What it is and what it was built for
A hand-built, single-channel guitar amplifier released in 1984 as the final revision of the Mark II series. Built in Randall Smith’s Lagunitas workshop using the ‘Super Sixty’ base model. Designed for high-gain electric guitar performance—not studio versatility or clean headroom.
How it works, in terms a player would use
It is a single-channel amp with two footswitchable modes: Rhythm and Lead. Rhythm mode has Volume 1 (gain), Treble, Bass, Middle, and Master 1 (volume). Lead mode adds Lead Drive (gain) and Lead Master (volume), triggering extra gain stages. The three-band EQ sits pre-gain. A handwritten ‘+’ on the rear chassis marks post-production tweaks to the effects loop.
What it does better than anything else
It delivers saturated, compressed high-gain rhythm and lead tones with unmatched midrange focus and tight low end—ideal for huge crunch chords and singing, sustained leads.
What it does badly
It does not deliver clean tones at usable stage volumes. It offers no reverb, no effects loop send/return level control, no footswitchable EQ, and no channel switching beyond Rhythm/Lead. Its single-channel architecture forces compromises between rhythm clarity and lead saturation.
What people made with it
Kirk Hammett and James Hetfield used it for Metallica’s early thrash sound. Steve Lukather used it on session work demanding punchy, cutting lead tones and thick rhythm textures.
Who should use it, and who should not
Players who prioritise aggressive, mid-heavy high-gain tones and value tactile, footswitched mode switching over feature count. Not for players needing clean headroom, stereo effects integration, or silent recording solutions.
Is it worth your time
Yes—if you need aggressive, mid-forward high-gain tones with tight low end and want hands-on control over saturated rhythm and soaring lead voices. No—if you need clean headroom, multiple channels, or modern features like reverb or digital switching.
