- All purchases require half down to be put on order list.
- Remainder owing, plus shipping, when build is complete.
- There is NO DUTY on Made in Canada products to the USA.
- *Most shipping of head boxes to the USA is under $150 USD*
- All sales are FINAL on Morris Amplification products.
- BE ADVISED AT THIS TIME WE ONLY SHIP TO THE NORTH AMERICAN MARKET.
- For customer feedback scroll to end of page.
-HEADS-
Single Channel
(Scroll down for Channel Switching)
UK'67
Two incredible California (think Eddie) sound amps are available!
I worked hard at bringing in the character and control of the UK'68 into a 2 - EL34 version ! Just like its big brother, this Master Volume control leaves you lacking NOTHING. What is true for the UK'68 holds for this version too. Play it at ANY volume without reservation. The UK'67 captures our '68 Brownout without cranking!
With 3 way Gain control and 3 way Bright switch you can go from early Plexi character to scorching distortion. The Body control brings in a fullness that doesn't get in the way of the Bass control. Standard bypassable clear FX Loop comes standard with a return Level adjustment knob.
* OPTION : Footswitchable Gain boost
from either lower Gain Switch positions - $180 USD upcharge
SPECS UK'67 - $2399 USD
SINGLE CHANNEL
I worked hard at bringing in the character and control of the UK'68 into a 2 - EL34 version ! Just like its big brother, this Master Volume control leaves you lacking NOTHING. What is true for the UK'68 holds for this version too. Play it at ANY volume without reservation. The UK'67 captures our '68 Brownout without cranking!
With 3 way Gain control and 3 way Bright switch you can go from early Plexi character to scorching distortion. The Body control brings in a fullness that doesn't get in the way of the Bass control. Standard bypassable clear FX Loop comes standard with a return Level adjustment knob.
* OPTION : Footswitchable Gain boost
from either lower Gain Switch positions - $180 USD upcharge
SPECS UK'67 - $2399 USD
SINGLE CHANNEL
- 45 watts
- Solid State rectification
- 2 x EL34 output tubes- 3 x 12AX7 preamp tubes
- 3 way bright switch
- 3 way Gain switch
- buffered effects loop w/bypass & variable return level control
- 4/8/16 output impedance
- Dimensions: (H) 9.5″ x (W) 26″ x (D) 8.5″
- Weight approx. 32 lbs.
- Demos; MORRIS UK'67 - YouTube
** SPECIAL NOTES ON UK'67 & UK'68 **
- and BEAST 20 Combo -
Design engineering: No output stage of a push pull tube guitar amp is perfectly balanced. To capture the character of the way the '68 Brownout distorts and overdrives mainly the output stage, into a preamp section, means to NOT balance it, or have too many gain stages. Nor to flat clip with diodes, etc.. Working with 4 x EL34's or 2x EL34's is a different game. They react differently partly because it is the same driver stage pushing them. So to make the 2 x EL34's react the same to me becomes a challenge. Because, not only are we going after the cranked tone at low volume, but we want it as close as possible when the amp is cranked up loud too! I especially do not like PPIV Masters - of any type for an amp like this, no matter what the claims are. Partly for the reason - you can't use an FX Loop without disastrous results. Having a loop in the middle of the whole distortion characteristics doesn't and can't work. So, CAN you do it with a pre-phase inverter Master?! I think the answer when you hear the clips is YES ! The preamp circuit in these particular amps is a bit different than my Perplex'd series - even though NONE of my preamps (except the Sirrom) are totally balanced. (hence why I'm known for having a great Master Volume). The difference between the UK'67 and UK'68 models in character are; the UK'67 has more chewiness and 'slight' more compression along with possibly a little more sweetness. The UK'68 bites a bit more and has a bit more 'open-ness' to it. Possibly more 'grit'.
Either choice - I believe I have incredible sounding models with a proprietary FX Loop designed by myself, that no one has disputed it is truly as transparent as is possible, not hindering the amp at low OR higher volumes.
* Due to customer requests - both amps can feature (for an upcharge) a foot switchable gain by allowing the user to effectively produce Gain Position 3 when in the Gain 1 or 2 positions only balanced to that tonality *
- and BEAST 20 Combo -
Design engineering: No output stage of a push pull tube guitar amp is perfectly balanced. To capture the character of the way the '68 Brownout distorts and overdrives mainly the output stage, into a preamp section, means to NOT balance it, or have too many gain stages. Nor to flat clip with diodes, etc.. Working with 4 x EL34's or 2x EL34's is a different game. They react differently partly because it is the same driver stage pushing them. So to make the 2 x EL34's react the same to me becomes a challenge. Because, not only are we going after the cranked tone at low volume, but we want it as close as possible when the amp is cranked up loud too! I especially do not like PPIV Masters - of any type for an amp like this, no matter what the claims are. Partly for the reason - you can't use an FX Loop without disastrous results. Having a loop in the middle of the whole distortion characteristics doesn't and can't work. So, CAN you do it with a pre-phase inverter Master?! I think the answer when you hear the clips is YES ! The preamp circuit in these particular amps is a bit different than my Perplex'd series - even though NONE of my preamps (except the Sirrom) are totally balanced. (hence why I'm known for having a great Master Volume). The difference between the UK'67 and UK'68 models in character are; the UK'67 has more chewiness and 'slight' more compression along with possibly a little more sweetness. The UK'68 bites a bit more and has a bit more 'open-ness' to it. Possibly more 'grit'.
Either choice - I believe I have incredible sounding models with a proprietary FX Loop designed by myself, that no one has disputed it is truly as transparent as is possible, not hindering the amp at low OR higher volumes.
* Due to customer requests - both amps can feature (for an upcharge) a foot switchable gain by allowing the user to effectively produce Gain Position 3 when in the Gain 1 or 2 positions only balanced to that tonality *
UK'68
This is it !! The California (think Eddie) sound you've been wanting ! A Master Volume control that leaves you lacking NOTHING ! Play it at ANY volume without reservation. The UK'68 captures our '68 Brownout without cranking and with an extra crunch. With 3 way Gain control and 3 way Bright switch you can go from early Plexi character to scorching distortion. The Texture switch in Vintage mode gives a chewiness that only a Browned out amp can do, while the Bold side brings in a '1984' mid character. The Body control brings in a fullness that doesn't get in the way of the Bass control. Standard bypassable clear FX Loop comes standard with a return Level adjustment knob. New is a Brown switch on the back working some more softening magic if desired.
* OPTION : Footswitchable Gain Boost
from either lower Gain Switch positions - $180 USD upcharge
SPECS UK'68 - $2599 USD
SINGLE CHANNEL
* OPTION : Footswitchable Gain Boost
from either lower Gain Switch positions - $180 USD upcharge
SPECS UK'68 - $2599 USD
SINGLE CHANNEL
- 85 watts
- Solid State rectification
- 4 x EL34 output tubes- 3 x 12AX7 preamp tubes
- 2 way Texture switch
- 3 way bright switch
- 3 way Gain switch
- 2 Way Brown switch on back
- buffered effects loop w/bypass & variable return level control
- 4/8/16 output impedance
- Dimensions: (H) 10″ x (W) 26″ x (D) 11″
- Weight approx. 40 lbs.
- Demos; MORRIS UK'68 - YouTube
UK'78
This amp came about because of the great sound of the Canadian JCM800 model. It had a sweeter midrange with the 4/8 ohm output transformer. I worked hard to capture that flavour. The only additions are a DEPTH control, a 3 Position Bright Switch, and a Texture switch that adjusts the driver and preamp voltage. Being that the 1978 JMP had lower voltage, (as does mine), in order to capture the 800 character the preamp voltage needed to be raised, which is the Bold setting. Add to all this my exclusive FX Loop and you are ready to rock with one of the most iconic machines ever designed! Completely hand wired (unlike originals) adds more 3D quality.
SPECS UK'78 - $2349 USD
SINGLE CHANNEL
- 40 watts
- Solid State rectification
- 2 x EL34 output tubes- 3 x 12AX7 preamp tubes
- 3 way bright switch
- buffered effects loop w/bypass & variable return level control
- Global - Depth/Presence
- 4/8/16 output impedance
- Dimensions: (H) 9.5″ x (W) 26″ x (D) 8-1/2″
- Weight approx. 35 lbs.
- Gold cap original style knobs
- Demos; MORRIS UK’78 - YouTube
'68 Brownout
The idea for this amp came from cloning a 1968 Plexi I owned, then using a Variac turned it down until the sound I wanted was achieved. All the voltages were measured and a power transformer with those voltages was installed. The result is plugging the amp straight into the 120VAC wall socket gives what a Variac turned down would. Eliminating the need for the Variac. In addition a 3 way Bright Switch was installed on the Loudness 1 control. Center position is off (no bright cap) - Left is my normal bright cap on all amps - Right is the original value that was on the '68 (.0047uf). Turning this amp up to 8, so the bright cap still has an effect on sound, gives it the famous aggression these amps are known for. With the custom Mercury Magnetics output transformer it works exceptionally well with 'reactive load attenuators' - with or without re-amp power built in. Because of this there is NO MASTER volume of any type in the amp.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
* It is designed for output stage distortion *
SPECS '68 Brownout - $2349 USD
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
* It is designed for output stage distortion *
SPECS '68 Brownout - $2349 USD
- 4 Input SINGLE CHANNEL - push-pull Class A/B - 35 watts
- Solid State rectification
- 2 x EL34 fixed biased
- 3 x 12AX7
- Loudness 1, Loudness 2, Treble, Bass, Mids, Presence
- 3 way Bright switch
- 4/8/16 output impedance
- Dimensions: (H) 9.5″ x (W) 26″ x (D) 8-1/2″
- Weight approx. 32 lbs.
- Demo's ; MORRIS UK'68 - YouTube
MM 27
The design of this amp is unique with the incorporation of an EF86 tube to replace the 12AX7 1st stage in a "top boost" circuit. This allows for not only more gain but a richer tone. There is no need to be concerned about microphonics since the EF86 circuit has been setup for less gain thereby reducing the microphonics without affecting the richness of it!
*Four switches give an unprecedented amount of control.*
First is an INPUT SENSITIVITY switch controlling the amount of signal gain in the 1st stage - as opposed to two inputs, having the one load down the guitar signal, thereby changing the tonality.
Second is a FAT switch. Since the original top boost channel had a very small coupling cap reducing the lower frequencies - we have the same setup - but for those who desire more full range coupling and 'full frequency distortion' - it is available.
Third is a MID BOOST switch bringing in some 'awhhh' tonality plus gain with it! Allowing you to get from sparkly clean to full saturation with tight bottom end.
Fourth is a TREBLE SHIFT switch, changing the treble cap to allow more mid frequencies to be added to the treble control range - which, depending on the guitar and pickups sometimes produces more bite and forwardness and other times seems just a fatter treble response.
Being that there is no negative feedback in the design, the Presence control is like a 'hi-cut' when turned back - allowing full top frequencies when up.
The MAC control gives a lot of control over the room level - being extremely transparent - and allowing you to have a lot of overdrive, if desired, at any level you want. This allows you to get the 'preamp' section into 'the sweet spot' as they say while managing the overall volume to speakers.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS MM 27 - $2399 USD
*Four switches give an unprecedented amount of control.*
First is an INPUT SENSITIVITY switch controlling the amount of signal gain in the 1st stage - as opposed to two inputs, having the one load down the guitar signal, thereby changing the tonality.
Second is a FAT switch. Since the original top boost channel had a very small coupling cap reducing the lower frequencies - we have the same setup - but for those who desire more full range coupling and 'full frequency distortion' - it is available.
Third is a MID BOOST switch bringing in some 'awhhh' tonality plus gain with it! Allowing you to get from sparkly clean to full saturation with tight bottom end.
Fourth is a TREBLE SHIFT switch, changing the treble cap to allow more mid frequencies to be added to the treble control range - which, depending on the guitar and pickups sometimes produces more bite and forwardness and other times seems just a fatter treble response.
Being that there is no negative feedback in the design, the Presence control is like a 'hi-cut' when turned back - allowing full top frequencies when up.
The MAC control gives a lot of control over the room level - being extremely transparent - and allowing you to have a lot of overdrive, if desired, at any level you want. This allows you to get the 'preamp' section into 'the sweet spot' as they say while managing the overall volume to speakers.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS MM 27 - $2399 USD
- SINGLE CHANNEL - push-pull Class A - 27 watts
- 1 x GZ34/5AR4
- 4 x EL84 cathode biased
- 2 x 12AX7
- 1 x EF86
- Gain, Treble, Bass, Presence, MAC
- 2 way Input Sensitivity Switch
- Fat switch
- 3 way Mid Boost switch
- Treble Shift switch
- 4/8/16 output impedance, no negative feedback
- Dimensions: (H) 10″ x (W) 26″ x (D) 11″
- Weight approx. 32 lbs.
- Demo's ; MORRIS MM27 - YouTube
GCM
The idea for this amp came from cloning a rare 1959/60 DeArmond R5 I own. I first did exactly that, but as usual couldn't live with a one trick pony !
I wanted it to be as versatile as the rest of my amplifiers, so without losing the original character of a Champ on steroids that it is famous for, I began experimenting with features. The end result is this ..........
Into a closed back 2 x 12 I would prefer the bottom end tighter, so I put a FAT switch that when OFF, tames it and tightens it. The second stage of the original amp had the cathode unbypassed - which gives more clean headroom and a full sound, but if into a 2 x 12 cab - again - too much bottom, so I added a 3 way stage with no cap / mid boost cap / full bypassed cap. The final addition was to keep the 'tweed' type character with it's associated gain but control the midrange as in the Brown and Blackface era's via another switch, plus a TEXTURE switch, (because in the Blackface era there was quite a dip in the mids giving a beautiful top and bottom tonality with more headroom than Tweeds were known for), to simulate the fullness of negative feedback but without changing the way the Class A output distorted.
This amp will demonstrate just how loud a 5.5 watt amp can be - well surpassing the headroom of a Tweed Deluxe easily. Closely keeping up with a '55 Tweed Bassman 4-10 I own.
Because of this, an Attenuator WATTAGE control is right on the front panel - that when Full Up is out of the circuit! * A 4 watt setting switch is on the back panel, that lowers the High Voltage, giving a rich brown sound.*
SPECS GCM - $1799 USD
- SINGLE CHANNEL - Class A - 5.5 / 4 watts
- 1 x 6X4 rectifier
- 1 x 6V6 cathode biased
- 1 x 12AX7
- Volume, Tone, Presence, Wattage
- 3 way Filter Switch
- Fat switch
- 3 way Gain switch
- Bold / Tame switch
- 4 / 5.5 watt switch (back panel)
- 8 ohm output impedance *can use 4 to 16 ohm*
- Dimensions: (H) 8″ x (W) 18″ x (D) 8.5″
- Weight approx. 17 lbs.
- Demo's ; MORRIS GCM - YouTube
KAGE
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NOT your average low wattage amp !! Don't let the 2 / 8 watts deter you from thinking this can't be a Club amp! On the contrary, it can do home practice volume exceptionally well! The design originally came about to be a great sounding at home practice amp but with a full 'big' amp sound. After a few months of tweaking and designing for two separate Hi-Voltage rails it has turned into a great Club amp. Not going with the 'usual' push pull output stage, it is single ended EL84 Class A for the plentiful 2nd order harmonics that come with it. With oversize Transformers and a Choke coupled pi input filter it not only produces great dynamics but without any power supply hum. Add to that the Attenuator for speaker volume and those same dynamics are available at 'any' volume.
The end result produced an amp perfect for fly - in gigs, Club gigs, back up protection, recording, practice, etc.........
SPECS KAGE - $1299 USD
The end result produced an amp perfect for fly - in gigs, Club gigs, back up protection, recording, practice, etc.........
SPECS KAGE - $1299 USD
- 2/8 Watts Class A
- Single channel
- Solid State rectification
- 1 x EL84 - 1 x 12AX7
- Attenuator (on back)
- Raw switch
- 8 ohm output impedance *can use 4 to 16 ohm*
- Dimensions: (H) 8″ x (W) 10″ x (D) 7-1/2″
- Dimensions - Depth is with Attenuator knob / Height is with Feet / Add 1.5" for handle to width
- Weight approx. 10 lbs.
- Demo's ; MORRIS KAGE - YouTube
MO-JO
The original Mo-Jo was a single channel, clear, simple hand wired amp that was designed specifically for Joe Perry of Aerosmith. It is loud and was pushing a Marshall(tm) 8×10 cab on its first tour and then 4×12 cabs for the second leg and 3 world tours. So it is at home with 10s or 12s and is specifically geared towards Greenbacks.
Model is true point to point wired.
The MAC (Master Attenuation Circuit) was put in to tame the volume this amp can achieve, allowing you to get the same richness at much more controllable levels. Unlike using an outboard attenuator the MAC does not introduce any grit or un-natural colouration to the original sound. This amp can be a great pedal format, taking overdrives and fuzzes equally well, or can be set up highly overdriven itself and cleaned up exceptionally well with your guitar volume.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS MO-JO $2349 USD
Model is true point to point wired.
The MAC (Master Attenuation Circuit) was put in to tame the volume this amp can achieve, allowing you to get the same richness at much more controllable levels. Unlike using an outboard attenuator the MAC does not introduce any grit or un-natural colouration to the original sound. This amp can be a great pedal format, taking overdrives and fuzzes equally well, or can be set up highly overdriven itself and cleaned up exceptionally well with your guitar volume.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS MO-JO $2349 USD
- SINGLE CHANNEL - push-pull Class A - 30 watts
- 1 x GZ34/5AR4
- 2 x EL34 cathode biased
- 3 x 12AX7
- Volume, Treble, Bass, Mids, Presence, MAC
- 2 way Gain switch
- 3 way Bright switch
- 2 way Shift switch (for Tone controls)
- 4/8/16 output impedance, no negative feedback
- Dimensions: (H) 10 3/4″ x (W) 29″ x (D) 8-1/2″
- Weight approx. 32 lbs.
- Demo's ; MORRIS MO-JO - YouTube
VTR 10
Described as having an M type bottom but V mids and top end along with a luscious compression that doesn’t hide the articulateness of your attack but adds bloom.
The VTR has a new feature of 'FULL 15 WATT setting'! Due to the unique power supply you can now choose between a Choke pi Filter or a resistor pi Filter. This controls the voltage applied to the overall amp and adjusts the power out. Originally as a 10 watt amp it now can produce 15 watts RMS for more headroom. And the output stage still runs in its same design - keeping the tone and character the same! The Half Power switch has been re-designed in a very unique way, producing half output of whichever the WATTS switch is set at. Example ; 15 WATT setting with Half Power equals 7.5 watts out. Obviously then 10 WATT setting with Half Power equals 5 watts out.
Add to all this a two setting GAIN Switch plus a FAT switch makes this one of the most versatile single channel amps made !!
For the guitarist that just wants to ROCK out - putting a 12AX7 tube in the driver/phase inverter stage puts this amp 'over the top'!
Model is true point to point wired.
Tailored for a sweet fat tone that works exceptionally well with single coil guitars as well.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS VTR 10 $1949 USD
The VTR has a new feature of 'FULL 15 WATT setting'! Due to the unique power supply you can now choose between a Choke pi Filter or a resistor pi Filter. This controls the voltage applied to the overall amp and adjusts the power out. Originally as a 10 watt amp it now can produce 15 watts RMS for more headroom. And the output stage still runs in its same design - keeping the tone and character the same! The Half Power switch has been re-designed in a very unique way, producing half output of whichever the WATTS switch is set at. Example ; 15 WATT setting with Half Power equals 7.5 watts out. Obviously then 10 WATT setting with Half Power equals 5 watts out.
Add to all this a two setting GAIN Switch plus a FAT switch makes this one of the most versatile single channel amps made !!
For the guitarist that just wants to ROCK out - putting a 12AX7 tube in the driver/phase inverter stage puts this amp 'over the top'!
Model is true point to point wired.
Tailored for a sweet fat tone that works exceptionally well with single coil guitars as well.
* Please note - this amp is not designed for an FX Loop as it will take away from the purity of the amp *
SPECS VTR 10 $1949 USD
- 10/15 Watts push-pull Class A
- Single channel
- Half power switch
- EZ81 tube rectification
- 2 x EL84 - 1 x 12AX7 - 2 x 12AU7
- Gain & Fat switches
- 4/8/16 output impedance
- Dimensions: (H) 9.5″ x (W) 21″ x (D) 8-1/2″
- Weight approx. 24 lbs.
- Available with Black or White Chickenhead Knobs also.
- Demo's ; MORRIS VTR 10 - YouTube
Customer feedback
'68 Brownout
"I straight up dialed in pure Plexi flavor and articulation but with the Variac 'brown' character on tap ... The amp responds to the hands like no other..a player better have their **it in order ... that amp will hurt you .. or make you sound like $$$."
"People came in the studio and had an epiphany ... Hendrix to VH1, through 1984 on command ... and all in the roll of my volume knob .. NOTHING ELSE. The single coil strat heaven from brilliant Cleans to dirty Blackmore goodness. Stop ... just stop making any more Amps ... YOU WON. "
"People came in the studio and had an epiphany ... Hendrix to VH1, through 1984 on command ... and all in the roll of my volume knob .. NOTHING ELSE. The single coil strat heaven from brilliant Cleans to dirty Blackmore goodness. Stop ... just stop making any more Amps ... YOU WON. "
UK '78
"Glen, this amp is ridiculous. The punch !!!! So much harmonic content in the gain. I'm just sitting here smashing AC/DC chords over and over like a 10 year old."
SIRROM
"It is just unreal. The tone of that thing is just way past and above my expectations. The videos I heard do it absolutely ZERO justice. The percussiveness of the attack coupled with the harmonic texture and richness of the notes is beyond any other amp I have ever played .. and I have played A LOT!"
"You knocked it out of the park! The loop is superior and that mini drive pot is like magic for me. That's what I was missing.
The 60 has a more throaty "vintage" sound that is a bit rounder but still tight as I could ever need. I can max out the gain on the 60 and use the mini pot to take that fizz out. The bright switch is also fantastic. It is the first bright switch on an amp that I've found usable.
I have no desire to even try messing with tubes. It's perfect. A big thank you !!!!"
"I have to thank you Glen!! The Sirrom is exactly what you said it would be. I usually hit the front end with a boost on my other amps, but not yours. It doesn't need anything but a skilled hand. I am very surprised how well it cleans up dialing down the guitar volume knob when switching to single coils. It truly is my life long amp. Thanks again !!"
"You knocked it out of the park! The loop is superior and that mini drive pot is like magic for me. That's what I was missing.
The 60 has a more throaty "vintage" sound that is a bit rounder but still tight as I could ever need. I can max out the gain on the 60 and use the mini pot to take that fizz out. The bright switch is also fantastic. It is the first bright switch on an amp that I've found usable.
I have no desire to even try messing with tubes. It's perfect. A big thank you !!!!"
"I have to thank you Glen!! The Sirrom is exactly what you said it would be. I usually hit the front end with a boost on my other amps, but not yours. It doesn't need anything but a skilled hand. I am very surprised how well it cleans up dialing down the guitar volume knob when switching to single coils. It truly is my life long amp. Thanks again !!"
FET FX LOOP
"With the Loop it's nice not to try different pedals and keep messing with the level option. Just throw any pedal in there and ready to go. No loss of volume, totally transparent, and no hum or unwanted noise."
Perplex'd
Amp gonna blow tone. - "The MORRIS Perplex'd with a boost in front does this in spades. My favorite thing about that amp. It sounds and feels like it's on the verge of unstable, but manages to hang in there."
"There's a couple of Morris amps for sale right now which is kind of rare as most people hang on to them. I just recently got the prototype for his new Perplex'd S3 Signature and I can honestly say I have never played a more responsive amp. Glen is a genius and really easy to work with."
"if the Power Station existed back then. But if you want something far more versatile, The MORRIS Perplex'd all the way. Seriously. It sounds and feels so alive and ready to self destruct if .... "
"The thing I love about the whole thing, is that the tubes sound like they're at the verge of destruction at all times! "
"Hey Glen, Just wanted to let you know that the amp arrived safely and all I can say is OM*+)#! The Clean channel is superb, of course, but clarity, dynamics, and sensitivity of the gain channels is among the best of any amp I've ever played (lets just say I've played a few). The note definition, even with quite a bit of gain, is firm, focused with tight, balanced harmonics. "
"There's a couple of Morris amps for sale right now which is kind of rare as most people hang on to them. I just recently got the prototype for his new Perplex'd S3 Signature and I can honestly say I have never played a more responsive amp. Glen is a genius and really easy to work with."
"if the Power Station existed back then. But if you want something far more versatile, The MORRIS Perplex'd all the way. Seriously. It sounds and feels so alive and ready to self destruct if .... "
"The thing I love about the whole thing, is that the tubes sound like they're at the verge of destruction at all times! "
"Hey Glen, Just wanted to let you know that the amp arrived safely and all I can say is OM*+)#! The Clean channel is superb, of course, but clarity, dynamics, and sensitivity of the gain channels is among the best of any amp I've ever played (lets just say I've played a few). The note definition, even with quite a bit of gain, is firm, focused with tight, balanced harmonics. "
MM '69/70
"I really dig my MORRIS muscle 69/70. Very raw, open and punchy. Also has probably the best master volume I've experienced. Amp excels at hard rock, early metal tones w/out sounding overly compressed. I simply got tired of overly compressed amps that in a dual guitar band just seemed to loose..... "
"Couldn't agree more. I'm blown away by my MORRIS '69/70 muscle. I vastly prefer this over my previous ********. I'm shocked there isn't much talk about MORRIS amps."
"I have been thru many boutique type amps. My 2 favorites are my ********* and my MORRIS '69/70"
"I have to agree that Glen is a genious. It was a pleasure dealing with him. He stayed in touch with me as he did my build. He made me a '69/70 Jr. 15 watts of glorious distortion. The master is the best I've seen. I have been thru many amps, and the only one I have kept next to my MORRIS is my .... "
"Couldn't agree more. I'm blown away by my MORRIS '69/70 muscle. I vastly prefer this over my previous ********. I'm shocked there isn't much talk about MORRIS amps."
"I have been thru many boutique type amps. My 2 favorites are my ********* and my MORRIS '69/70"
"I have to agree that Glen is a genious. It was a pleasure dealing with him. He stayed in touch with me as he did my build. He made me a '69/70 Jr. 15 watts of glorious distortion. The master is the best I've seen. I have been thru many amps, and the only one I have kept next to my MORRIS is my .... "
MISCELLANEOUS
"I am very surprised no one has mentioned MORRIS amps. Incredible master volume and overall tones blew me away. This is the only amp that will replace my ********* amp, which also sounds incredible. If you're in the Marshall camp, you must try one of his amps."
"The tonal properties of my PRS 24-08's shine through with brilliance and presence I've not heard in other amps. The sustain and harmonic feedback I'm able to coax out of this beast is off the charts! Thanks so much for a Brilliant build and I will endeavour to spread the word! "
"The tonal properties of my PRS 24-08's shine through with brilliance and presence I've not heard in other amps. The sustain and harmonic feedback I'm able to coax out of this beast is off the charts! Thanks so much for a Brilliant build and I will endeavour to spread the word! "