If I weren't such a boringly rational bloke, I'd think that something wants me to get that amp.
 
A while ago when I mentioned I was looking into little tube combos, a friend of mine suggested that I keep an eye on the new Diavlo line of amps by Randall, which Mike Fortin worked on. For whatever reason, in my mind, Randall equals good solid state amps, so I kept that in mind but didn't really thought much of it. I'm a Marshall guy at heart, it's the sound I know best how to work with.
 
This morning, my wife reminded me that she needed a new mic stand and I thought I remembered seeing one on sale in a Guitar Center pamphlet - and sure enough it was there, right next to a Randall amp, also on sale starting tomorrow. That's when the word "tube" caught my eye. The actual model wasn't identified, but a quick search online allowed me to identify it as one of those new Diavlo my buddy had mentioned. Or so I thought. 
 
Around the same time, a friend of mine made a very positive post on Facebook about his new amp - a Randall Diavlo. I started being very curious and kept on reading about it and decided that I needed to go to GC tomorrow and check them out for myself. The opportunity showed up this pm, so I did get to try it.
 
Turns out that it's not the Diavlo but a very similar model called RVC, exclusive to GC - which is why all my searches had lead me to the other model, this one not being advertised on Randall's own web site. After a quick verification, the only difference is the non-tolex finish and the lack of an emulated XLR.
 
Having more than enough DI recording options at my disposal, this really doesn't bother me much. Ultimately, all I really want is a little low wattage tube amp, preferably w/ plenty of gain, in front of which I can shove a 57. I was actually surprised to ear how much gain this little monster delivered - though, obviously, for high gain, I'd prefer to hook it up to a cab w/ a couple of 12".
 
But for middle of the road sound, like my favorite Tommy Bolin meets Jimmy Page kind of sound, the 10" works alright. I was actually surprised because I was expecting the amp to fail miserably the minute I'd turn down the gain. But it didn't. Nice warm sound, but very articulated, not that distant for that Marshall type of sound I like.
 
The other thing that worried me was the lack of proper EQ - it only has one tone knob and a 3 way "contour" switch. But I was able to get the tones I wanted pretty easily. Worst case, I could probably patch an EQ through the FX loop.
 
At $199 on sale, I don't think anything comes close - and it's actually well within my budget. I like it better than the Blackstar I had bought a while back - seems more versatile and has tons more gain. My mind is pretty much made up and I'm hoping to go grab one tomorrow.
 

 
 
 

The little 1w head kind of perks my interest.

In my mind, Randall was associated with metal and uber scooped mids - Pantera and the likes. Which also contributed to my apprehensions before I started turning the gain down. 
 
The quantity of gain had surprised me, but I thought this would be the end of it. I was expecting a somewhat thin, plastic-y lifeless overdriven sound and a sterile clean sound. But it does sound really nice pretty much all the way around. For me, that's actually quite a bonus, because even though my main thing is the less extreme, more classic rock type of sound, I do use high gain tones for things every now and then.
 
If I already had a cab, I'd probably opt for the head, but for now, the combo is my best option. Eventually, I'm getting a cab for it.

I can't believe these companies can stay afloat selling amps for $199. Sounds like a good deal. I've been messing with low power designs for a couple months and people are REAL interested. I guess everyone is getting old. I've got a living room filled with amps and the only one I can really use is a little single ended tube amp. The two transformers cost about $150, then I have to build an amp around them.
 
I was just doing an online review of a Swart amplifier. It's like a champ on steroids and allows you to run multiple types of tubes. It also has reverb and a Mojotone 12" British style speaker. It's nice, but it's also $1500. I'll post a link when the review goes up.
 
My associates that still play out claim the bar owners are becoming very strict about noise levels. The only loud clubs are all about dance and DJ's. I guess that's where the money is. I can't imagine how much it would suck to be replaced by a kid with a record player.

ampfixer
I can't believe these companies can stay afloat selling amps for $199. Sounds like a good deal. I've been messing with low power designs for a couple months and people are REAL interested. I guess everyone is getting old. I've got a living room filled with amps and the only one I can really use is a little single ended tube amp. The two transformers cost about $150, then I have to build an amp around them.
 
I was just doing an online review of a Swart amplifier. It's like a champ on steroids and allows you to run multiple types of tubes. It also has reverb and a Mojotone 12" British style speaker. It's nice, but it's also $1500. I'll post a link when the review goes up.
 
My associates that still play out claim the bar owners are becoming very strict about noise levels. The only loud clubs are all about dance and DJ's. I guess that's where the money is. I can't imagine how much it would suck to be replaced by a kid with a record player.

It's a rather sad period of time for old rock and rollers like myself. I guess it's why bands like Mötley Crüe and all those extravagant 80s bands are in demand - they represent an era when rock was entertaining and glamorous, and fun, before every one became so boringly PC and musicians cut their hair and started dressing up like the fellow working the pomp at Esso. No fantasy, no inspiration, no bigger-than-life act.
 
When I grew up, every one wanted to be Ace Frehley or Eddie Van Halen. Nowadays, who in their right mind would want to be that anonymous guy from Pearl Jam? Might as well settle down for a real job in the first place.
 
It doesn't surprise that so tame a culture will bow down to the wishes of the club owners. Rock musicians are in no position to argue. But maybe some day, when people have been squashed long enough, they'll be in the best place to get back in touch w/ the spirit of rebellion which defined rock and roll.
 
As for myself, since all I do is to record music in my humble home studio, there is no point in owning a loud amp. I only need it to be loud enough so that it sounds loud without actually being loud and alarming the entire neighbourhood. Realistically, ever since I've started recording, I've always chose little lamp. There's no way I could have driven my 59 Bassman loud enough to take advantage of it in that context. My little 15 watt Marshall was more than loud enough.
 
 

Rain,

I have been thinking amp head lately because I am thinking I might be able to run it through my Classic 50's speakers. It looks like the power section of the Classic plugs into the speaker portion of the cabinet. It seems like I could just unplug it and plug the head into the speakers. A guy like Ampfixer would probably now more about that. It would be nice to run something at 1w or even 5w for recording purposes.

I can't say I know much about the Randall , but I can certainly identify with how things have changed when playing out on the club scene …it has been going that way for a long time .
 
………………. Guitar Players are Meant to Be Seen , Not Heard ………just ask any sound man or club owner 
 
Kenny

jeff beck.
 
he used a vintage tweed champ to record most all of the guitar parts on his last album...
 
as far as capturing big sounds from a small amp:
the mic, and correct placement, is key.
the proximity effect that you can get off of a small speaker, is MORE than enough to get you that thump that you like in a great room with a big 4x12 cab pushing air...
 
the mic does not care how many speakers you have, when close micing.
 
it hears TONE, not volume.
 
 
 
in terms of gain:
it makes sense, for recording, to use a low watt amp...
 
half the magic, is from pushing air and getting speaker excursion captured by the mic..
but the other half, is the way the preamp and power amp hit a 'sweet spot' and work together for saturation and clarity at the same time..
 
could be, you found the perfect amp for that specific setup.
 
 
for guys that are playing clubs, it's tricky, because they have to dial their sound in at MANY different volume levels, depending on the demands of the house.
 
believe me, i know, i did it professionally for 6 years full time....
and at some point, i drew down on everything....
my big 4x12's went away, and i had (2) 1x12's in closed backs, that i would set up in any fashion i needed, whether it was on the floor in front of me like monitors, or behind me pointing out at the club....
and having my mesa boogie made it possible to dial in killer tones at dinner theater volumes or wide open rock clubs.
 
but at that time, i only had a good ole sm57 to use...
 
now, i have a Palmer PDI-09, which is so much more consistent, wished i had that unit way back when.
 
point being, for live work, versus studio recording, you really need two rigs.
 
at one point, i had a 5 watt tube amp for recording, but pair it up with a larger head and cabinet for live work, and that was the best of both worlds.
 
 
Blackstar has some interesting low watt amps out right now, even down to 1 watt, that MIGHT be perfect for recording, and they are cheap.
 
the best low watt amp i've heard yet, for my tastes, that really sounds perfect for recording, is the Suhr Corso.
 
but it is expensive ($999)
 
but no more expensive than the 1 watt marshall special editions....
point is, there are a LOT Of good options out there now...
 
 
maybe look at the Mesa TA-15
it can go down to 7 watts, up to 25.
it has a top boost channel that is one of my all time favorite tones.
 
 
 
 

I've considered buy a Webber Mass before to attenuate the volume on my 50w. The price on some of these micro amps is starting to come down to where I would just rather have one for recording and a live rig, instead of pumping the money into an attenuator and still being loud.

since we are talking about amps ,
I've pretty much got my amp needs covered for now …that is until I get a case of GAS for another amp 
depending on the playing situation , I use any one of these from my current amp selection ...
a few of them have been w me for over 30 years 
1966 Fender Vibrolux Reverb , 1976 Marshall 2100 50 watt 2X12 combo ..1983 Fender Super Champ 1 X10 combo ,
Marshall Class 5 combo, Fender Champ 600 , Vox Pathfinder 15 , and a Yamaha THR 5 ...
I've A B ed all of these amps various times at low volumes to  hear what works best for my living situation 
the Yamaha stacked up pretty good for copping a variety of tones 
thats the only one I feel comfortable playing in my apt ….
 
Kenny