“These go to eleven.”
So said guitarist Nigel Tuffnel of his specially made Marshall amplifier in the classic spoof rockumentary movie Spinal Tap. But amps are not just for rocking stage musicians—anyone with an interest in music can collect them. From amateur armchair guitarists whose only audience is the pet dog to small-time players, amps are available to cover a whole range of needs. Some collectors don’t even plug their amps in, keeping them as ornaments.
Guitar amps come in three types: tube (also known as valve), solid state, and hybrid. Classic tube amps are the most expensive to buy as they produce the richest sound. Nearly all famous rock and heavy metal guitarists stick with tube amplification.
Solid-state amps took off in the 1980s, providing a much cheaper alternative to classic tube amps. Hybrids combine a preamp tube with solid-state output, trying to match the warmth of a tube sound with the musical versatility of a solid-state.
When buying amps, it is important to note the difference between combo and “head.” Combo amps contain both the amp tubes and one or more speakers. Heads only contain the amp tubes and require a separate speaker cabinet to produce sound.
Early Amps
The earliest amplifiers were used for acoustic guitars in large bands. These were not designed to be used on stage—they were bulky, required large batteries, and were made for radio and PA systems.
Then Leo Fender came on the scene. In addition to making incredible guitars, such as his Telecaster and Stratocaster models, Fender began to dabble in the world of amplification.
The original 1946 Fender Princeton is incredibly rare, but later re-issues made in the 1960s can be picked up, albeit at high prices. One sold in May 2025 for over $6000.
While early Fenders were great for crisp, clean sounds, by the late 1960s, many guitarists were looking for high-gain, snarling, aggressive tones.
Enter Vox. This British-based company recognized the need for louder amplifiers and brought out the iconic AC30 in 1958. Featuring two 12-inch speakers, this combo amp was used by various “British Invasion” bands in the mid-60s, most famously The Beatles.
While Vox and Fender were making inroads into the market, one amp company above all others would dominate the fast-expanding world of rock.
Photo by Matt Doherty
The Marshall Sound
In 1962, the British company Marshall created their first amp, known as “Number One.” Initially experimenting with surplus military parts left over from World War II, owner Jim Marshall wanted to produce something with a “girthier” sound than the already popular Fender amps.
It was loud… very loud. Early Marshall adopters found that turning the volume up to deafening levels caused the sound to naturally distort, becoming crunchier and heavier. This was exactly the kind of heavy sound required for the British rock scene of the 1960s and 1970s.
Encouraged by British heavy rockers such as Pete Townsend of The Who and Ritchie Blackmore of Deep Purple, Marshall produced a whole set of very loud amp heads.
Photo by Matt Doherty
Jimi Hendrix used Marshall 100-Watt “Super Lead” amplifiers for his major concerts at Woodstock and the Monterey Pop Festival, further increasing American exposure to the brand in the late ‘60s. And when Jimmy Page of Led Zeppelin traded in his Vox AC30 for a Marshall stack, sales went through the stratosphere.
Most other rock bands of the 1970s picked up Marshalls and used them to full, ear-splitting effect. Deep Purple held the official Guinness World Record for the loudest band for several years.
Perhaps the most desirable Marshall amp available to buy new today is the 100-Watt 1959 Handwired Head. This amp is essentially a re-issue of the ground-breaking amp Marshall sold throughout the 1960s – the one played by all the classic rock guitarists. Buying one from Marshall’s website will set you back a cool $3000, but the investment will almost certainly be worth it. Not only will you have 100 Watts of pure, unadulterated Marshall power, but an investment that, if properly maintained, will pay dividends in the future.
One important note for players: the 100—watt Marshalls are way too powerful for home use, and the sound purely from the amp is too raw. Breakup can only be properly achieved by playing at high volumes. If you are considering buying one for home or small venue use, invest in a decent pedal to achieve those high-gain sounds without bursting your eardrums.
High Profile Sales
With so many famous musicians using amps over the years, plenty of celebrity-owned amps are on the market.
Once owned by Frank Zappa, a 100-watt Marshall “Master Lead” head from 1978 went for over $16,000 in 2023. Steve Vai also owned a Marshall that went for big bucks. It was a “Super Lead” from 1986—less desirable than the ‘70s Marshalls—yet it still fetched $16,000 at auction.
Guitar amps do not have to be owned by rich and famous musicians to be worth money. Players and collectors put special value on original models of classic amps. In January 2025, a Vox AC15 from 1960 in excellent condition and in full working order went for an incredible $18,000 on an online marketplace.
A 1955 Fender Bandmaster sold in 2024 for over $9000 at Juliens. With a classic tweed look, the amp still fetched money despite the model never being popular with famous guitarists.
Final Thoughts
Anyone who thinks that ten should be the loudest really hasn’t got the point. In a world increasingly dominated by digital apps, old-style tube amplifiers remain sought after. Investing in a high-quality tube amp such as a 100-Watt head is likely to pay dividends in the future. The prices for classic amps only ever appreciate when they are properly maintained.
Unfortunately, many guitarists from the classic rock scene are not getting any younger. In the coming years, we are likely to see many more celebrity-owned amps come up for auction.
Matthew Doherty is a writer, editor, and teacher specializing in all things history-related. His work has been published in the UK Defence Journal, the Small Wars Journal, and The Collector. He holds an MSc from the University of Edinburgh and a BA from the University of Leeds. In his spare time, he also writes science fiction stories.
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