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kikaldo « Versatility, big sound: perfect »
Published on 09/26/12 at 05:39Transistor; 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.
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.