Sonny Boy Havidson
Published on 02/09/07 at 16:29
Note: The photo is the MODEL 100 Watts of the same era.
The amp dates from 1997 (release year) and was trading at 3150 Francs (about 450).
Closed cabinet in solid agglomr trs (thickness 18 mm) vinyl coated crme reinforced plastic corners.
Power: 50 Watts dlivrs by an HP 12 "Celestion tweeter and a derrire grid fabric mounted on a framework for free dtchable sound.
Dimensions: 500 * 500 * 250 mm (very far from an EAR but the era there was mainly the Carlsbro) for a weight of 22 kilos (trs trs far from a EAR).
Connectors: microphone (XLR jack high and low impdance impdance), guitar (with jack slecteur high / low impdance), effects loop, line out and footswitch jack for rverb (frankly unnecessary ).
Channel 2: mic and guitar
- Micro: gain, bass, treble, shuffled rverb (between the line and the original sound)
- Guitar: gain, bass, mdiums paramtriques (gain and frquence), and shuffled rverb Aiges.
Gnral: volume, phase reverse and depth of rverb.
Rverb the spring (ie analog) is the same MODEL home Accutronics than that found in the Fender Twin. Still exist in the digital pedals.
(+): Rustic and indestructible, good components
(-): Mass and volume (normal but the era), in connection faade (Cables hanging around if you use the effects loop), grid fragile (not being protected that the dusts).
UTILIZATION
Like all electro-acoustic amps of the era (the classic example is the Carlsbro), the goal silent simple amplify a guitar and a microphone with a legalization Premetta ringing sound as possible. It has an adequate and effective legalization.
The manual trs sober and gave silent - apart from caratristiques of the machine and the fuse REFERENCE - a mthode to Russia's legalization (roughly: the mdiums d First and only the rest APRS), which is made effective.
The legalization between the two channels is easy. The dosage of rverb shuffled for each channel is a good and trs trs useful for making little offer. I also an AIM SETTING THE shuffled for the effects loop.
SOUNDS
It is an electro-acoustic amp so the aim is to restore an acoustic sound from the signal set by a piezo pickup (with all its default) and not to give a color particulire the sound, which is quite the Russian Torque the silent era to an electro-acoustic amp affordable. The gum is effective legalization is the correct default inerrant to micro piezo while remaining fairly neutral.
No need for an external legalization for good sound unlike many other modern amps for a guitar which adopts a prampli legalization is required (note the current suffering Marshall 50 Watts the abscence of shameful rglage paramtrique mdiums intolrable and brightness).
I spoke earlier of the neutrality of the amp altogether correct given the fact that this is a high end amp. The tweeter is trs effective and sometimes even too much, but it still possible to mount a tweeter switch (it is now something current) location of the unnecessary taking of footswitch r Verb. The DIFFERENT rglages are effective and trs trs fill out their rle even if the sound is less than prcis AER. However, it is less because of Triqui HP 12 "that allows a much wider bandwidth than HP 8" so common today.
The rverb does not satisfy me completely today. If the era there were only such rverbs in amps, it is now reconnatre better suit an electric and acoustic guitar for which the technology will be numrique fits (the reverse is also true: the electric numrrique sounds bad). The rverb of this amp - to remain high and gives a good musical scale - the sound a little blurred when many would have participated rverb numrique attnuer sound too synthetic micro piezo .
Has used this amp with acoustic guitars of the most varied: Art & Lutherie, Celebrity, Ovation Collector 2002, Takamine ... Or my Simon & Patrick SP6CW (Fishman and prampli Powerjack) which has no legalization dtest because I was and that the amp is more than enough. I still managed a good one.
Another particularity of the amp: clean electric sound INTERESTED trs o HP 12 "and the spring are rverb ease. The Stratocaster, Telecaster, ES-345 and there Danelectro make beautiful things.
OVERALL OPINION
I possde this amp since October 1997 is just over nine years. There was also the 100 watt version in the shop (La Clef de Sol Dijon) and the first electro-acoustic Fender amp. I had - and still do not - need 100 watts and the Fender was too expensive for me. on the other hand, he had made a much more acoustic. When I see today an EAR or a Roland, I think having a mammoth vnrable that takes a lot of room in my 25 m and hurt my back badly in dj trs point.
It said so much, my Torque is much stronger (with the exception of the grid but I have not had any problem until now) and has a wider bandwidth. It is now technically Exceeds but it is a portable sound system vritable, so I'm not willing to change (even if I have easily made) as it is robust, effective and easy to implement.
The amp dates from 1997 (release year) and was trading at 3150 Francs (about 450).
Closed cabinet in solid agglomr trs (thickness 18 mm) vinyl coated crme reinforced plastic corners.
Power: 50 Watts dlivrs by an HP 12 "Celestion tweeter and a derrire grid fabric mounted on a framework for free dtchable sound.
Dimensions: 500 * 500 * 250 mm (very far from an EAR but the era there was mainly the Carlsbro) for a weight of 22 kilos (trs trs far from a EAR).
Connectors: microphone (XLR jack high and low impdance impdance), guitar (with jack slecteur high / low impdance), effects loop, line out and footswitch jack for rverb (frankly unnecessary ).
Channel 2: mic and guitar
- Micro: gain, bass, treble, shuffled rverb (between the line and the original sound)
- Guitar: gain, bass, mdiums paramtriques (gain and frquence), and shuffled rverb Aiges.
Gnral: volume, phase reverse and depth of rverb.
Rverb the spring (ie analog) is the same MODEL home Accutronics than that found in the Fender Twin. Still exist in the digital pedals.
(+): Rustic and indestructible, good components
(-): Mass and volume (normal but the era), in connection faade (Cables hanging around if you use the effects loop), grid fragile (not being protected that the dusts).
UTILIZATION
Like all electro-acoustic amps of the era (the classic example is the Carlsbro), the goal silent simple amplify a guitar and a microphone with a legalization Premetta ringing sound as possible. It has an adequate and effective legalization.
The manual trs sober and gave silent - apart from caratristiques of the machine and the fuse REFERENCE - a mthode to Russia's legalization (roughly: the mdiums d First and only the rest APRS), which is made effective.
The legalization between the two channels is easy. The dosage of rverb shuffled for each channel is a good and trs trs useful for making little offer. I also an AIM SETTING THE shuffled for the effects loop.
SOUNDS
It is an electro-acoustic amp so the aim is to restore an acoustic sound from the signal set by a piezo pickup (with all its default) and not to give a color particulire the sound, which is quite the Russian Torque the silent era to an electro-acoustic amp affordable. The gum is effective legalization is the correct default inerrant to micro piezo while remaining fairly neutral.
No need for an external legalization for good sound unlike many other modern amps for a guitar which adopts a prampli legalization is required (note the current suffering Marshall 50 Watts the abscence of shameful rglage paramtrique mdiums intolrable and brightness).
I spoke earlier of the neutrality of the amp altogether correct given the fact that this is a high end amp. The tweeter is trs effective and sometimes even too much, but it still possible to mount a tweeter switch (it is now something current) location of the unnecessary taking of footswitch r Verb. The DIFFERENT rglages are effective and trs trs fill out their rle even if the sound is less than prcis AER. However, it is less because of Triqui HP 12 "that allows a much wider bandwidth than HP 8" so common today.
The rverb does not satisfy me completely today. If the era there were only such rverbs in amps, it is now reconnatre better suit an electric and acoustic guitar for which the technology will be numrique fits (the reverse is also true: the electric numrrique sounds bad). The rverb of this amp - to remain high and gives a good musical scale - the sound a little blurred when many would have participated rverb numrique attnuer sound too synthetic micro piezo .
Has used this amp with acoustic guitars of the most varied: Art & Lutherie, Celebrity, Ovation Collector 2002, Takamine ... Or my Simon & Patrick SP6CW (Fishman and prampli Powerjack) which has no legalization dtest because I was and that the amp is more than enough. I still managed a good one.
Another particularity of the amp: clean electric sound INTERESTED trs o HP 12 "and the spring are rverb ease. The Stratocaster, Telecaster, ES-345 and there Danelectro make beautiful things.
OVERALL OPINION
I possde this amp since October 1997 is just over nine years. There was also the 100 watt version in the shop (La Clef de Sol Dijon) and the first electro-acoustic Fender amp. I had - and still do not - need 100 watts and the Fender was too expensive for me. on the other hand, he had made a much more acoustic. When I see today an EAR or a Roland, I think having a mammoth vnrable that takes a lot of room in my 25 m and hurt my back badly in dj trs point.
It said so much, my Torque is much stronger (with the exception of the grid but I have not had any problem until now) and has a wider bandwidth. It is now technically Exceeds but it is a portable sound system vritable, so I'm not willing to change (even if I have easily made) as it is robust, effective and easy to implement.