I've had this amp in the house now for a couple or few weeks and thought it time to put some user thoughts on "paper" to help out anyone else. Overview. This amp arrived from Maven Peal (MP) in a wooden crate built by David Zimmerman complete with metal handles and some superb two inch foam lining. This lining is really the bees knees and the best I've come across. The crate could stand up to just about anything. After unscrewing about 30 screws by hand (electric screwdriver had gone on the blink, of course) and lifting the lid I was confronted by the amp being upside down - this is cunning because the amp chassis is upside down in it's box compared to a Marshall. After a couple of minutes I had figured out that the only way to get it out was to gently flip the crate over so that the amp was resting on it's feet then lift the box off the amp. It's very tight fitting. This is a big head - just slightly smaller than the Marshall large box but considerably heavier (unless I'm just getting old). First thoughts: Beautifully constructed. Even the amp top straps are machined steel (?). The front of the amp has the box about 1.5 inches proud of the controls (to protect them) with a cutout along the top which aids visibility and access - reminds me of an old '70's British amp - Vamp or Vampire? At first intimidating the control layout is actually straight forward being divided into three sections: Regular Amp Controls, EFX Loops and MP's Sag, Watts and Tube Controls. I'm excluding the tube buffered EFX loop from this review because I haven't used it yet bar one simple way which I'll get to. In use. With new amps I'm always careful with so I allowed 1/2 an hour on Standby followed by a few minutes of "blow" on Operate and gentle strumming at low volume. David Zimmerman had set it up at my request by using two pairs of tubes, one being KT66's and the other EL34's - at the flick of two switches (to enable both being on) you can switch between them. Although this amp is inspired by late '60's/early '70's Superleads my favourite amp of all time are JTM45's and so I set it up to the closest aprroximation using just the two KT66's. The amp section is comprised of Bright Volume, Normal Volume, Bass, Mid, Treble and Presence controls. Each Volume has it's own Treble Boost switch which clearly covers the Marshall bright caps but is switchable - and very useful. There are also Pre- Amp and Power Amp Boost switches. These are more subtle. One provides more gain in the pre amp (I tended to leave this off but it works and does sound good) the other changes the character of the power amp in interesting ways: Boost or Loose or Tight. I set the tone controls to Noon, the Pre off and the Pow to "Tight". and plugged in a Strat. First thing I discovered that this amp does wonderful, rich, cleans. Somewhat JTM like but better than I remember. It's possible to get a rainbow of subtle tones just by playing with the two Volumes. Anyone who loves a rich bass response would like this amp - in fact across the spectrum it is good - has no one discussed the Ganesha cleans before? It's the big, easy feel of a large amp without the crippling volume. Changing over to a Les Paul and increasing the Volumes (Switch Pow to "Loose", SAG to circa 8) I got the following. It is fairly easy to get a good "Beano" type tones with the Bright Volume (Treble switch off) up around 7 - 9 and the Normal just over 1 but with its Treble switch on. Do the reverse and crank the Normal Volume (Treble switch off) and turn the Bright Volume just on with the Treble switch on and you're into Mick Taylor country. Early Pete Green is more like "Beano" with less gain. These were through Celestion Blue. It will easily do AC/DC stuff when set right - but this is NOT a high gain amp! These settings worked for me and my guitars - the usual disclaimers do apply. An advantage of the 4 power tubes is you can use the amp like a 50 Watt with two power amps, simply switch over to the two EL34's (or what ever you have in it - I watched Dave Z. bias all four tubes in 30 seconds with his "BiaSmart" at the last NYCTF) and you get a brighter, brasher tone. Because I was using low powered speakers I had the Watts knob set quite low even at half power but it was still loud enough that I could not hear myself speak. Yes, it does go down to 1 watt but this amp is not designed as a "Bedroom" amp - it would make a nice looking nightstand, however! An ideal Studio amp the Ganesha is uncannily quiet, noise wise. Even leaning against it holding a Strat was not too bad at all. One of the advantages of the Watts knob is that you can find your "Sweet Spot" and then adjust the overall level up and down and in combination with the Sag control is incredibly useful. Very dynamic at all settings. This amp itself does NOT have a Master Volume. David has, however, included provision for one in the EFX Loop. You can insert a regular guitar cable into the Effects Send jack, the other end into the Return jack. If you do this you control overdrive with both the Effects Send Knob and the Return Drive Knob. The Return Tone Knob will control the character and the Wet Level Knob is now the Master Volume (the Dry Level Knob can mix in some non-overdrive tone). I got by by switching the EFX Loops completely OUT with the true bypass switch. My "cons" with this amp would be size and weight - it is imposing though. Best used with 4x12's or a 2x12 capable of handling 140 watts or alternatively use it like a 50 watt amp with a 2x12 with lower wattage speakers. This is too long - anyone who has any question on this amp please PM me, I'll try to answer them in a timely manner. This amp has really whetted my appetite for the upcoming RG88. www.mavenpeal.com Best, Pete.