TC Electronic RH750

Transistor; D
750W
Input jack, which automatically adapts to the low level of active or passive
RCA AUX input for mp3
XLR DI output with a choice of output pre or post EQ
Digital output, AES EBU, fixed at 96 kHz, with the master clock (as pre or post EQ), compatible spif
Effects loop
Headphone
4 band parametric EQ
3 user memory, each with an output level before master, independently adjustable.
1 leveling-off treble to the tweeter
Multiband compressor
Simulator lamp
Tuner
Event lower rear
Mini tiny devil with 2 wheels is provided.
4kg
Login to three cab with impedance min. 4 Ohm.

Combined with a firm RS 210C, TC also electronic (20kg)

Rich connectivity. 9/10 because RCA cut the connection to the cab and is used only for the headphones and the sampling frequency is not adjustable and forces slave to slave in the sound card and the computer. The rear vent also imposes some constraints on investments (avoid the walls and around corners).


UTILIZATION

I was looking for a versatile combo, versatile, with a headphone output, light for the home studio (modeling and preprod), work at home, rehearsals and concerts, with the possibility of adding extra cab. I want a modern sound oriented soul, pop, funk, rock, changeable at will, especially for the home studio.

Simple configuration and ultra ergonomic. Easily obtained a good sound, we know how to handle a parametric EQ 4 bands (-24dB to +15, with a center frequency setting for each band).

In home studio head meets all my needs. The XLR output is excellent and the Digital also provided work 96kHz. The presence of the compressor for the home studio is significant: well adjusted, the game is balanced and no rope is predominant, it saves time in the mix.

Homework: perfect, obviously it does not exploit the full power of the head. Here, the output level adjustable front master is especially useful: it decreases the house, we live increases.

Live: simple to use and effective. Found the sound worked at home, no surprises.

User memories are practical. For my part, a sound basic memory 1, a slap in his last two and memory usage for home-studio.

The output volume on the 210 is monstrous. Live with a drummer who lets his shot, the 50% output and master the first third are more than enough to shake the walls.

The versatility is required, since the combo can be used in the home to the big stage (adding cab), to repeat it.

As with the devil miniroulettes, usable only on smooth surface. But the combo is 24 kg has a real handle judiciously placed, transportation becomes almost a pleasure.







SOUNDS

The combo meets all my needs and expectations for the styles mentioned above. I do not play metal or reggae. Old school thick at the bottom, and condensed modern, everything is possible, everything is punchy. I play finger (80%) and slap (20%).

With EQ, compressor and lamp simulator, we obtain a wide variety of sounds. An almost infinite range with the following constants: the sound is always clear, ultra clear. It does not drool. The projection of the cab is optimally provided to put a little (approx. 40 cm) in height.

The head adjusts the treble level sent to the tweeter and the latter has behind the cab, an aperture setting. We can therefore give a little air or hissing treble and sent metal again versatility is required.

The EQ is chirgurgicale, what a pleasure to hear a difference with every movement of knob.

The amp is "transparent", no I do not like this term. He is faithful. If you play rough finger and low poor sound faithfully transcribe it mediocre. If your bass sounds good, your game will be sublimated. Head and respects your instrument. Mine is a Godin Freeway active, 4 strings, with microphones and preamp barto noll. My Squier JB sounds as good on this amp, we recognize the grain.

I appreciate the simulation lamp with a sparing use. The OD is possible, but it is not my cup of tea.


OVERALL OPINION

10 months of use.

Previously tested: Markbass, Genz Benz, and MesaBoogie Carbine. Markbass removed (at the time) for lack of headphone. Mesa beautiful but off-budget. Long hesitation with Genz (the Shuttle), but the connections, the compressor, the memories and the tuner TC convinced me.

In a repeat when I replaced bassist holder was able to compare TC with a Markbass 800W tube and cab 410. The CT was superior in terms of projection, rendering, precision, finesse and punch. TC allowed in this particular case (pop group) to better integrate the group's sound. Two additional HP Markbass allowed to get a bigger sound, but not necessarily compatible with repeats.

Q / P excellent. The only other amp that has me stuck is the Mesa Carbine. But that's another category: 2x heavier 2x 2x bigger and more expensive.

I would do this choice without hesitation. I recommend this combo for those seeking versatility, modernity and lightness. on the other hand, if you Ogle to the heavy, saturated fatty lamp, go your way.

Pros: versatility, reliability, power, ergonomics, accuracy and.
The-: rear vent, fixed sampling at 96 kHz and RCA that cuts the cabinet. The headphone minijack on rear, not practical.

Transistor amplifier 750 W into 4 ohms (1200 W peak)

Front: Tuner, Gain, all parametric 4-band EQ, multiband compressor, emulation of tube (preamp + amp saturation power), tweeter level adjustment, master, 3 memory setting its (gain + EQ + + compression tube ) input jack instrument.

Back panel: Everything you want! DI (pre / post EQ), RCA, Outputs AES / EBU digital (I do not even know how to use it), headphone output, FX loop in jack, speaker output mixed speakon / jack, power and inter of PSU.

The head is 4 or 5 kg, which is extra transportable. I messed up your back, and it changed my life.
Good build quality, nice knobs. Crossed the sound guys on stage told me that the DI was top notch.


UTILIZATION

Active / passive selection asset / liability is automatic depending on the level of the input signal. This is stupid, but when I go on a low modern sound (with preamp) to its "woody" in passive it gives me a new sound without changing the volume level.
My Fender amp when I wanted to use his passive, I had to unplug and plug me into another jack.

Use the knobs: the level of each knob is represented by a number of LED illuminated (or not) around the knob. It is great to see the black and is very practical. It avoids motorized knobs to return to a preset stored, and it is still great because the motors, it fails.

Tuner: it is super accurate and completely usable. It recognizes sharps, lower scores than the E major. In addition, it continuously displays the note played, which allows me Bossant home to learn more about the parts of the handle which I do not come often. Finally, on stage with the projos, tuning may vary slightly and is sometimes necessary to retune. Instead of giving me both pieces as scratch in case, I know that I am always OK and it removes stress. TC makes life easier bassist.

The EQ is devilishly subtle at first and then can take far in the cut or boost. With a setting of low / med low / med high / treble sound palette is enormous. If we add that for each band can move the frequency on which the correction is centered (all bands are parametric), his palette becomes insane. There are ways to mix brushes when you know you can use for serious a higher frequency than the low mids. The use of parametric is the only time I read the manual. At worst, it puts everything flat and it rolls. No panic because the amp sounds very flat (fairly neutral) and it is very easy to find a old school with his medium, modern with big bass or below (thanks to severe parametric). Once we use the saturation adjustment separate high and low medium provides the grain you want. In summary, full of possibilities, rather easy to start with a way to make things complicated later. It allowed me to learn at my own pace how to sculpt sounds, and especially how to change my super her solo adapt to a sound or a local group. Again TC bassist life easier.

Multiband compressor: downright effective when properly adjusted. We can make the sound of the left little finger tapping as a big attack on the right hand. More importantly, it does not acute back from the grave (contribution of multiband). If abused, the sound turns more and we finally hear the compressor work, but never pumped frankly.

The Tubetone: it is an emulation of a TC preamp + power amp lamp. I have never owned all tube amp to compare but the effect is nice. I'm more like a distortion board. The top 20% warmer sound, then we obtain a distortion to finally go to a DO. Depending on how the knobs are gain medium and the EQ, Tubetone will give a very different effect. Overall, I prefer my OD pedal / fuzz for extreme sounds. But the OD on board the Fender Rumble is downright less interesting example (to speak only of what I know.)

Memories are a stroke of genius. It adjusts the gain, EQ, and everything else. We keep a button pressed for 3 sec memory to save the setting and everything is saved except the master. Just a short press on the button to recall preset. It works as a memory unit. The footswitch allows you to switch from one memory to another, and therefore sound to another. One wonders why there are only 3 memories ... We want 30 so this is great!

RCA Input: the only thing not in the cool features is a trifle. When we returned in an input RCA to play over a song, the signal goes through the headset and not in the cab. Personally, I hate to play with headphones so I send my audio to the sound system, and I play with the cab over in the room.

Another important detail for me is that this amp fairly hot and the fan is running so slowly. He is silent. I hate having the breath in a quiet moment or playing Bossant not strong at home.


SOUNDS

Overall fairly neutral flat, BRING multiple possible settings to a color choice possible. Really found the character of the instrument (tested with Warxick, fender precision musicman stingray and sub, stews first prize).

Similarly, considerable power reserves can play without electronics and therefore sound quite "HiFi." If you push the master, a character slightly "ampeg" appears I think. Attention, push the master of this stuff needed to be on an outdoor stage or in a local demolition ...

As the amp reproduces faithfully, I began to hear through the sounds it produced different touches of strings. Before I made my amp sound now, I made half with your fingers.
This amp has made me grow a lot.
Q: I'm not an expert, but I think this is the kind of amp that would suit a bass.

I use the amp with a cab RS212 and / or RS210.
I can do various configs and easy to carry because even if I want 4 hp, I can bring in twice (backache compliant!)

OVERALL OPINION

I wanted a light amplifier, capable of being neutral, versatile, reliable and powerful outdoor scenes. I found the gem.

Faithful sound or an entirely controllable. The overall quality impeccable, pleasant to use. In my tests, it outperformed markbass, or ampeg Trace Eliot. I liked the Genz Benz, but I opted for one that offers a lot of services that simplify real life every day and whose sound was more neutral.
You can do anything with a head of this quality.

After over a year of use, I am overwhelmed. I had the budget for the 750, but if your budget is tight, her little brother RH450 is equally fabulous price for a secondhand barrel.
I remake this choice with your eyes closed.