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petite-nuit
Published on 09/19/03 at 10:37
-> Combo All Tube Electric Guitar: preamp (3 12AX7 x) + power amp (2 x EL34). Two channels and two modes per channel.
-> Power 50W (equivalent to about 100W with transistors). This is what it takes to play drums, and enough to play in a small room with no sound.
-> Connectivity well thought out:
- A guitar input
- Making MIDI for the pedals (see below)
- Effects loop with switch-10dB (mix and FX-front)
- Passive direct box with HP integrated simulation with XLR output (this is a RED BOX).
- Output to a second HP
-> A bracket is provided, suitable to the characteristics of the amplifier. An optional MIDI card is inserted into the machine and can use any MIDI board.
-> HP Celestion Rockdriver Pro 12'', 8 Ohms
-> Effective EQ for each channel, adjusting the presence and reverb (spring, and quality!)
UTILIZATION
The 2x2-channel system is original, and asked to think carefully before making his sounds. In short: in a first mode channels are 1-clair/2-saturation, while in the second mode was 1-crunch/2-disto.
It has potentially four levels of saturation. But we can not resolve the separate EQ crunch and its clear, for example ... Unless you use channel 2 for the crunch! This is the value of the double channels, you can really make a wide range of sounds depending on how you use the different sections. Remember that it's a whole lamps, and can afford to push the settings to their limits. The possibilities are enormous, with a little practice.
SOUNDS
The "true's lamps" is this: for electric guitars very present, emulations accuse the difference analog. The dynamics are exceptional low saturation. The sound palette is broad in this regard, Attention! The contrasts between the possible channels can easily give in the worst bad taste.
As against the general tone of the amp, driven Blues / Rock / Metal, are not typed "vintage" or "revival" as a rich emulator presets. The distos are more or less similar to the standard ways in different styles, depending on the settings. The combo is versatile, certainly, but also a bit impersonal, and its qualities, we must look for them yourself, by having its own settings. For me, these are the types of sounds that I find most relevant:
- The BIG BIG SOUND, a little more organic metal, really makes the difference with POD 2 or a transistor amplifier
- The clear sound flattering but accurate, will honor a game and own a quality guitar. Even pushing a little to the crunch, the sound is subtle. One can obtain a small saturation, just for the harmonic richness, without altering the accuracy of the report. Less bright than the Fender, but truly magical in the lower medium. A real treat!
- The CRUNCH pressed, a little dirty but dense, organic, with a bump in the mids: indestructible sound and relevant, which will delight the musicians who work their game thoroughly.
Marshall fans of his, which is found in the same price range of course
go your way: the philosophy of the amp is really quite the opposite.
I must say that I play it for 5 years with Washburn N2, and I tried it with various other guitars, TV, strato ... in different styles. My feeling, really subjective as to which styles should be: Ballades, instrumental rock, modern blues, metal, melodic rock all derivatives that require the versatility.
But it is not appropriate: the reggae, ska, brit pop in, jazz classic, hardcore, folk the "telecaster" or styles that require a key at any cost "vintage."
One final note: its adjustment possibilities make it perfect for shaping the sound of a microphone plugged into an electric folk.
OVERALL OPINION
5 years of happiness, of which one to understand the proper way to use this amp atypical.
When I bought it, I was interested by the sound clear, and I did not want a tube amp. I was using at that time on my N2 ATTAX 80, of the same brand.
After trying for Fender, Marshall, of Peavey, Laney etc.. tube or transistors in the same price range, I chose this one. There was hesitation with Fender, but for humbuckers, this choice seems more appropriate, because of the definition in the low end of the guitar.
... No regrets even today!
Why an All-amp versatile lamps and a bit impersonal, rather than an amp emulator + type? Well it's simple for chips or means a lot of solo guitar, the emulator is not enough. Compared to Amplitube, there is no ambiguity: Tube 50 is more neutral, less versatile, but he respects the subtleties of the guitar without imposing his own personality. Live, where you can push the power amp, the difference is even greater.
However, if the sound of a VOX please, do not buy an amp versatile lamps ...
Basically, I love this amp for the discretion with which he tolerates my mood music. Reliable in the clear and subtle, with a huge dynamic and rough in saturation, with a captivating presence (through lights) when we play hard with the master knob beyond half.
-> Power 50W (equivalent to about 100W with transistors). This is what it takes to play drums, and enough to play in a small room with no sound.
-> Connectivity well thought out:
- A guitar input
- Making MIDI for the pedals (see below)
- Effects loop with switch-10dB (mix and FX-front)
- Passive direct box with HP integrated simulation with XLR output (this is a RED BOX).
- Output to a second HP
-> A bracket is provided, suitable to the characteristics of the amplifier. An optional MIDI card is inserted into the machine and can use any MIDI board.
-> HP Celestion Rockdriver Pro 12'', 8 Ohms
-> Effective EQ for each channel, adjusting the presence and reverb (spring, and quality!)
UTILIZATION
The 2x2-channel system is original, and asked to think carefully before making his sounds. In short: in a first mode channels are 1-clair/2-saturation, while in the second mode was 1-crunch/2-disto.
It has potentially four levels of saturation. But we can not resolve the separate EQ crunch and its clear, for example ... Unless you use channel 2 for the crunch! This is the value of the double channels, you can really make a wide range of sounds depending on how you use the different sections. Remember that it's a whole lamps, and can afford to push the settings to their limits. The possibilities are enormous, with a little practice.
SOUNDS
The "true's lamps" is this: for electric guitars very present, emulations accuse the difference analog. The dynamics are exceptional low saturation. The sound palette is broad in this regard, Attention! The contrasts between the possible channels can easily give in the worst bad taste.
As against the general tone of the amp, driven Blues / Rock / Metal, are not typed "vintage" or "revival" as a rich emulator presets. The distos are more or less similar to the standard ways in different styles, depending on the settings. The combo is versatile, certainly, but also a bit impersonal, and its qualities, we must look for them yourself, by having its own settings. For me, these are the types of sounds that I find most relevant:
- The BIG BIG SOUND, a little more organic metal, really makes the difference with POD 2 or a transistor amplifier
- The clear sound flattering but accurate, will honor a game and own a quality guitar. Even pushing a little to the crunch, the sound is subtle. One can obtain a small saturation, just for the harmonic richness, without altering the accuracy of the report. Less bright than the Fender, but truly magical in the lower medium. A real treat!
- The CRUNCH pressed, a little dirty but dense, organic, with a bump in the mids: indestructible sound and relevant, which will delight the musicians who work their game thoroughly.
Marshall fans of his, which is found in the same price range of course
go your way: the philosophy of the amp is really quite the opposite. I must say that I play it for 5 years with Washburn N2, and I tried it with various other guitars, TV, strato ... in different styles. My feeling, really subjective as to which styles should be: Ballades, instrumental rock, modern blues, metal, melodic rock all derivatives that require the versatility.
But it is not appropriate: the reggae, ska, brit pop in, jazz classic, hardcore, folk the "telecaster" or styles that require a key at any cost "vintage."
One final note: its adjustment possibilities make it perfect for shaping the sound of a microphone plugged into an electric folk.
OVERALL OPINION
5 years of happiness, of which one to understand the proper way to use this amp atypical.
When I bought it, I was interested by the sound clear, and I did not want a tube amp. I was using at that time on my N2 ATTAX 80, of the same brand.
After trying for Fender, Marshall, of Peavey, Laney etc.. tube or transistors in the same price range, I chose this one. There was hesitation with Fender, but for humbuckers, this choice seems more appropriate, because of the definition in the low end of the guitar.
... No regrets even today!
Why an All-amp versatile lamps and a bit impersonal, rather than an amp emulator + type? Well it's simple for chips or means a lot of solo guitar, the emulator is not enough. Compared to Amplitube, there is no ambiguity: Tube 50 is more neutral, less versatile, but he respects the subtleties of the guitar without imposing his own personality. Live, where you can push the power amp, the difference is even greater.
However, if the sound of a VOX please, do not buy an amp versatile lamps ...
Basically, I love this amp for the discretion with which he tolerates my mood music. Reliable in the clear and subtle, with a huge dynamic and rough in saturation, with a captivating presence (through lights) when we play hard with the master knob beyond half.