View other reviews for this product:
Le Taz « Color vintage, modern use. »
Published on 06/03/13 at 02:58There are a lot of opinions here, and I myself have left about the head version and the Classic 30. I will try to highlight the significant differences between these models, for those who know one or the other (ie by reference) or those who hesitate. But I must say I am very customer of this amplifier range. I said that the models 50/212, whether current or 90s, have changed very little, we really talking about the same amp, and the same sound. My own model of the 90s, with black hp, not the current blue marvel.
50w amp, 4xEL84, two switchable channels, and equa common reverb, presence, a clean volume, volume and channel two gain and master volume. Effects loop, impedance selector (4/8/16). On some amps, one equa per channel is needed, but here we have a true balance between the two channels, and music always clear channel, regardless of the setting. on the other hand, reverb assigned channel would be easier, but we do not blame her own fault that a large amount of two-channel amp.
I found the head heavy enough (even for a head), and the combo is no exception to the rule. The new models, a little narrower, should alleviate some of the 27kg beast. That said, it is a guarantee of stability and lower noise loss for an amp of this category (2x12 and 50w).
The differences with the classic 30 will therefore double hp, master volume, presence and stand-by. Note that the new Classic 30 (2013) now has a stand-by.
For me it is complete. I think the settings they could have been more would be detrimental sound (technically speaking).
UTILIZATION
Amp extremely simple, Plug & Play! The equa affects the sound with musicality, while remaining very intuitive. The amp is fairly medium in its sound, the same sound extreme settings. Equalized at noon, we already have a very nice sound.
The master does his office, even if you can not make the clean channel cruncher. Pushing the clean thoroughly and assaying the master not to be sprayed on the spot, one approaches the density can reach a classic 30 well adjusted, but can also be much more crystalline. The clean channel seems less shimmery C50 (less natural compression?) Than the C30 rounder, medium. But it allows him to be a true platform pedal distortion / overdrive / fuzz, remaining always accurate where the C30 colors too some high volumes.
So I put only 8/10. All this is easy to use, but access to the interface of HP, the footswitch and effects loop, it is anything. No doubt there is a good technical reason for this (I hope), but pluguer, vertically under the chassis of the amp ... It's really painful. You either switch the 27kg combo to identify the send and return, or crouch, see lie! Anyway, soon you'll stick a sticker on each side to indicate which is which plug jack, connecting all groping ... No glop!
SOUNDS
Start with the satellite channel. Typed vintage, it is hot and creamy, rocky as volume controls, presence, and of course, the guitar you use. It is not very versatile, but said in a universe from blues to rock, or even heavy rock (stoner). His most is to bring a different sound this kind of music (other than Fender, Marshall, Vox or Mesa) while placing immediately in "sound cannons." Hot, bold, incisive, it provides for fat riffs and aggressive solos, always with a phenomenal presence in the mix.
Compared to C30, we have a little more drive in the elbow (off boost mode) and master volume helping a medium bump somewhat less pronounced. This is a vintage hair less, but less fuzzy or rough, with more definition, bass. He collects suddenly much better "couillues" guitars mounted double coils. In contrast, the single coils lose very good compression on a C30. It's a bit (all things considered) as a Vox switch to a Fender. Finally this is an exaggerated picture, because it is much more subtle, and based on equivalent volumes of play in pushing the C50 a bit more than it should, we must find these sensations.
Where it hurts, it is clear the "2 in 1". Whatever the setting, whatever the output level of your guitar, the sound is clean, warm and balanced. What type of a good clean blues, see Gilmour solo with a tad of reverb or delay. I plugged in a lot of guitars in it, it still sounds hot, and there is not eaten by the personality of the receiver, as in most Fender. And this quality brings another advantage, much more difficult to get a Vox or Fender: it accepts and glorifies absolutely all distortion pedals and overdrive you submit it, and I tried some ! The drive is "clean", it will drool if you want (not like Fender). So you win the heat of the channel in addition to the color of your purpose, without any significant stress (low imprecise screaming acute or deaf).
So, with the neo-vintage drive channel with the clean channel, and one or more pedals Overd to complete your sound palette, you have a super versatile amp, but with a genuine warmth and a real character . Only the clean channel "flat" a Marshall 6100 or JSX head can do better in this case, but do not sound as good "nature." For me, the ideal clean channel with that of HIWATT, that tickles the ear plug ', but makes it sound any distortion pedal. This is rare!
OVERALL OPINION
I had a lot of amps (Brunetti, The Valve, Rivera, Fender, Marshall, Engl, Peavey, and almost all of this series), my main amp is a Marshall JCM800 2210.
The classic series 50 is in the line of this series, in the same spirit of sound, with the advantage due to some settings (master, presence) and its power to manage even better drive. The classic 50 runs better than the classic 30 bass, offering simply more, including live volume. If you prefer to have only one amp to do everything, even some pedal board drive, remaining "credible" in the universe as picky as blues, for example, this amp is a reference (just see commercial success).
So no, I never fell in love with this series for these amps. The classic series is still back in my legs at one time or another: classic 30 (3 in total!), Delta blues 15 inches, 2 heads classic 50. This series meets the great success thanks to the alliance of the vintage, and the possibility of versatility with a clean channel that does not invade the distortion pedals. Was not the ultimate amp, fighter aircraft at 30,000 euros. But it was a well-made tool, well thought out, which, with two or three pedals in addition, allows the musician to have the versatility without losing credibility.
No, Classic do not dream and have never wanted me. But I always came back to them in a rational manner. I have a classic 30 ultra convenient. I do not like the lead sound, but it poses alone in a mix, without blushing, and obeys the fingers unlike many current machines that sound to you, Blackstar in mind. I chose the combo 50 despite its weight and size, but because it is more versatile than its little brother, 30w, cash and more especially the double-coil, like the Delta Blues elsewhere. I could have a head start, but I play on Cabs in Celestion G12-65, which does not work with everything, and in this case with no model in the series. Having no budget to make me a cab adapted more and finding HP peavey at the time not too bad, even better than some existing dirt (though brand), the combo is imposed by itself.
Conversely, I really disliked the sound a little too flat for Delta Blues 115 (lack of medium compression and dynamic).
The +:
- Sounds good bases plug'n'play
- Good platform for pedals
- The look (tweed Fender) and vintage sounds credible ...
- ... But also suitable for use and a modern game
- Excellent sound distribution
- Quality / price ratio, especially occasion
The -:
- Weight. But you can not have your cake and eat it too, and it is reasonable.
- Location of the rear connector (hp / footswitch / FX loop) really sensitive-c .... on the other hand
- Mirror panel control. It's nice, but not always readable by the position (plus reverse)
In comparison to the Peavey Classic family. It is more versatile than the C30, but loses some of the "nasty" that can be drawn. A bit less vintage, it is more flexible to use distortion, whether the drive channel of the amp or pedals. Like the C30, the C50 has a good dynamic and sacred presence in the mix, but the config '2x12 definitely gives the top in terms of sound diffusion. It will push the C30 to its limits to achieve the same result, and logically, the power section will impact many more drives (amp or pedal) and not necessarily for the better, but to be really 100% vintage.
An amp that will not dream, but a real professional tool, all terrain, reliability and a quality / sounds / awesome price. You do not fall in love, but it will prove a faithful ally.
50w amp, 4xEL84, two switchable channels, and equa common reverb, presence, a clean volume, volume and channel two gain and master volume. Effects loop, impedance selector (4/8/16). On some amps, one equa per channel is needed, but here we have a true balance between the two channels, and music always clear channel, regardless of the setting. on the other hand, reverb assigned channel would be easier, but we do not blame her own fault that a large amount of two-channel amp.
I found the head heavy enough (even for a head), and the combo is no exception to the rule. The new models, a little narrower, should alleviate some of the 27kg beast. That said, it is a guarantee of stability and lower noise loss for an amp of this category (2x12 and 50w).
The differences with the classic 30 will therefore double hp, master volume, presence and stand-by. Note that the new Classic 30 (2013) now has a stand-by.
For me it is complete. I think the settings they could have been more would be detrimental sound (technically speaking).
UTILIZATION
Amp extremely simple, Plug & Play! The equa affects the sound with musicality, while remaining very intuitive. The amp is fairly medium in its sound, the same sound extreme settings. Equalized at noon, we already have a very nice sound.
The master does his office, even if you can not make the clean channel cruncher. Pushing the clean thoroughly and assaying the master not to be sprayed on the spot, one approaches the density can reach a classic 30 well adjusted, but can also be much more crystalline. The clean channel seems less shimmery C50 (less natural compression?) Than the C30 rounder, medium. But it allows him to be a true platform pedal distortion / overdrive / fuzz, remaining always accurate where the C30 colors too some high volumes.
So I put only 8/10. All this is easy to use, but access to the interface of HP, the footswitch and effects loop, it is anything. No doubt there is a good technical reason for this (I hope), but pluguer, vertically under the chassis of the amp ... It's really painful. You either switch the 27kg combo to identify the send and return, or crouch, see lie! Anyway, soon you'll stick a sticker on each side to indicate which is which plug jack, connecting all groping ... No glop!
SOUNDS
Start with the satellite channel. Typed vintage, it is hot and creamy, rocky as volume controls, presence, and of course, the guitar you use. It is not very versatile, but said in a universe from blues to rock, or even heavy rock (stoner). His most is to bring a different sound this kind of music (other than Fender, Marshall, Vox or Mesa) while placing immediately in "sound cannons." Hot, bold, incisive, it provides for fat riffs and aggressive solos, always with a phenomenal presence in the mix.
Compared to C30, we have a little more drive in the elbow (off boost mode) and master volume helping a medium bump somewhat less pronounced. This is a vintage hair less, but less fuzzy or rough, with more definition, bass. He collects suddenly much better "couillues" guitars mounted double coils. In contrast, the single coils lose very good compression on a C30. It's a bit (all things considered) as a Vox switch to a Fender. Finally this is an exaggerated picture, because it is much more subtle, and based on equivalent volumes of play in pushing the C50 a bit more than it should, we must find these sensations.
Where it hurts, it is clear the "2 in 1". Whatever the setting, whatever the output level of your guitar, the sound is clean, warm and balanced. What type of a good clean blues, see Gilmour solo with a tad of reverb or delay. I plugged in a lot of guitars in it, it still sounds hot, and there is not eaten by the personality of the receiver, as in most Fender. And this quality brings another advantage, much more difficult to get a Vox or Fender: it accepts and glorifies absolutely all distortion pedals and overdrive you submit it, and I tried some ! The drive is "clean", it will drool if you want (not like Fender). So you win the heat of the channel in addition to the color of your purpose, without any significant stress (low imprecise screaming acute or deaf).
So, with the neo-vintage drive channel with the clean channel, and one or more pedals Overd to complete your sound palette, you have a super versatile amp, but with a genuine warmth and a real character . Only the clean channel "flat" a Marshall 6100 or JSX head can do better in this case, but do not sound as good "nature." For me, the ideal clean channel with that of HIWATT, that tickles the ear plug ', but makes it sound any distortion pedal. This is rare!
OVERALL OPINION
I had a lot of amps (Brunetti, The Valve, Rivera, Fender, Marshall, Engl, Peavey, and almost all of this series), my main amp is a Marshall JCM800 2210.
The classic series 50 is in the line of this series, in the same spirit of sound, with the advantage due to some settings (master, presence) and its power to manage even better drive. The classic 50 runs better than the classic 30 bass, offering simply more, including live volume. If you prefer to have only one amp to do everything, even some pedal board drive, remaining "credible" in the universe as picky as blues, for example, this amp is a reference (just see commercial success).
So no, I never fell in love with this series for these amps. The classic series is still back in my legs at one time or another: classic 30 (3 in total!), Delta blues 15 inches, 2 heads classic 50. This series meets the great success thanks to the alliance of the vintage, and the possibility of versatility with a clean channel that does not invade the distortion pedals. Was not the ultimate amp, fighter aircraft at 30,000 euros. But it was a well-made tool, well thought out, which, with two or three pedals in addition, allows the musician to have the versatility without losing credibility.
No, Classic do not dream and have never wanted me. But I always came back to them in a rational manner. I have a classic 30 ultra convenient. I do not like the lead sound, but it poses alone in a mix, without blushing, and obeys the fingers unlike many current machines that sound to you, Blackstar in mind. I chose the combo 50 despite its weight and size, but because it is more versatile than its little brother, 30w, cash and more especially the double-coil, like the Delta Blues elsewhere. I could have a head start, but I play on Cabs in Celestion G12-65, which does not work with everything, and in this case with no model in the series. Having no budget to make me a cab adapted more and finding HP peavey at the time not too bad, even better than some existing dirt (though brand), the combo is imposed by itself.
Conversely, I really disliked the sound a little too flat for Delta Blues 115 (lack of medium compression and dynamic).
The +:
- Sounds good bases plug'n'play
- Good platform for pedals
- The look (tweed Fender) and vintage sounds credible ...
- ... But also suitable for use and a modern game
- Excellent sound distribution
- Quality / price ratio, especially occasion
The -:
- Weight. But you can not have your cake and eat it too, and it is reasonable.
- Location of the rear connector (hp / footswitch / FX loop) really sensitive-c .... on the other hand
- Mirror panel control. It's nice, but not always readable by the position (plus reverse)
In comparison to the Peavey Classic family. It is more versatile than the C30, but loses some of the "nasty" that can be drawn. A bit less vintage, it is more flexible to use distortion, whether the drive channel of the amp or pedals. Like the C30, the C50 has a good dynamic and sacred presence in the mix, but the config '2x12 definitely gives the top in terms of sound diffusion. It will push the C30 to its limits to achieve the same result, and logically, the power section will impact many more drives (amp or pedal) and not necessarily for the better, but to be really 100% vintage.
An amp that will not dream, but a real professional tool, all terrain, reliability and a quality / sounds / awesome price. You do not fall in love, but it will prove a faithful ally.