I have owed one since purchased new in 1993. The red knob twin is the best fender clean sound I have ever heard. Dismiss anyone that bags this amp , they probably have never owned one. Mine is 31yrs old and have never touched anything on it . Just serviced it this year , prior to that never missed a beat. Loud as buggery , but heavy as buggery as well , about 36kg. It has casters to make moving easier. Nothing comes close to that excellent fender clean sound on these red knob twins. The distortion channel is OK , not a Marshall sound but this is a great versatile amp . I used it with my Fender Strat Plus Deluxe and it sounds awesome. If it is not like a black face , it is supreme in its clean reverb sound. I can’t carry the bloody thing down 3 flights of stairs anymore . So if you live on flat ground and all you gotta do is lift into your car your Ok . When I was younger it was not a problem , but now 36kg is way too much to lug around down stairs. Plug your Fender in and turn on clean channel with the reverb , You won’t be disappointed.

I’ve owned one for 35 years and most of the pros and cons have already been covered. Very heavy, very loud, very versatile, and very underrated. It has been the amp of voice for Charlie Musselwhite (you can see it in the background of the jam session in Blues Brothers II and at all of his performances) and was also for Robben Ford in addition to his Dumble amps. It can develop a static sound at times which is mysteriously intermittent.

I bought a red knob model a couple of months ago from a literal antique store. I had no idea when it was made and only checked a few forums before deciding to purchase it. I bought it right after my roommate got a brand-new ’65 Reissue Twin Reverb and was pleasantly surprised by how well the red knob compared. Unfortunately, I didn’t notice the wear and tear until it started to show—during a gig about three weeks after purchase, three out of four input jacks popped out, and I couldn’t continue playing. My amp tech explained that the part was very old and that the amp’s orientation combined with cable tension caused stress that eventually broke the jacks. He gave me a few helpful tips for owners of this amp: string your cable through the amp’s handle to create some slack while playing; when setting up for a gig, position your amp where you want it, then roll it back a couple of inches—the casters make the amp slightly forward-heavy in its normal stance, which can cause long-term issues, so turning the casters backward a bit (or removing them entirely) helps balance the weight; and for storage or transport, if you need to lay the amp down (for instance, to fit it in a car), always lay it on its back since the knobs protrude past the faceplate, and you don’t want to drag your 80-pound amp across the trunk and break them. Despite the quirks and upkeep, I absolutely love this amp. It cuts through the mix beautifully and offers incredible tonal versatility with all those push-pull controls to experiment with.