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It features separate input for both high and low gain. Each channel has a separate pre-/postgain control, and the rhythm has an extra crunch and bright switch.The channels share a 3-Band EQ and presence and resonance controls.It also features only one input, unlike the 6505, which had two.There are bias testpoints on the back, making changes to the tubes easier.Since its foundation, Peavey Electronics has been privately owned, and has grown from their humble beginnings in Hartley's basement in the 1950s. magazine profiled the global success story of music and audio innovator Hartley Peavey and Peavey Electronics Corporation."Hartley Peavey dreamed of becoming a rock star," wrote Inc.) of manufacturing/assembly area over 33 facilities across North America, Europe and Asia, 18 of which are located in their home state of Mississippi.

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Several aspects of the amplifier, likely responsible for its success, are its rigid construction and reliability, excellent frequency response (largely attributable to the vacuum tube amplification), and clarity with heavy gain, a feature generally synonymous with the amplifier's image in its market demographic.

A defining attribute largely responsible for the 5150 sound is the fixed bias.

Commonly described analog a car engine and its respective idle, the 5150 bias was set to a lower value (lower engine "idle") which resulted in the Power Tubes running at a lower energy commonly known as "cold-biased." While the electrical theory behind this can easily be examined and theoreticized, the 5150 and its configuration resulted in a more controllable gain setting (i.e.

Both the 5150 and the 6505 are well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists.

An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone".

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