Combo full transistor, tration must modliser a Fender Tweed, a Marshall JCM45 and a Mesa / Boogie Rectifier.
It dlivre 120w rms into 4 ohm and dbouche Tech21 on a pair of 12 "(built in colaboration with Eminence). Gnrations The most modern of the two combo reoivent Gammell home Celestion (seventy eighty ).
3 channels Fully adjustable and freely with the traditional 3-band eq, a contour, a gain, a channel volume. Then there is a master section with its potentiomtre volume of the boost, and that of rverbe.
Channels. and boost the rverbe are freely (deselect by footswitch.
there are still two 8ohms the rear outputs to connect a cab (Please note, the combo hp intersect in this case) an effects loop and headphone jack.
Construction is meticulous and a good impression of solidity around the craft. Mrs footswitch seems solid (Mtal). All slecteurs tone are active.
 Good perfs on paper in the peak transistor combo CATEGORY!
The setup is logical, but use the sounds and get the best performance is complex. Indeed, big surprise, the potentiomtres have a strong interaction between them and passes an important time Qualibre the craft.
Note that a sympathetic support that is on the trademark 30 combo is here not Submitted. The slecteurs fashion (clean / crunch / overdrive) and tonal speaker (British / American / neutral) taient srieux strengths of its small ERRF. Here we do without them. So, to get clean, do not Exceeds a certain level of gain, forcing the monster push the volume up if you want to be able to agree on a non scne transplanted. And soon as you pass by FAP disto! EXPLOSION! Even with a tidal volume pquerettes the canal. In addition, if you get too much volume for each channel, you may experience sound stick. It takes a little to get mount the volumes of wealth in the signal.
Otherwise the wealth of modes and configs is fun.
 My rating goes everywhere. Compltement accommodating but not think. The problem of cleans is not underestimated because the level diffrence offer a break header.
I use it mainly in his clear, APRS have tried everything I could try to take this craft distortion. I use for the distortion, the trademark 30, more natural, more angry and chemical moin.
Here, depending on if you miss the good rglage, it quickly falls into his old transistor of sries G. Randall. For a natural sound, it is floor. But it was always this transistorienne acidity that sticks in the ass. The boost is INTERESTED in solo and we note that the more you push on the membranes, the more they dlivrent good sounds in the bass.
As stated above, I mainly use this combo for my solos, to get the sound transo oldschool, or for my cleans, so they break into the mix when I combine the device with my 30.
The clean sound, once rgl is Hallu total. Transistors are very special, and for my ear, INTERESTED in this exercise.
 When we had the 300 on the hands is a bit frustrating. One wonders how such sound can be diverged. I will in a short time to experiment with different cabs. So if I see changes in HP give about the results radically DIFFERENT (this is the case with the 300 and 30).
I use it for about two months, but still I had few opportunities to play. I'll catch up in January during a vacation.
What I like is the concept, several amps in one combo of quality.
I just tried everything before you buy Tech21 amps, but I always found things wrong. I then came across a trademark 30 compltement bluff me and I wanted a scale robtenir this sound more powerful without investing in a trademark 300, often too onreuse for the scne . It is clear that I gourr.
The clean back is the real weak point of this thing that if s'avre Designed reliable and well.
The manual gives a small disaine of presets ranging from SRV to Metallica via Queen, and the sounds are really good, full bodied and lots of heat. To go further, the channel equalization is dynamic, very effective and should go easy on the knobs, but it can be objectively "sculpt" a staff of high quality, especially playing on the drive and voicings, but we must spend time on it. One can also get such a great sound with clear voicing Calif. and a low drive in the spirit of an old Bassman, which does not seem obvious at first.
I love the variety of sounds it produces. It can go from crystal clear high gloss to a smooth and very musical overdrive sounds hoarse until a correct.
For my part, I play mainly blues / jazz instrumental electro. For this type of music the Trademark is interesting because it provides a nice range of sounds. In a chorus, I can spend a very clear phrasing in the aerated saturated drooling, and the amp captures all the nuances of the pick attack.
What I like best in the TM, it is of course its very good sound and all the little details that make it a very well designed amp: The stereo headphone output, DI output with the SansAmp, simple footswitch jack, the 3 independent channels, the stereo in a combo format, and the cabinet of very good quality.
Edit of 08/09/2010
I finally replaced the HP by Vintage 30. The amp has increased tremendously in the presence, in both clear that saturated. The sound is much more massive. The bass became a little more slobbery never become messy. A high volume, treble is very "singing", despite what I have read on the garish side of the V30. I also fear the big bump in the mids, but in fact you may very well fix that with the active EQ combo. Anyway, the good reputation of the V30 is not misused, it's really a very good HP.