The Classic 30 is a member of Peavey's family of tube amplifiers. It uses the same preamp design as the “Classic 50” model, with the addition of a boost switch borrowed from another model, the “Classic 20.” Its features say a lot about the kind of sound its builders were after: all tubes, both in the preamp, with “12AX7s” (the same ones Mesa Boogie uses), and in the power section, with the wonderful “EL84s”; a semi-open back; and two channels, one clean and one that can deliver anything from a “Vintage Blues” sound to something closer to “Rock” or “Grunge.”

Something new in this type of amp is the effects loop and the spring reverb, both very welcome, and I'll explain why. This whole range of amplifiers descends from the “Fender Bassman” amps built for electric bass back in the '50s and '60s. They were a reasonably manageable size by the standards of the day for bass players, but the funny thing is that the people who used them most and made them popular were blues harmonica players. Later, guitarists adopted them, usually in trio or quartet situations, thanks to their great power and punch in the mids and lows, ideal for a guitarist who has to accompany himself and take solos at the same time: it “fills the whole room.” On top of that, that 100 percent tube sound was and still is a delight to the ears, and I was lucky enough to use one of those for several years.

Unboxing
It arrived at my place in a cardboard box well prepared for the trip it has to survive, and, absurd as it may sound, that's very reassuring. When I took it out, my first impression was of a serious amp, with compact construction and design. It's heavy, but you can carry it.

Putting It to the Test
I plugged it in in the studio's recording room. There's no background noise. I connected the guitar and went through the EQ's versatility at low volume. After 15 minutes, with the tubes warmed up, the response is good. I explored the extremes: very bright, very bassy, lots of distortion, very clean and so on... and I kept liking it. It has a sweet tone in the upper mids, and the lows, as I expected, are abundant but clear and consistent. One thing I notice is that the knob at 3 (out of 10) on the clean channel gives considerable volume, especially for its 30 watts of power.

On Stage
Well, the final test is taking it onstage, so we headed to the Galileo club (a concert venue that used to be a movie theater and has a decent P.A. system).
The band onstage consists of drums, bass, accordion, Spanish guitar and vocals. It's important to know which other instruments you're playing with so you can create a sound that doesn't get buried or clash with the other elements in the band. For example, if you play with a big band, you should aim for a mid-low sound, but a rounded one. If it's too bright, the horns will bury you and the listener will lose track of what you're playing.

That's where the versatility of a good amp and instrument lies, too. We trimmed a little bass on the Classic 30, both on and off the stage, and the sound was completely satisfying. To my surprise, when I dug in on the guitar (volume-wise) with the pick, the amp had that slight touch of saturation, so warm and so sought after by most guitarists who use tube amps. All in all, I congratulate the designers and Peavey on this complete little gem for those who like that very warm “vintage” sound.