View other reviews for this product:
BigB « A future collector? »
Published on 04/10/14 at 11:58- Amp lamps (2x6V6 push-pull power - cathode-biased - 1x12AX7 preamp and 1x12AX7 in inverting) recovery diode
- Switchable power 7W (triode mode) / 15W (pentode mode)
- Single Channel
- Gain settings / EQ 3-band Baxandall / volume / reverb
- Spring reverb and effects loop
- Speaker outputs: 1 x 16 ohm, 2 x 8 ohm and 2 x 4 ohm
- 15mm plywood cab
- HP 12 inch Celestion 70/80
- Connector for switch reverb / loop (footswtich not supplied)
UTILIZATION
It is therefore a priori a single channel amp not complicated, but Baxandall EQ, quite different from the usual tonestack, takes a bit of time (even a few explanations) for a good grip and make the most of the opportunities of the amp. After it is as simple as possible.
About EQ (very efficient), you need to understand is that:
1. Unlike a standard tonestack, the settings of the three bands affect only slightly on each other (which is a good thing), so up (or down) the mids affect neither low nor acute. In practice it makes the most simple but at first it failed because settings were not the "usual" responses
2. The mids knob is located between the two gain stages of the preamp (the other two bands being after the second floor), which makes it an active adjustements (it is also done as a gain knob but in bands mids only). In fact its operation is as follows: below noon he cut (up to-6dB) in the midbass (around 800Hz), over MIDI it boosts (up to +10 db!) In the medium ( around 2KHz).
In short, the mids knob is the "secret weapon" of the amp, which made for a clean slightly widened (tending towards Fender) a crunch "full mids" Therefore, without affecting other settings. The trick is to use this knob is sought by the crunch or clean.
For the rest nothing to add, this is the standard ... And it sounds good.
SOUNDS
To begin with let us be clear (dare I say): although it beautiful crunch, there was a low gain amp, in the tradition of its big brothers 70s. For the doom / djent / brOOtalz, go your way (well, whatever ... see below), at maximum, without pedal, you get a big crunch 70s typed Stones / old ZZ Top etc. - a very nice crunch to Moreover, both more accurate and tense than a Fender or a Vox but more "full" and less aggressive than the old Marshall - but it does not go beyond, and even why we must push power section beyond what is acceptable in the apartment.
Second point, the clean, too specific and chiseled, is neither that of a Fender or that of a Marshall or a Vox that is the signed Ampeg clean, quite right (but not cold) , again with full but tight and well defined bass and treble pretty chiseled.
In both cases, although this amp has a character of its own, we find no error in the sound of the guitar plugged with his qualities and defects (tested with LP, a Tele, a Strat, a Rick, a Verythin Hofner and Epiphone Wilshire RI). It also has a remarkable dynamic and respond well to both nuances of the game that volume knob.
Where it gets interesting is that this amp takes pedals very well gain, whether clean or dirt on a boost adjustment "crunch" (in which case it flies at a fairly massive overdrive) or saturated fat or more fuzz on clean control, and other effects (delay, etc. trem) which is again very clearly distinguishes the specific color. I have not had the opportunity to test with a pedal type "hi-gain preamp" but views the reactions of the beast I think it would work quite well again or very well.
Reverb (driven by two AOP, like all lamps amp in this price range but no offense to purists "all-tube" on this part of the circuit that does not make such a difference) did there either nothing to do with that of a Fender, no sound "splashy surf", but a very "space" reverb, a bit long for my taste but still very nice.
Perspective power is largely sufficient for group play (repeat / small rooms anyway after we transplanted so no worries) and the headroom is sufficient to have a good clean volume group with good gain and EQ. 7W mode (triode) is, as always, less
The only downside in my opinion, the same HP that once roamed sounds very stiff and a bit harsh crunch. I much prefer the result on a 2x12 (closed) greenbacks in a 4x10 (closed) in GL10-35, or 1x12 open Eminence GB12, short on HP typed greenback which gives it a little more mellow.
Last point: this amp sounds more than fine with the original lamps (passable), but for the few tests I've done seems also react sharply lamps used (the virtues of simplicity ...) that either preamp or power. I have hitherto never bothered to invest overmuch in the power tubes (JJ generally making my happiness - and also giving very good results here), but this time I am considering a small investment .
OVERALL OPINION
To my delight (well one of my wallet), which however had Ampeg arguments materials guitar amp (you do not know maybe but you've heard on a package of classic 70s rock) has miserably failed its communication on the line amp, which fell below the radar despite all the obvious qualities (whether sound or obviously serious construction). Originally released at about € 600 - and it was worth it - the last examplaires before the end of the production went to just over € 300, which is totally ridiculous.
I use this amp for almost a year, I tested again and in concert with a group oriented 70s hard / stoner and a bunch of covers of rock and soul, and in any case I don ' I had nothing but compliments (other musicians, sound engineers and the public). It's been almost 35 years since I played that left me no time to test a lot of amps, and this little combo is a perfect addition to my A-Wai Custom "Blackbetty" (hand-sewn and custom point to point - yes you can do hi-gain point to point - by the excellent Arnaud Ferraris). For me in its class - simple, portable, versatile but with a strong character, and banking with happiness all gain pedals that I could put him in the face - this amp is close to perfection.
In terms of robustness it is still a bit early to judge, but the construction seems very serious (even that the cab which for once is not agglomerate but plywood, and it shows) and yet mine shows no sign of weakness or dysfunction (I wish I could say the same blues Jr or Classic 30 I cotoyé).
- Switchable power 7W (triode mode) / 15W (pentode mode)
- Single Channel
- Gain settings / EQ 3-band Baxandall / volume / reverb
- Spring reverb and effects loop
- Speaker outputs: 1 x 16 ohm, 2 x 8 ohm and 2 x 4 ohm
- 15mm plywood cab
- HP 12 inch Celestion 70/80
- Connector for switch reverb / loop (footswtich not supplied)
UTILIZATION
It is therefore a priori a single channel amp not complicated, but Baxandall EQ, quite different from the usual tonestack, takes a bit of time (even a few explanations) for a good grip and make the most of the opportunities of the amp. After it is as simple as possible.
About EQ (very efficient), you need to understand is that:
1. Unlike a standard tonestack, the settings of the three bands affect only slightly on each other (which is a good thing), so up (or down) the mids affect neither low nor acute. In practice it makes the most simple but at first it failed because settings were not the "usual" responses
2. The mids knob is located between the two gain stages of the preamp (the other two bands being after the second floor), which makes it an active adjustements (it is also done as a gain knob but in bands mids only). In fact its operation is as follows: below noon he cut (up to-6dB) in the midbass (around 800Hz), over MIDI it boosts (up to +10 db!) In the medium ( around 2KHz).
In short, the mids knob is the "secret weapon" of the amp, which made for a clean slightly widened (tending towards Fender) a crunch "full mids" Therefore, without affecting other settings. The trick is to use this knob is sought by the crunch or clean.
For the rest nothing to add, this is the standard ... And it sounds good.
SOUNDS
To begin with let us be clear (dare I say): although it beautiful crunch, there was a low gain amp, in the tradition of its big brothers 70s. For the doom / djent / brOOtalz, go your way (well, whatever ... see below), at maximum, without pedal, you get a big crunch 70s typed Stones / old ZZ Top etc. - a very nice crunch to Moreover, both more accurate and tense than a Fender or a Vox but more "full" and less aggressive than the old Marshall - but it does not go beyond, and even why we must push power section beyond what is acceptable in the apartment.
Second point, the clean, too specific and chiseled, is neither that of a Fender or that of a Marshall or a Vox that is the signed Ampeg clean, quite right (but not cold) , again with full but tight and well defined bass and treble pretty chiseled.
In both cases, although this amp has a character of its own, we find no error in the sound of the guitar plugged with his qualities and defects (tested with LP, a Tele, a Strat, a Rick, a Verythin Hofner and Epiphone Wilshire RI). It also has a remarkable dynamic and respond well to both nuances of the game that volume knob.
Where it gets interesting is that this amp takes pedals very well gain, whether clean or dirt on a boost adjustment "crunch" (in which case it flies at a fairly massive overdrive) or saturated fat or more fuzz on clean control, and other effects (delay, etc. trem) which is again very clearly distinguishes the specific color. I have not had the opportunity to test with a pedal type "hi-gain preamp" but views the reactions of the beast I think it would work quite well again or very well.
Reverb (driven by two AOP, like all lamps amp in this price range but no offense to purists "all-tube" on this part of the circuit that does not make such a difference) did there either nothing to do with that of a Fender, no sound "splashy surf", but a very "space" reverb, a bit long for my taste but still very nice.
Perspective power is largely sufficient for group play (repeat / small rooms anyway after we transplanted so no worries) and the headroom is sufficient to have a good clean volume group with good gain and EQ. 7W mode (triode) is, as always, less
The only downside in my opinion, the same HP that once roamed sounds very stiff and a bit harsh crunch. I much prefer the result on a 2x12 (closed) greenbacks in a 4x10 (closed) in GL10-35, or 1x12 open Eminence GB12, short on HP typed greenback which gives it a little more mellow.
Last point: this amp sounds more than fine with the original lamps (passable), but for the few tests I've done seems also react sharply lamps used (the virtues of simplicity ...) that either preamp or power. I have hitherto never bothered to invest overmuch in the power tubes (JJ generally making my happiness - and also giving very good results here), but this time I am considering a small investment .
OVERALL OPINION
To my delight (well one of my wallet), which however had Ampeg arguments materials guitar amp (you do not know maybe but you've heard on a package of classic 70s rock) has miserably failed its communication on the line amp, which fell below the radar despite all the obvious qualities (whether sound or obviously serious construction). Originally released at about € 600 - and it was worth it - the last examplaires before the end of the production went to just over € 300, which is totally ridiculous.
I use this amp for almost a year, I tested again and in concert with a group oriented 70s hard / stoner and a bunch of covers of rock and soul, and in any case I don ' I had nothing but compliments (other musicians, sound engineers and the public). It's been almost 35 years since I played that left me no time to test a lot of amps, and this little combo is a perfect addition to my A-Wai Custom "Blackbetty" (hand-sewn and custom point to point - yes you can do hi-gain point to point - by the excellent Arnaud Ferraris). For me in its class - simple, portable, versatile but with a strong character, and banking with happiness all gain pedals that I could put him in the face - this amp is close to perfection.
In terms of robustness it is still a bit early to judge, but the construction seems very serious (even that the cab which for once is not agglomerate but plywood, and it shows) and yet mine shows no sign of weakness or dysfunction (I wish I could say the same blues Jr or Classic 30 I cotoyé).