Mesa Engineering Recto-Verb Twenty-Five

Jamie Dickson

They say be careful what you wish for – but whoever coined that phrase clearly wasn’t me, wishing for one of these. First up, the Recto-Verb Twenty-Five is compact and relatively lightweight. That’s a big plus: lately, lugging my hefty Marshall Bluesbreaker about has felt like trying to carry a bungalow about by a suitcase handle attached to the roof.

The potent, twin-channel Mesa is also designed with tonal flexibility in mind, which I’m hoping will suit the varied mix of gigging and recording jobs I’ve got on. It’s also a bit of a novelty after the uncomplicated Bluesbreaker. Amps such as the tweaker-friendly Recto-Verb make your preferences feel valued, even important – like service in an expensive restaurant. If it could speak, a dialogue with the Mesa might run something like this: Amp: “Would you like your top-channel tone Clean or Pushed, sir?” Player: “Er, Pushed, thanks.” Amp: “And how about the bottom? Vintage or Modern?” Player: “Vintage, please – and go easy on the presence.” Amp: “Certainly. Have you seen the specials board today?”

All that choice is not without some irony, of course: I spent

With my big Marshall causing backache, it’s time to try a smaller combo

five minutes getting my bearings and then stuck with my favourite setting thereafter. Nonetheless, there’s a real opportunity to make the most of the Recto-Verb’s versatility in the studio, where the ability to dial, switch and attenuate your tone until it sits perfectly in the mix should prove useful.

But so much for options – the Mesa has plenty, and that’s great. But what really interests me is the quality of the basic ingredients. The top channel – home to the clean and crunchy tones I like most – is remarkably clear, warm and punchy, especially with the Pushed switch engaged, adding a little extra compression and bloom. Smaller details on the amp endear you to it, too. For example, it’s nice to have a comfy, supple carrying handle, not a narrow plastic one that bites into your hand as you stagger fully-laden to the car.

If I’m splitting hairs, while it’s useful to have an independent reverb control for each channel, it’s less handy that the controls are located on the rear panel. Clearly, I’m working quite hard to wag a cautionary finger at this amp for something.

On the whole, I’m charmed by first acquaintance with the Recto-Verb. Like driving a good new car, it’s the impression that it’s been thoughtfully and harmoniously designed to fulfil its purpose that appeals most. I like that it’s neither obviously built down to a price, nor trying to scream ‘boutique’ at you. It feels like the kind of amp you get when you’re a grown up. Is that good or bad? We’ll see…