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syl2412 « Versatile and handy for the stage »
Published on 02/25/11 at 08:12- Combo-tube preamp with 12AX 2x 50w, 2x EL34 power. - 4 channels (clean, crunch, lead, ultra) - EQ treble, mid, bass, presence - multi-effect section, three independent effects: reverb, delay and modulation (chorus, flanger or tremolo) - noon bulit in, 128 presets (64 factory presets) - BB 4 presets, bank up, bank down, tap tempo - TSC = tube safety control system (allowing for optimal adjustment between the lamps at any time without intervention of a technician) - effects loop series or parallel - HP 12 Eminence Rockdriver 60 - + / - 23kg It has everything you need and more.
UTILIZATION
The config is simple and the manual clear they're going very fast. The 50 watts are present, this combo is very powerful. almost too powerful to play in bars. I've never needed to mount the master beyond 3 - 3.5 (10). It is difficult to play very low volume because like many amps, the sound comes rather suddenly at the start of the race with a master volume pot up more "soft" for the rest of the race of the volume pot. There are 64 factory presets are not bad, we can find a good sound quickly enough alone based on the sounds that already exist. But there are ways to spend a lot of time to sculpt the sound you love. It is possible to store through the south channel, volume, EQ, gain, reverb, delay and modulation for each different preset. Only the master volume is obviously not memorable. Manipulation of memory are very simple. The 128 presets (4 x 32 banks) are a real plus for this amp, especially live. They can record a variety of settings. Besides the additional MIDI capability when using a MIDI pedal to control the amp more external effects. The twelve o'clock péalier provided includes 4 buttons to recall the presets (A, B, C, D), 2 buttons bank up and down a button and tap / tempo. interesting that a small demo is worth a thousand words: part 1: part 2
SOUNDS
The sounds are pretty good. This is not a vintage amp, but rather modern. They, however, is very versatile. The clean channel provides crystal clear sound, EQ is effective. A touch of reverb and chorus can be very nice. The crunch channel is the one I use most, it goes from light bluesy crunch with good saturation in AC / DC. Effective. I really like. It should be noted that the crunch channel, lead and ultra, when you push the gain to bottom, the boost is engaged, providing an additional gain. Not bad for a solo setting. The channel should lead to a good OD rock / hard rock. The Ultra channel has lots of gain. It is very effective for the solos. We can also play good hard rock or heavy metal. The lead channel and the channel even more ultra generate a lot of breath. No miracle lamps with outbreaks in the preamp ... This is not disturbing during the game, it is more when it stops playing. I found the solution by making a noise gate in the effects loop set in series. The breath is very attenuated. The multi-effect is simple but well made. Only the delay is very good has 3 adjustment knobs (one for the others). We might have preferred more opportunities for modulation but we'll say it enough. It was not the best clean, it did not crunch the best, or even the best disto, but he knows everything and rather well.
OVERALL OPINION
I use this combo for almost a year now. I tried various amp before buying it. - Marshall JVM 205: cleans good, very good distos, but I could not find good crunch despite 4 Channel - Orange AD30: very cool, very rock, but not versatile at all - Vox AC30: very good too but as the Orange lack of versatility - Fender Supersonic 22: nice, nice cleans, nice crunch, but lacks fishing disto - Mesa Boogie 5:50: very nice clean, very nice crunch, good rock distos well (not for metal ) I have long hesitated with the Mesa but finally I chose the Switchblade because it is super convenient and very versatile live. After about a year of use, lots of rehearsals and a week's concerts, I am always fully satisfied. I paid 1300 euros new and he is widely given its versatility, multi-purpose and steering noon. The TSC is also a plus when changing lamps (no need for a technician to adjust the bias). NB: For me, 8 is an excellent rating. A 10 should be attributed only to hardware exceptions.
UTILIZATION
The config is simple and the manual clear they're going very fast. The 50 watts are present, this combo is very powerful. almost too powerful to play in bars. I've never needed to mount the master beyond 3 - 3.5 (10). It is difficult to play very low volume because like many amps, the sound comes rather suddenly at the start of the race with a master volume pot up more "soft" for the rest of the race of the volume pot. There are 64 factory presets are not bad, we can find a good sound quickly enough alone based on the sounds that already exist. But there are ways to spend a lot of time to sculpt the sound you love. It is possible to store through the south channel, volume, EQ, gain, reverb, delay and modulation for each different preset. Only the master volume is obviously not memorable. Manipulation of memory are very simple. The 128 presets (4 x 32 banks) are a real plus for this amp, especially live. They can record a variety of settings. Besides the additional MIDI capability when using a MIDI pedal to control the amp more external effects. The twelve o'clock péalier provided includes 4 buttons to recall the presets (A, B, C, D), 2 buttons bank up and down a button and tap / tempo. interesting that a small demo is worth a thousand words: part 1: part 2
SOUNDS
The sounds are pretty good. This is not a vintage amp, but rather modern. They, however, is very versatile. The clean channel provides crystal clear sound, EQ is effective. A touch of reverb and chorus can be very nice. The crunch channel is the one I use most, it goes from light bluesy crunch with good saturation in AC / DC. Effective. I really like. It should be noted that the crunch channel, lead and ultra, when you push the gain to bottom, the boost is engaged, providing an additional gain. Not bad for a solo setting. The channel should lead to a good OD rock / hard rock. The Ultra channel has lots of gain. It is very effective for the solos. We can also play good hard rock or heavy metal. The lead channel and the channel even more ultra generate a lot of breath. No miracle lamps with outbreaks in the preamp ... This is not disturbing during the game, it is more when it stops playing. I found the solution by making a noise gate in the effects loop set in series. The breath is very attenuated. The multi-effect is simple but well made. Only the delay is very good has 3 adjustment knobs (one for the others). We might have preferred more opportunities for modulation but we'll say it enough. It was not the best clean, it did not crunch the best, or even the best disto, but he knows everything and rather well.
OVERALL OPINION
I use this combo for almost a year now. I tried various amp before buying it. - Marshall JVM 205: cleans good, very good distos, but I could not find good crunch despite 4 Channel - Orange AD30: very cool, very rock, but not versatile at all - Vox AC30: very good too but as the Orange lack of versatility - Fender Supersonic 22: nice, nice cleans, nice crunch, but lacks fishing disto - Mesa Boogie 5:50: very nice clean, very nice crunch, good rock distos well (not for metal ) I have long hesitated with the Mesa but finally I chose the Switchblade because it is super convenient and very versatile live. After about a year of use, lots of rehearsals and a week's concerts, I am always fully satisfied. I paid 1300 euros new and he is widely given its versatility, multi-purpose and steering noon. The TSC is also a plus when changing lamps (no need for a technician to adjust the bias). NB: For me, 8 is an excellent rating. A 10 should be attributed only to hardware exceptions.