Tone King calls their Metropolitan amp the most tuneful, musical, and flexible amp they’ve produced, and that’s no lie. This amp is a versatile little workhorse, doing it all and doing it well. The clean channel on this amp is full, chimey, and quite articulate. It also has great reverb, amazing sustain and tone, and much more. It’s one of Tone King's top products, and if you want an amp that sounds amazing at any volume, has sweet bluesy cleans to hard rockin' classic drive then you're gonna love this amp.
The Metropolitan is built using high quality components in all phases. Every Metro amp is hand built by Mark Bartel, the designer, using custom parts he orders from top quality manufacturers. He didn’t skimp on anything here. The secret to the Metropolitan’s abilities is the Phase-4 power control system. Its output power is adjustable and can range from .01 watts to a full 40 watts. It uses four 6V6GT tubes to provide this. The preamp section features four 12AX7s and a 12AT7, while the rectifier tube is a 5AR4. The speaker is a custom-designed 1x12 inch.
The Metropolitan has a number of different controls on the front, including separate controls for the rhythm and lead channel. Rhythm features an input gain switch, bright switch, volume, bass, and treble controls. Lead includes mid-bite, tone, and volume. The Metropolitan retails for $2,995.
The Producer by Morris Amps is a very sweet amp. It gets it's unique brand of sweetness from a combination of elements. First, there’s the custom pine cabinet that was built just for the Producer. Then there’s the thinner floating baffle and the Celestion Greenback and Vintage 30 speakers. The Producer takes it's name from an unnamed legendary record producer who owned the original prototype of the amp and swears it's one of the most versatile and best sounding amps he's ever used in the studio.
The Producer has two channels. The clean channel is very smooth and meaty, and with the help of the the response of the floating baffle, it really fills up a room. The dirty channel, is very versatile. It has two controls that let you adjust the gain and distortion on the preamp. The crunch and drive allow you to shape the fatness of the sound and dial in that signature Glen Morris grind. Then there’s a high gain stage control and the option to make your sound more American or more British.
The Producer is a 45 watt amp that uses 6L6 output tubes instead of the expected EL34s because the 6L6s work better with the Producer’s output transformer. An effects loop with true bypass is also included. The suggested retail price of the Producer is $3,495.
The 18 Watt Combo by Retro-King Amps is a two channel powerhouse that can pump out some awesome sound. It’s a Class AB cathode biased amp that is a remake of the classic 1966 Marshall 18 watt combo and if you're in the market for that sound this Retro King can save you a lot compared to the original vintage Marshall. This amp really captures the Marshall’s sound and flexibility, so you’re not losing anything tone wise.
The 18 Watt Combo has two channels, a normal channel and one with a tremolo unit. Each channel has two inputs, high and low, plus a volume and tone control. The tremolo channel has an extra speed and intensity control. In addition to everything under the hood, you can also add an optional rectifier switch that lets you switch between the tube rectifier and a solid state diode rectifier.
The amp uses two matched JJ EL84 power tubes and three JJ 12AX7 preamp tubes. For the rectifier, it uses a NOS EZ81. It has two speaker outs, a 4, 8, or 16 ohm selector, a two speed Trem pedal, and more. The entire amp is hand wired and comes in a Baltic birch cabinet. It retails for $1,169 (1x12 cabinet) or $1,595 (head version). Other versions available include a 2x10 ($1,750) and a 2x12 ($1,795). The optional rectifier switch is extra.
The Matchless C-30, sometimes referred to as the DC-30 or D/C-30, is one of Matchless’s first amp designs, and it’s still one of their best. The amp has a big, warm sound that’s great for jazz, blues, and hard rock. Shredders will want to look elsewhere for the most part, but everyone else will get a lot out of the C-30.
The 30 watts of this Class A amp are generated by four EL-84 power tubes. In the preamp section, two 12AX7’s supply channel 1, while an EF86 handles channel 2. Channel 1 features a parallel-triode circuit with interactive treble and bass, while channel 2 has a high-gain pentode circuit and a six-position tone switch. The amp features individual channel effects loops, a cut control for high treble frequencies, a power setting switch (15 or 30 watts), selectable output impedance, and a phase inverter switch. A master volume control is also available, and it comes with a bypass feature that lets you control every aspect of your sound.
The solid Baltic birch cabinet is quite nice to look at, but there is one downside to the C-30 combo: it weighs almost 80 pounds, making it impractical as a travel amp.
The Junebug originally began as Nolatone’s Tweed Princeton type amp, but soon took on it's own unique character and sound. After a number of different modifications, the final design was a little amp with a great range of sound. It features two channels, a clean and an overdrive. They share the first preamp stage, tone, and volume controls. The clean channel is similar to the one you’d find on a small tweed amp, but it has more headroom. The overdrive channel features three cascaded gain stages, a hot gain control, and a sweet gain control. The first of these extra gain stages provides a more vintage / bluesy tone, while the other has more bite to it.
The June Bug uses a JJ 6V6 power tube and two 12AX7s/ECC83s for the preamp. The rectifier tube is a 5Y3GT. It comes in a 1x10 cabinet, and the speaker is mounted on an adapter ring so you can unbolt it and replace it with a 12 inch speaker. This can make it usable with different size gigs.
You can add a 12 inch speaker for $50, a serial effects loop for $50, or an oversized cabinet for $100. The June Bug usually retails for $1,199 before these additions.
The Coda by Juke Amps comes in a 810 and an 812 model, the differences being the amount of power produced and the type of bias (fixed versus cathode). The two different models are similar, but they do have a few key differences that players will want to take into consideration. No matter which one you go with, you’ll get a unique amp which is reminiscent of a old Valco amp with aspects of vintage Fender, Magnatone, and Ampeg circuits.
Both models use a Tri-Cone speakers system. You can select either a 1 ten inch and two eight inch speakers or a twelve inch and two eight inch combination. It’s also available with four eight inch speakers or six eight inch speakers. You can go with either Weber Alnico or Ceramic speakers. The amp has controls for treble, color, speed, level, contour, bass, reverb (dwell and depth), vibrato, and volume. A footswitch controls the reverb and vibrato.
The 810 model uses KT66 tubes and is a fixed bias, Class AB amp. It runs on 35 watts of power. The 812, on the other hand, uses 5881 tubes and is a cathode bias, class AB amp with 22 watts of power. The Coda is available in a number of difference colors. It weighs 38 pounds and is pretty compact, so it’s a great amp to take to gigs. Juke will does custom features on this amp available on request. The basic model retails for $2,800.
Tone King calls their Metropolitan amp the most tuneful, musical, and flexible amp they’ve produced, and that’s no lie. This amp is a versatile little workhorse, doing it all and doing it well. The clean channel on this amp is full, chimey, and quite articulate. It also has great reverb, amazing sustain and tone, and much more. It’s one of Tone King's top products, and if you want an amp that sounds amazing at any volume, has sweet bluesy cleans to hard rockin' classic drive then you're gonna love this amp.
The Producer by Morris Amps is a very sweet amp. It gets it's unique brand of sweetness from a combination of elements. First, there’s the custom pine cabinet that was built just for the Producer. Then there’s the thinner floating baffle and the Celestion Greenback and Vintage 30 speakers. The Producer takes it's name from an unnamed legendary record producer who owned the original prototype of the amp and swears it's one of the most versatile and best sounding amps he's ever used in the studio.
The 18 Watt Combo by Retro-King Amps is a two channel powerhouse that can pump out some awesome sound. It’s a Class AB cathode biased amp that is a remake of the classic 1966 Marshall 18 watt combo and if you're in the market for that sound this Retro King can save you a lot compared to the original vintage Marshall. This amp really captures the Marshall’s sound and flexibility, so you’re not losing anything tone wise.
The Matchless C-30, sometimes referred to as the DC-30 or D/C-30, is one of Matchless’s first amp designs, and it’s still one of their best. The amp has a big, warm sound that’s great for jazz, blues, and hard rock. Shredders will want to look elsewhere for the most part, but everyone else will get a lot out of the C-30. 
The Junebug originally began as Nolatone’s Tweed Princeton type amp, but soon took on it's own unique character and sound. After a number of different modifications, the final design was a little amp with a great range of sound. It features two channels, a clean and an overdrive. They share the first preamp stage, tone, and volume controls. The clean channel is similar to the one you’d find on a small tweed amp, but it has more headroom. The overdrive channel features three cascaded gain stages, a hot gain control, and a sweet gain control. The first of these extra gain stages provides a more vintage / bluesy tone, while the other has more bite to it.
The Coda by Juke Amps comes in a 810 and an 812 model, the differences being the amount of power produced and the type of bias (fixed versus cathode). The two different models are similar, but they do have a few key differences that players will want to take into consideration. No matter which one you go with, you’ll get a unique amp which is reminiscent of a old Valco amp with aspects of vintage Fender, Magnatone, and Ampeg circuits.