I’ve only owned two Kay tube amps, and they were both keepers. One was a pretty standard (for its era) dual 6V6 with tremolo (a really rich and deep tremolo). It had a tone pretty close to the Silvertone 1482, its Dano-made Airline counterpart, the rare 1964 Ampeg Reverberocket with 6V6’s (wow, what an amp!) Lectrolab 600B (though this is the best of the bunch, IMO) and any number of other cheapie versions/variations of a Tweed Deluxe. It’s interesting that all these Chicago and New Jersey bargain companies were churning out these amps that now get called a “poor person’s Tweed Deluxe”—these great 6V6 amps with tons of snarl and growl long after Leo Fender had left Tweed pastures for the cleaner, tighter sound of the Tolex models. By 1964, when Danos and Lectrolabs were still sounding like proto-Neil Young dirt, Fender had long left behind the loose sag and grit of the Tweed Deluxe, replacing it with the much tighter, much stiffer (though still a cool amp) Deluxe Reverb.
Don’t get me wrong. The Deluxe Reverb is a great amp. But the Fenders I love pretty much all fall in the tweed era, where there wasn’t a ton of great headroom and you got into a nice snarl pretty early in the sweep of the volume knob.
You don’t see a bunch of the dual 6V6 single 12” Kays. The models you tend to see the most are the little (and somewhat anemic) single-ended practice amp, the 703. And the Kay tube amp you tend to see the least is the VERY cool duel 6L6 (sometimes) Kay 507 Twin Ten.
As the name suggests, the amp pushes two (ALNICO) 10” speakers powered by a pair of 6L6’s. What’s weird is that a LOT have 7868’s as output tubes and use a 7199 in the circuit. 7868’s have a great tone, in general. They are, from what I’ve read, essentially the same tube as a 7591, but with nine pins instead of eight. 7199’s got used a lot in Ampegs and Sanos and they are very rare and they aren’t made anymore, so they tend to cost a lot of dough. So, buyer beware (especially about the 7199) on this amp. BUT, the model I have has what are obviously original 6L6’s and no rare or obscure preamp tubes (five 12AX7’s do the preamp and phase inverter jobs) and the old stand-by 5U4 for rectification. Mine is all original—as the schematic inside matches what’s in the amp. But there seem to have been some variations on the construction of the 507—so, ask the seller about/check the tubes when buying so you know what your 507 has in it.
Also, it’s one of the coolest looking amps you’ll see. It has two channels (two inputs per channel), a VERY snazzy chrome rear control panel with six knobs (tone and volume for each channel and speed and intensity for the tremolo). And it has a very 50’s-looking two tone appearance (even though it lists that they were made 1960-1963), brown rear and light brown front with a white swirl on brown cloth grill. It’s a great size—not too heavy and 24” wide by 20” tall.
OK, it looks cool, but how does it sound? Pretty freaking cool. It sounds a lot like the other great Chicago amps of the same period. And this is where things get kind of interesting—who made these Kay amps? It has a tone very much like the great Valcos (which ended up branded, at various times, Supro, Airline and, in the 400 series, Harmony). And, like a Valco, it has a tone a bit like some of the great Lectrolabs, too (I’ve seen Lectrolabs branded under their own name and also with Philharmonic and the 300 series of Harmony amps). But, it’s not made by either Valco or Lectrolab (I get this info from a friend of mine who knows more about off-brand amps than anyone I know and has a collection to prove it). It also doesn’t look like a Valco or Lectrolab under the hood. It’s simply made differently (though it is point-to-point like both of those brand—no hand stuffed circuit board like on a Tweed Fender). According to my friend, it was Kay who actually made these Kay amps over these years (go figure). As I say, this friend knows a lot more than me and has written several books on the Chicago giants. Plus, it’s easy to tell from looking that it wasn’t made by Valco or Lectrolab. So, if it isn’t easy to tell who DID make it, at least we know who DIDN’T.
Whoever made it, though, it’s a wonderful amp. At low volume, you get a VERY rich and textured clean sound. The two ten inch speakers sound great and the cleans are very complex, much like a Tweed Fender Super from the early 50’s. This is one of the richest, thickest (without being overly dark) cleans I have ever heard in a vintage amp. And when you add the tremolo, wow! It moves from a VERY slow, pulsing tremolo, to a pretty fast one—but it never gets totally choppy and helicopter-sounding like a lot of the late 60’s tremolos. Throughout the range of the “strength” control, the tremolo stays watery and smooth. Just a killer sound.
Turned up, it sounds more like a 6V6 amp than most 6L6 amps I’ve ever heard. Very Neil Young and Crazy Horse. If you push the volume on the channel you’re using to 6 or higher, it starts to really snarl and have a complex great sounding distortion. The volume and tone controls are interactive, too, so you can get some very nice textures of distortion by either coupling the channels with a short cord, or just playing with the volume of the channel you’re not using. Open it up full and put the other channel around 5 or 6 and it sounds VERY much like Neil Young’s tone on RAGGED GLORY—that opening of “Country Home” sounds spot on when this amp is cranked.
It’s a sleeper. And there don’t seem to be too many of them out there. I haven’t heard the 7868 output tube version of this amp, but I’d sure like to. In any case, if you see one of the 507 Twin Tens with 6L6 output tubes, I’d buy it in a heartbeat. I’m doing a MAJOR purge around here—selling at least five guitars and five amps. And I kept going back and forth on the Kay 507. Then I plugged it in to write this and I decided I’d be nuts to get rid of it. There simply aren’t that many of them. And I don’t want to feel like I felt about letting go of my 4X6V6 Danelectro Challenger with a 15 inch speaker. That was another super rare amp I let go of, and I still get angry at myself. From now on, I’ve vowed to only get rid of stuff I could easily replace if I truly regretted the sale. So this one stays.