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A female fan of B. But for all its flexibility, the amp's shared three-band EQ is frustrating, leading to a compromise between your two favourite sounds. The effects section is hampered by a lack of control, too: there's only one rotary dial for chorus, flanger and delay, plus a separate effects level knob.
Each of the three effects takes up a third of the rotary, and turning it up within its given region increases the rate. That's fine for the warbly chorus and flanger, but recalling a delay tempo or setting its feedback is near impossible. The effects' sounds are all perfectly usable including the splashy reverb , but the delay is too difficult to dial in for live use. It's more touch-sensitive than most, which makes it well suited to clean and lightly overdriven sounds, although its high-gain tones leave a little to be desired.
But add a few pedals - and a few gigs - and you'll be left singing the unassuming solid-state's praises, whatever your amp background.
Mike is Editor-in-Chief of GuitarWorld. If I change this amp for a while it will be lights, but if I had to take an amp transistors would be the same without hsitation I put in note 9 to the Lead channel rglage. This a German company who designs high quality guitar amps for touring musicians and the average consumer. They guitar amps that range from just a few hundred dollars to several thousand.
The have a flagship amplifier and this is it. The Trimap from Hughes and Kettner. Those two gentlemen have their own signature models but they have used been great artist for this company.
This is the amp that is favored by Tommy Thayer. Tommy is best known for his contribution to the band Kiss but he also helped to form the band Black N Blue in the early 80's. This w…. This was a hair metal ban that was based out of Portland Oregon.
This amp is a modeler of its own. It doesn't model anyone else amps but just a solid state clean and lead. It definitely has the Hughes and Kettener tone by far. It has digital effects as well and it makes this amp a perfect practice amp for some. You have a classic clean channel which is a good clean for a solid state amp. The lead is edgy robust dirty channel that has a lot of gain on tap. This channel has enough gain for just about anyone to you.
You also have a wattage selector on the amp as well. So you can drop the amp from 60 watt down to 30 watts and then cut it in half again down to 15 watts of power. This a great feature to get even more gain at a lower volume level. This is perfect for those who need to get a good tone and don't want to have volumes issues.
This amp works with any guitar you throw at it. The tone is there and it will adapt to what ever guitar situation you put it in. They have since discontinued it so the used market is the only way to go. I have to say I loved how it looked, but I'm not so sure that it isn't a weakness, however good it may look.
The problem is that the increments on the control pots are marked in black, and on a mirrored background this was pretty hard to read, I found. Add to that the reflections and the blue light and, well, let's just say that on a low-lit pub gig, or even worse on a gig with lighting, I think it could be quite difficult to read the settings.
In fact I struggled quite a bit to see the markings in our studio environment. So, while it's a very attractive cosmetic feature, it's possibly not the most practical.
The overall volume of these can be controlled by the amps master volume control. Your sounds are tailored with the three band EQ and channels are switched using either the button housed on the top of the amp, or by a footswitch which is sold separately. The amplifier also offers a digital effects section, which we'll discuss later. Other features include an effects loop, which was surprisingly labelled 'line in' and 'line out'. The amplifier also includes a line in for CD player; not the usual mini stereo jack that is found on most amplifiers that include this feature, but instead stereo phono inputs.
Moving on to the sound, the amp's clean tones were both rich and valve-like, with plenty of clean headroom, meaning the tone didn't break up. Moving onto the lead channel, and again the amp produced very rich warm valve-like sounds ranging from classic Blues crunch to modern saturated heavier tones.
A little extra EQ was required on the top end, but that's not uncommon with transistor amps. Check out the video to hear for yourself.
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