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Le Taz
Published on 05/06/11 at 22:45
Contrary to what is written on the site Fender (type I cut the branch on which I sit), it is indeed an amp lamps: 2 12AX7 and two 6L6 (which are actually 5881). So indeed, there is indeed a package of transistor-level built-in effects (delay, tremolo, reverb?). And doubtless they also act on the drive. This is when the purists choke.
Me like-called purists, I often wear a TS9 or other pedal to Roar for the drive, pedal to the transistor. So there are transistors, from the moment we have a little grain and dynamics, I do not care royally. The 40w are advertised there, very hairy, especially in his clear, moreover (it is Fender, nothing new!). The result is that finally reaches a saturation have not draft high gain.
In any case, an equation for each separate channel, and it's fun!
UTILIZATION
Initially, galley a bit for the effects settings and then it becomes instinctive. More disconcerting, at first, the interactions of the equation on the same grain of the overdrive. You change the type of overdrive depending on your settings equa, which suggests a beautiful palette. One can even venture to produce drives consistent in tones that would not refuse Van Halen, although this is rarely why you buy a Fender.
SOUNDS
The clean sound is thicker, less brilliant than that of a hot rod, plus a twin spirit. At first, it seems less flattering, but it makes it much easier to squeeze in mix, and gives him the advantage with overdrive pedals.
In any case, this type of sound I expect from a Fender Hot Rod not the sound.
The drive ... large capacity gain. Typed a little brown sound, not ideal for the noisy pop-rock, but it does in rock, blues, hard (not metal) and country. With my musicman: it sounds bold, with a good supply of bass. We're in a spirit Ted Nugent / Creedance, depending on the setting of gain. It is the only Fender (with twin amps) that really cash in my musicman drive, with the definition (even if the grain is smoothed with doubles. Enthusiasts Santana and Gary Moore ...). With the Baja Tele ... Well it looks like they're made for each other is amazing! I can take my Tele in registers of very high gain (in a style blues / rock), the twang is there, but not treble assault that would have involved lead with a marshall with the same guitar.
OVERALL OPINION
I use it for 6 months, and I took him in concert regularly. Like any Fender amp, it highlights the guitars of the same brand, but also allows me to plug guitars far more guts, which was possible only with the Evil Twin (Twin Amp 2 channels). It is fine for a record ranging from blues to heavy rock or even country. I did not think I use the effects at first, then finally, they are very nice.
The accusation that I will respect the HP does not seem to live up even if it does its job. But side benefit, there was an amp lightweight compared to other brand.
This is certainly not the amp of the century, but it's probably the only Fender that will stay in my arsenal. I also play on a stack JCM 800 2210, 1983, a Peavey Classic 50 head and tried quite a few bugs, the same brands and others (engl, brunetti, Rivera). So this amp is not the most subtle, the richest, best suited to the studio. on the other hand, to the bar and club, it ensures it right by being able to go into a lot of records sound (though it remains rock, blues) and whatever the guitar. I take it that he live for 6 months anyway (and I have emerged from the 800 only once, and with the Fender VM and more).
Extracted with a rise in Baja Tele Kinman Broadcaster and a TS9 in boost:
Me like-called purists, I often wear a TS9 or other pedal to Roar for the drive, pedal to the transistor. So there are transistors, from the moment we have a little grain and dynamics, I do not care royally. The 40w are advertised there, very hairy, especially in his clear, moreover (it is Fender, nothing new!). The result is that finally reaches a saturation have not draft high gain.
In any case, an equation for each separate channel, and it's fun!
UTILIZATION
Initially, galley a bit for the effects settings and then it becomes instinctive. More disconcerting, at first, the interactions of the equation on the same grain of the overdrive. You change the type of overdrive depending on your settings equa, which suggests a beautiful palette. One can even venture to produce drives consistent in tones that would not refuse Van Halen, although this is rarely why you buy a Fender.
SOUNDS
The clean sound is thicker, less brilliant than that of a hot rod, plus a twin spirit. At first, it seems less flattering, but it makes it much easier to squeeze in mix, and gives him the advantage with overdrive pedals.
In any case, this type of sound I expect from a Fender Hot Rod not the sound.
The drive ... large capacity gain. Typed a little brown sound, not ideal for the noisy pop-rock, but it does in rock, blues, hard (not metal) and country. With my musicman: it sounds bold, with a good supply of bass. We're in a spirit Ted Nugent / Creedance, depending on the setting of gain. It is the only Fender (with twin amps) that really cash in my musicman drive, with the definition (even if the grain is smoothed with doubles. Enthusiasts Santana and Gary Moore ...). With the Baja Tele ... Well it looks like they're made for each other is amazing! I can take my Tele in registers of very high gain (in a style blues / rock), the twang is there, but not treble assault that would have involved lead with a marshall with the same guitar.
OVERALL OPINION
I use it for 6 months, and I took him in concert regularly. Like any Fender amp, it highlights the guitars of the same brand, but also allows me to plug guitars far more guts, which was possible only with the Evil Twin (Twin Amp 2 channels). It is fine for a record ranging from blues to heavy rock or even country. I did not think I use the effects at first, then finally, they are very nice.
The accusation that I will respect the HP does not seem to live up even if it does its job. But side benefit, there was an amp lightweight compared to other brand.
This is certainly not the amp of the century, but it's probably the only Fender that will stay in my arsenal. I also play on a stack JCM 800 2210, 1983, a Peavey Classic 50 head and tried quite a few bugs, the same brands and others (engl, brunetti, Rivera). So this amp is not the most subtle, the richest, best suited to the studio. on the other hand, to the bar and club, it ensures it right by being able to go into a lot of records sound (though it remains rock, blues) and whatever the guitar. I take it that he live for 6 months anyway (and I have emerged from the 800 only once, and with the Fender VM and more).
Extracted with a rise in Baja Tele Kinman Broadcaster and a TS9 in boost: