Mark Twang « Upscale »
Published on 03/12/14 at 09:28Combo 20 watt all-tube.
Electronics: Mounting "handwired". 2 12AX7 (preamp), 2 lamps 6V6 (power), 1 lamp and 1 12AT7 12AX7 (reverb), one 12AX7 (phase inversion) and 1 5AR4 lamp (rectifier). Two channels: Rhythm channel and lead channel. 3 settings per channel. 1 HP 12'' Celestion G12M65 Creamback (made in UK) 8 ohms. HP is connected with a Switchcraft plug must be removed to connect an external cab 4, 8 or 16 ohms.
Effects: reverb tank to lamps with isolated spring with a dimmer switch. Tremolo by modulating the bias of the power tubes with two settings (speed and depth of the effect). Integrated power attenuator, "Iron Man" Tone King model, 5 levels of attenuation.
Footswitch: two push buttons, one for channel change, the other to turn on / off the tremolo. An LED for each footswitch.
Connections: an insert jack for the instrument front panel, insert a jack for footswitch
Finish carpentry solid wood (pine?) Assembled dovetail. Other colors available (red, black, green surf ... mine is turquoise).
Weight: 13 pounds.
UTILIZATION
Simple and obvious configuration but with many possibilities. Manual 14 pages with the intentions of master builder Mark Bartel, founder of Tone King, as well as technical details and examples of settings to start. Anyway, all sounds obtained are excellent, immediately.
SOUNDS
I'm not going to dwell too: the sounds are divine. To give an idea of the clarity and articulation of this amp, it suffices to say that now accompanies Mark Knopfler everywhere.
Fender base is recognizable, with a surplus of definition. In fact, the Rhythm channel delivers sound "Blackface Deluxe Reverb" while the Lead channel is based on a circuit "Tweed Deluxe" boosted. Settings differ from one channel to another: Volume, Bass and Treble on Rhythm, Volume, Tone and Mid-Bite on Lead. The only point that needs clarification is the Mid-Bite exclusive control Tone King who, in addition to the tone, says the presence of the Lead channel and toggles an "American" sound more British Tweed to its . Harmonics fuse and notes sing. A treat. Exemplary carpentry plays an important role in the dissemination of frequencies. I play this amp with a Fender Telecaster and a Gretsch Duo Jet. Both are magnified.
OVERALL OPINION
This amp is my 9th, besides the ones I used on stage and in the recording studio. I place it at the top, with the Suhr Badger 30 in another category. It is beautiful and good, light and consistent, practical and adaptable to all my game situations contemplate every angle is a pleasure as the finish is exemplary. NO background noise or hiss (HP) or buzz (electronic), or hum (transformer). If my ideal amp exist, it would be much like the excellent 20th Anniversary Imperial Handwired.
Default, because we must find no settings to match the volumes of the two channels. This can be difficult to manage on stage. For my part, I was able to match the two without difficulty, but the problem has been subject to Mark Bartel has a device double attenuation on its latest models (Metropolitan and Sky King).
Electronics: Mounting "handwired". 2 12AX7 (preamp), 2 lamps 6V6 (power), 1 lamp and 1 12AT7 12AX7 (reverb), one 12AX7 (phase inversion) and 1 5AR4 lamp (rectifier). Two channels: Rhythm channel and lead channel. 3 settings per channel. 1 HP 12'' Celestion G12M65 Creamback (made in UK) 8 ohms. HP is connected with a Switchcraft plug must be removed to connect an external cab 4, 8 or 16 ohms.
Effects: reverb tank to lamps with isolated spring with a dimmer switch. Tremolo by modulating the bias of the power tubes with two settings (speed and depth of the effect). Integrated power attenuator, "Iron Man" Tone King model, 5 levels of attenuation.
Footswitch: two push buttons, one for channel change, the other to turn on / off the tremolo. An LED for each footswitch.
Connections: an insert jack for the instrument front panel, insert a jack for footswitch
Finish carpentry solid wood (pine?) Assembled dovetail. Other colors available (red, black, green surf ... mine is turquoise).
Weight: 13 pounds.
UTILIZATION
Simple and obvious configuration but with many possibilities. Manual 14 pages with the intentions of master builder Mark Bartel, founder of Tone King, as well as technical details and examples of settings to start. Anyway, all sounds obtained are excellent, immediately.
SOUNDS
I'm not going to dwell too: the sounds are divine. To give an idea of the clarity and articulation of this amp, it suffices to say that now accompanies Mark Knopfler everywhere.
Fender base is recognizable, with a surplus of definition. In fact, the Rhythm channel delivers sound "Blackface Deluxe Reverb" while the Lead channel is based on a circuit "Tweed Deluxe" boosted. Settings differ from one channel to another: Volume, Bass and Treble on Rhythm, Volume, Tone and Mid-Bite on Lead. The only point that needs clarification is the Mid-Bite exclusive control Tone King who, in addition to the tone, says the presence of the Lead channel and toggles an "American" sound more British Tweed to its . Harmonics fuse and notes sing. A treat. Exemplary carpentry plays an important role in the dissemination of frequencies. I play this amp with a Fender Telecaster and a Gretsch Duo Jet. Both are magnified.
OVERALL OPINION
This amp is my 9th, besides the ones I used on stage and in the recording studio. I place it at the top, with the Suhr Badger 30 in another category. It is beautiful and good, light and consistent, practical and adaptable to all my game situations contemplate every angle is a pleasure as the finish is exemplary. NO background noise or hiss (HP) or buzz (electronic), or hum (transformer). If my ideal amp exist, it would be much like the excellent 20th Anniversary Imperial Handwired.
Default, because we must find no settings to match the volumes of the two channels. This can be difficult to manage on stage. For my part, I was able to match the two without difficulty, but the problem has been subject to Mark Bartel has a device double attenuation on its latest models (Metropolitan and Sky King).