with a small flat blade screwdriver in the adjustment potentiometer on the back panel next to the tip jack.

For 6L6 amps, 76mV should be on target.  For EL34 amps, 60mV should be on target.

Put your tools away, crack open a cold one and enjoy the sound of your amp.  Remember to check bias periodically as the tubes “break-in” and wear.

What makes hand-wired amps different than those with circuit boards? Not having trace circuits allows us to install tone in the amp at the bench. We can tweak and fine tune the sound as we go, or if need be, we can easily change parts without destroying the board or the wires. Hand drilled eyelets allow us to use full-size capacitors and resistors that add depth of tone with which circuit boards cannot compete. The point-to-point wiring affords some wires to stay away from one another while allowing proximity to others enhancing the sound resulting in Amps That Sing!

We snapped a few quick shots of boards while they were being cut and while they were being wired to show you their individuality and (we think) beauty.