Hughes kettner. Hughes And Kettner Tubeman Mk1 Manual Arts High School. Electronic Arts DMCS Merck, Alex Test, Macintosh-Software Heft 08/88, Seite: 058. 2016-12-30 Official Tubeman page. Hughes & Kettner Tubeman - Guitar Recording Station Tube preamp with speaker simulation in a compact format. Straight into the Console with Rich Amp Sound The R&D team that created the Hughes & Kettner TriAmp revamped TUBEMAN's tube circuitry to give it even greater expressiveness and responsiveness.
Some guitarists religiously replace the tubes in their amps every two years; others never do so, or not until the amp takes a vow of silence. The two camps don’t exactly see eye to eye, and their preconceptions and differences of opinion are fuel to the flames of debate raging in many forums. We’d like to shed a little light on the topic to banish the darkness from the great tube-swap controversy. So does it pay to regularly swap tubes? Playing guitar at home has never been as convenient, rewarding and motivating as it is today. It’s always been a treat to revel in the sonic glory of bona fide tube-flavored tone.
Now, though, thanks to innovative technology we can do this even at low volumes in the comfort of our cribs. Some modern-day tube amps deliver stunning sound at low wattages. And if they’re equipped with a power soak, a circuit like the TSC to protect tubes, and a, they offer reliability, utility and outright convenience few would have thought possible just a few years ago. This all adds up to countless hours of bliss for guitarists. But the clock is ticking, and sooner or later some will begin to ponder how much life is left in those tubes. So let’s talk about how many operating hours of rocking good fun you can expect to enjoy and when it’s high time to retire your old tubes. Many tube amp owners, unaware of the facts, are overly cautious, guarding the heart of the amp – the power tubes – like a mother hawk watching over her eggs.
Tubes are not as fragile as eggs, but like hatchlings, they do need some tender loving care. A little healthy curiosity goes a long way: It behooves guitarists to learn more about tubes so they can do a better job of looking after them.
As discussed in the, tubes – and those big power tubes especially – are exposed to heavy electrical, mechanical and thermal loads. If you’ve ever touched a working tube with your bare hands, you’ve felt the truth in that. Any component that takes that kind of battering is not going to last forever.
It will have to be replaced eventually. The consensus among connoisseurs of tone is that a creeping deterioration of the amp’s sound sets in as soon as tubes are past their prime. When is eventually?
First let’s debunk some of the myths. There’s no voodoo at work here. Good tubes may get your mojo working, but swapping them when they’re on the brink of zombification – the lights are on, but nobody’s home – won’t mess with your juju.
The facts aren’t easy for some of us to face, but in the sober light of day our beloved tubes are just wearing parts like the brake pads of a car. Most of us don’t cling to those for sentimental reasons; we change them when the sparks start flying. On the other hand, aging tubes are not the tone-sucking demons that some people in many forums make them out to be. The tubes in an amp live shorter lives than semiconductors. That explains all those sockets in the chassis. Guys and gals who earn their living with a soldering iron will tell you that hardwiring tubes into the circuit would be a much better option if technical concerns alone mattered.
Better, yes; feasible, no. Swapping tubes with a hot soldering iron is not the sort of pastime most of us envision for ourselves. But I digress.
You may find it reassuring to learn that there are tubes that do their job without complaint for decades, so most concerns are unfounded. And with a little background information, you’ll know all about the few truly important criteria that prompt a tube change.
The first criterion is a tube’s maximum life expectancy. Even the most mathematically challenged player should be able guesstimate how much of that life has been expended. We’re not talking about the shelf life of a perishable item here. The only thing that matters is how many operating hours it has put in, and not how many years have passed since it what was made. You can expect a conventional amplifier tube to have a service life ranging up to 10,000 hours. Tubes with military specifications are built to last up to 100,000 hours.
How do you know if you’re looking at a military-grade tube? You could say that the type designation made a military maneuver and shifted to the right flank: ECC83 is the designation for the regular civilian tube; E83CC denotes the military version.
On the left is an ECC83 tube, on the right an E83CC, a military version that is made to tighter tolerances and lasts longer Here’s a little arithmetic for the worst-case scenario, or as we musicians call it, gigging life: Two rehearsals a week lasting two hours each + two gigs a month lasting three hours each = 22 hours of operation a month. Let’s round up to 25 hours a month just because we like to play. 12 x 25 = 300. Now we have a rough idea of how many hours a year those tubes get toasty. The 10,000 hours of expected tube life is of course an estimate, but not an unrealistic prospect.
If we divide this life expectancy by 300 hours of service a year, we get a useful life of 33 1/3 years. Now that has to come as a big surprise. And what’s even a bigger surprise is that some tubes whose life isn’t cut off prematurely by some unexpected mishap or malady actually gets the job for that length of time. Even if we take the pessimistic view and say our tubes are only going to hold up for half that time, we’re still talking about fifteen years.
Yes, some tubes fail much earlier than that, but many indeed last that long. That’s a number most of us should be able to live with. The bottom line is that tubes are far more reliable and faithful companions than their reputation would lead us to believe. So while some may practice premature tube replacement as a precautionary measure or to tweak their tone, it’s only a technical necessity when the tube is ailing or failing. This is why it’s not unusual to come across fellow travelers on the road toting amp heads with their original ‘60s and ‘70s tube complement intact and still sounding sweet. What’s more, we’re talking about power tubes here.
Preamp tubes are more compact and don’t have to work as hard, so they tend to last even longer, or seemingly forever if you’ve been waiting for them to go bad so you don’t need any excuses to try a new set. So when does a tube swap become a necessity? The most compelling and immediate criterion for tube replacement is any corruption of the tube’s vacuum simply because the consequences can be dire. This corruption can be slow and insidious as is the case with thermally induced hairline cracks or as abrupt as a burst or broken glass envelope. Both cases are extremely rare and usually occur in tubes that have some previous damage or are subjected to extreme mechanical duress, for example, when your well-meaning buddy drops your amp. You can determine if the vacuum is intact by examining the getter – that’s the metallic-, chrome- or silver-colored layer at the top of the tube – to check if it’s milky or discolored.
If you spot discolorations or see that the entire top of the tube is stained with a milky coating, than air has entered the tube. It is defective and must be replaced. This EL34 tube sucked some air. The vacuum is history; the getter is white and milky, a sure sign that the tube has come to a sad end.
This doesn’t mean it gets buried in the bin with the potato peelings. Defective tubes should be disposed of properly like all other electrical components The second case that would make a tube swap at least worth considering has to do with dirt and residue sealed inside the tube when it was made. They can be time bombs that upend gigs with their nasty surprises.
If you’re lucky, these particles will at some point be burned in place. On a not entirely unrelated note, the does this automatically while tapping the tube, which is why Hughes & Kettner tubes are safe in this regard. If foreign matter is burned in, the tube will be reliable and you will on the safe side.
![Hughes and kettner tubeman mk1 manual arts highlands Hughes and kettner tubeman mk1 manual arts highlands](https://imgredirect.milanuncios.com/fg/2537/21/253721305_6.jpg?VersionId=0qf6_sVb0XRVM1R1Z7nTwJ_.90Ilpt5P)
If not, the worst case is that it will short-circuit and silence the amp. Incidentally, this explains the oddity of all-tube amps failing either very early or not at all. Loose particles in a tube can be a problem for a new amp, but they’re usually burned in place during the first hours of operation. They will no longer be an impairment once they’re fixed in place and the life of the tube will vary only slightly from that of a pristine tube.
Wear, oxidation inside and aging are the logical consequences of operation. They can be detected, but their effects are not nearly as audible as is commonly believed. The degradation is gradual and very slow, so the sonic consequences are going to be difficult if not impossible to discern, at least in the early stages.
So if concerns about the life of a tube have been keeping you awake at night you can rest easy now. They do tend to last longer and operate more reliably than some would have us believe. Defects occur either very early if any residue inside is not burned in, or when they can be expected to occur because the tube is approaching the end of its service life. Problems with the vacuum inside the tube are extremely rare. Swapping tubes before their time is a fruitless exercise unless it’s done to change the amp’s voice.
And if your amplifier is equipped with device like the TSC module found in Hughes & Kettner amps, then it won’t even need biasing after new power tubes have been installed. If it lacks such a device, you should leave the task of swapping power tubes to professionals who can also match them and bias the amp properly.
We hope this news dispels all the concerns about tube’s reliability and any maintenance related anxieties. All-tube tone is not some luxury for a select few to enjoy.
It’s there for everyone, even technophobes, to take pleasure in. First published: May 23 2014.
Most recent update: December 22 2016. Hellraiser Johnny on May 16, 2018 Hi guys! I just purchased a used Access Tube pre-amp (used of course). I just love it and find it to be a awesome sounding pre-amp with all the features I had with a modern “modeler” which is saying a lot for a pre-amp that is over 20 years old. I asked the original owner if he had ever re-tubed. His answer was no.
I read this article and yes, it was helpful but even at that expected life I’m coming up to the end on this units tube life so I’m going to try a set of Mullard’s. I do have a few questions about setting up the midi operation and if the unit I have can be upgraded to V 2.0 and the B sound module. Can some one help me with that or is this no longer available? John on April 28, 2018 I run an electronics repair shop here in Maine, and have come across a combo that fits into this discussion. It produces a funny sound all on it’s own, even with no signal input. I even removed all the preamp tubes, and the noise continues.
Come to find out, the EL34 output tubes are PHYSICALLY vibrating! So, indeed, when the guitar plays a certain note that is the resonant frequency of these tubes, they vibrate, being exposed to the sound waves from the back of the speakers. Further, the tubes are mounted on a suspended circuit board, which also vibrates along with the tubes! A poor design, in my opinion. Had I been the designer, I would have mounted the tube sockets on a secure metal chassis. Hughes & Kettner on February 28, 2018 Interesting points Mark.
There’s very little out there in terms of studies that have been done about that, so we can’t say with certainty – we’ve never tested it properly either! – but many guitar players are of the feeling that tubes have a harder life in combos than they do in heads Would be fascinating to actually do some kind of test that could accurately state if there is a significant difference, although tubes being the unstable and unique things they are, that’d never be 100% scientific. Rock on, Team H&K. Hughes & Kettner on February 20, 2018 Hi Dominik.
Well, the best thing to do – if you can – is find a local tube tech and try out a bunch with him/her. That’s the easiest way to find what works for you! After all, tone is purely personal. However, you could also think about lower gain preamp tubes like 12AT7s or 12AY7s – it’s just a good idea to test them before deciding whether to go for them or not, because they will alter your tone. However, if you want the amp to stay clean longer, they could be right up your street! Jukka Pesonen on December 15, 2017 Hi! Could you help me a bit?
My 6-month-old Tubemeister deluxe 40 is acting out. It makes a similar sound to a broken potentiometer but it makes it all the time. I’ve tried it with no other cables connected but the power and the speaker and also with the speaker muted and the sound going to my studio monitors and it’s still there. So the problem is in the amp. I read somewhere that it could be because of the tubes.
What should I do? Will it go under warranty? I haven’t knocked it around, I’m sure of that. Hughes & Kettner on December 18, 2017 Hi Jukka, thanks for writing us, and we’re sorry to hear you’ve had this issue. The good thing is, you’ll be covered under warranty, so please just contact the store where you got the amp straight away and they’ll look over it for you to fix the problem.
It could indeed be a tube issue, but we can’t really make the call without having the amp in front of us to test, unfortunately. We hope this helps, and good luck ? Let us know your progress, and hopefully you’ll have a working TubeMeister Deluxe again soon!
All the best, Team H&K in Germany. Matt on July 11, 2016 hey just wonderingwhat do you mean by “qualified tech”.like if i bring it to the guitar shop is that acceptable or is there some sort of hughes and kettner certification they have to have??what proof do i need that it was done by a qualified tech??
Also i bought a grandmeister36 and am enjoying itthe only thing is i find the disortions are a little “harsh” and have been told and read the jj’s el84’s and the jj goldpin ecc83’s remedy thisdo you guys have any suggestions as to what make good replacement tubes.and do you find that different tubes cause a noticable difference in the performance of this amp?? Hughes & Kettner on July 19, 2016 Hi Matt – by qualified tech we normally mean a tech who’s taken a course/studied in the art of being a tech. There’s no specific qualification we look for, but it could be an apprenticeship, or a BA in something relevant, whatever. Of course, a registered H&K dealer will be the best place to get an H&K amp looked at, as techs there will have been (or should have been!) schooled in our amps.
If you’re getting work done, just make sure you have a written note of it. Interesting about the tube choices. We do know a lot of guys who have changed the tubes out, and JJs are a popular choice. We actually like the stock tubes, and chose them for that reason, but it’s certainly fair to say that you could consider some more ’boutique’ priced tubes to do a job for you.
We also had to think about cost when choosing components, of course. In this situation, the best thing you can do is actually go to a tech, and have them show you the different types available. That way, you get to hear the differences in person (because only you can decide what sounds good to your ears!) and the tech cna then install the ones you decide to go for. Jeffrey Aymond on March 25, 2016 You wrote: “The 10,000 hours of expected tube life is of course an estimate, but not an unrealistic prospect.” I hear this estimate tossed around the internet regularly (usually between 5,000 to 10,000 hrs.).
However, I’m not able to find many reputable or legitimate experiments regarding power tube life expectancy that I trust. Will you please let me know if you know of any such studies that have been conducted? I’m looking for something done independently; not related to any tube manufacturer or anything posted on a blog. Thanks for the article. It was very informative.
Hughes & Kettner on April 26, 2016 Hi Jeffrey, and thanks for your question and kind words on the article. Hmm, we actually based this on our own experiences of R&D/playing with Hughes & Kettner (and other amps!) down the years. We’d also very much like to see some less-biased studies done on this, although we suspect that the general internet consensus is correct, given how most people seem to be roughly in the same ballpark. Ultimately, though, there are so many factors that we’re all measuring differently: tube types, how much usage and under what conditions, when we decide it’s time to replace a tube, etc., that this might be difficult! Hughes & Kettner on March 22, 2016 Hi Rich. Hmm, getting into the combos is simple in theory – just unscrew the back panel and take it off.
It’s not stuck or glued in place, but it’s very snugly fitted, so may require some considerable elobow grease to remove! This said, we’ve got to mention this too: if you’re still under warranty with your amp, get a qualified tech to do this kind of thing for you! Doing anything like this yourself will void your warranty, and you won’t be covered should anything go wrong. Hughes & Kettner on March 17, 2016 Hi Ian, and thanks for the kind words!
Careful here: in modern H&K amps, the power tubes/valves don’t need biasing because of our TSC (Tube Safety Control) system that does the biasing job for you. Here’s another blog we did about TSC that might be an interesting read for you: With most amps (including older H&K models that predate TSC), power tubes do need to be biased before you put them in.
By contrast, preamp tubes do not need biasing. Get the a preamp tube that will fit your amp and you’Re basically good to just swap out the old one. Hope this helps ?. Denoon Sampson on May 23, 2014 This is most interesting as I am sure that most of us know very little about tubes and valves as, apart from amplifiers, most of us never come across these mysterious relics of the past. On question of when should we swop our tubes, I have problem with my Tubemeister 18.
When I turn up the volume it starts have momentary dead spots in the sound. For just about a second, the sound cuts out when I am playing lead solo and then comes on again. At the same time, the orange glow, always in one particular larger tube at the back, dims and then lights up even more brightly, accompanied by a resumption in my sound. Do I conclude that the valves must be swapped? If so all of them or just the one that dims and then lights up intermittently? Two different technicians cannot fix. One suggestion is that the power supply might be defective.
If I play at low volume there is no problem. Any suggestions? It is difficult to find a really knowledgeable technician in Johannesburg. Hughes & Kettner on May 24, 2014 Hi Denoon, this really looks like either the tube is damaged and has to be repalced or it is just not sitting correctly in its socket. Please check TSC on the back while you are not playing.
The LEDs should be off, otherwise the tube has to be replaced. To check zhe sockets, just let a technician swap the tube 1 to socket 2 and tube 2 to socket 1. Does the flash stay with the same socket or the same tube, or is it gone? Most dealers sell matched pairs of tubes, so we suggest to get a new pair and keep the one tube that does not cause flashes as a spare.
You can use all kinds of EL84 as a replacement. The original tubes come from China and offer the widest tonal range, if not available you can as well use Russian tubes with a more classic rock tone. Best regards.
The Hughes & Kettner Tubeman II is a guitar preamplifier and 'recording station.' It is designed to be an all in one solution for recording guitarists. The Tubeman is of course as the name states driven by all tube power and consists of three separate channels.
The unit has 1/4' connections of all types and isn't rack mountable. UTILIZATION Using the Hughes & Kettner Tubeman II isn't too hard, but it will take a little bit of practice to learn where everything is and what everything does.
For setting controls, the first channel only has a knob for volume, while the second and third channels are a bit more in depth. The second channel has parameters for gain and volume and the third has those for gain, voicing, and volume. The Tubeman II also boasts a three band equalizer for all of the channels and a master volume knob. Each of the channels can be engaged with a separate foot switch.
I don't think you need a manual for this one, but can't speak to it's make up since I haven't seen one myself. SOUNDS The overall sound of the Hughes & Kettner Tubeman II is pretty unbelievable. In addition to the basic features I discussed before, it also has amp modeling, so it really is an all in one guitar recording station. However, it can of course be used with an external amp or speaker cabinet, which is what I've mostly done with it. This will definitely work perfectly fine on its own for recording direct as well, as it has a great inherent tone that sounds full all across the board and offers up a whole lot of versatility. OVERALL OPINION I'm a huge fan of the gear manufactured by Hughes & Kettner, as they offer up only high quality products, and the Tubeman II is no different.
While it won't be a cheap purchase, it is certainly a worthwhile one for those looking for an all in one guitar recording port. This definitely doesn't have the cheap sound that you'll get with something like the Line 6 POD, rather it offers up clarity and fullness without needing an external amplifier, and who wouldn't like that!
I've purchased the unit through Internet from a German distributor of Hughes and Kettner Products /Musik Service Gmbh/. Because Hughes & Kettner are German based company I decided that it will be the cheapest way, besides that I live in Europe and the shipping costs are kept to the minimum as well. The total cost, including shipping and custom duties was around 320$. Before that I've tried Tubeman as a live preamp directly plugged into a PA system in a guitar shop in Denmark. The tone and feeling was great. And as soon as I came back home I ordered it /Denmark is not the country where you can buy gear cheap/.
This unit has 3 switchable channels. Clean, Crunch and Lead, all of them sharing common EQ with Bass, Mid and Treble controls. Lead channel has a voicing control, which realy changes the tone of the preamp from mild lead to 'blow-the-windows' heavy lead sounds, but preserving the character of the guitar.
Clean channel is great - it has awesome dynamics, which can be controlled just with the picking technique /just like with a real amp/. Max the guitar volume and it breaks-up nicely, back it a little and it is godly clean. Crunch channel on the other side is aimed towards blues,classic rock. It is very full and fat sounding without 'over-the-top' gain. Just enough to get early Santana or AC/DC tone, depending on how you set it. Lead channel is the one that should be used for heavy leads. It doesnt has the massive amount of gain that Messa Triaxis provides, but has just enough to pill the paint off the wall.
As a huge Extreme/Nuno Bettencourt fen I can get almost every Extreme sound with Tubeman and my Washburn Nuno Bettencourt signature guitar. Not noisy at all, except on the Lead Channel, which is easily removable by any Noise Suppresor. It would be nice if it had some MIDI implementation there. For switching the channels, enabling/dissabling the EQ.
Solid German Craftsmanship- all shiny sturdy metal. It is built to last forever. I own it from a year and it doesnt have a scratch. Overall this is great,great,great recording preamp. It is primarily designed for a recording preamp and there is where its best.
But if you want three big sounding amps in 10'x10'x5' box live on stage, with no doubt it can be used as a very professional sounding unit. This review was originally published on. A lamp REALLY fed ht (not like some 9volt mouhaha pedal.) 3 channels 1 equalizer 1 entry 1 recording output 1 output in the return of the amp UTILIZATION Very easy to adjust. Y has t he REALLY need? J uses this pedal essentielement for clear and crunch. SOUNDS Sound in mind h & k.
A beautiful clear, a crunch to cry when the saturation., I like, but do not over ride the gain (although nice on a small bowl). Its very hot. The equalization is very effective and can help sculpt your sound to perfection. Plugged into a Marshall Vintage Modern, it allows me to have several sounds directly to the foot. A transistor, it adds heat. The recording output is very good. I double D also some microphone jack with this case for very pro Reg.
OVERALL OPINION Not below a lamp pedal mesa (actually all depends on the desired sounds). D also just see how long h & k sells this pedal to its catalog. I have long hesitated with blackstar ht, but I do not regret my choice. For 'small concerts,' I take it Boitie + reverb of a pedal and you're done and it's still much better quality than the small lamps amps, plus the fact that this very compact night, I love it! You can do anything with this pedal, but it is anyway VESTED to rock and rock that spot, see the metal (but that is not my trip.).
Preamp 1 instrument input 2 outputs: amp or PA 3 channels: clean, crunch and lead 1 Joint EQ (bass, mid and treble) independent volume for each channel + master volume common Micro format is very interesting and practical It is both transportable in a backpack and is used as a pedal, the chassis and the knobs seem solid. UTILIZATION The manual does not say much, but at the same time the use is extremely simple, with knobs rather sensitive. One can easily find his sound. It was unfortunate that the input and outputs are reversed with respect to any matter not pedal, which can make the connection, but nothing major. The same for the common equalizer, there is a tradeoff between the different channels.
As a preamp, the Tubeman could have an effects loop. SOUNDS This is my first toy lamp, I can not compare it with other things (except that I have ever tried in shop), and there is a huge difference. I have a Gibson explore with emg pickups and an amp peavey envoy 110. The difference is obvious between before and after. The volume was multiplied by 4, now I can push my sound much more.
To play with me, my two volumes are almost at minimum and it is clearly sufficient. I look forward to push a little more. I find the sound great, especially the clean channel has a very beautiful clear sound, especially used with a chorus. The crunch is very nice and well being pushed, although I do not use it too.
The lead should compete with any distortion pedal hi-gain transistor, the sound is solid, consistent and powerful, and there is a voicing knob more gain and volume that can push a little more in aggressiveness, but we quickly found, however short to play death. I play a lot of thrash and I found to my liking, but I have liked to have a little more. However, I think it is perfect for prog metal, speed, symphonic.
Its great advantage is the versatility and sound quality. OVERALL OPINION For a very reasonable price, this is a very good option for those who want to spend transistor lamp. The sound quality and versatility really worth it for a modest cost. This is one that is clearly oriented studio unit, and it is a shame because its ergonomics lent itself to be used live.
This does not mean it can not be used live, but it does not seem very practical for this purpose. He could also have a button to turn rather than connect the power supply directly. However, it is quite portable and does not take place.
It lands on the ground directly in front and active. So despite some flaws, I am quite satisfied.
I find the lead a little short in aggression level but it remains powerful and massive and this is largely offset by its versatility. It is therefore a tube preamp (1. 12AX7) that delivers the power of the amplifier to which it is connected (in my case, a Lionheart 20W). It connects with two jacks (one for connecting the pedal to the amp and one to connect the guitar) and includes a power supply.
Level settings: 3 channels: A clear channel with a knob for volume, Crunch channel with two knobs: one for volume and one for the saturation level, Channel saturated with 3 knobs: volume, level of saturation. Add this to: Joint equalization with adjustable bass, midrange and treble + volume general.
I put 7 because there is no bypass, once the preamp plugged one is obliged to use it without being able to use the amp's preamp. UTILIZATION At first glance, it looks so simple (I do not think anyone is likely to destabilize face a dozen knobs). As to get a good sound, it's another story: the clean channel does about the road when I pass on the neck pickup of my guitar, otherwise it is unusable in my opinion. The other two channels do not pose any problems, they are nickels: it sounds and it sounds strong.
I do not have the manual (bought used, the previous owner did not have to find any use in manual). I put 7 again because the clean channel is still very poor. SOUNDS It suits my style of music if I want to make metal (sounds metals are not characteristic of Lionheart, that's why I made this pedal).
I have two guitars: a Schecter C1 Classic with whom I played with this amp (it's a versatile guitar: I play with it all on my amp oriented blues / rock with pedal and each time it sounds). The other guitar is another story: it is a Lag The Blues whose output level of microphones is very. So I still tried to connect the preamp. But really, it does nothing. About the settings: Because I am using the clean channel only with the neck pickup of the Schecter, I get the ample (with bass 5/10, mids at 7/10 and treble at 7 / 10. NB: I said that the neck pickup of this guitar is in Duncan SH2).
The crunch channel which allows for a more rock, hard rock (typed a little Deep Purple), I leave the EQ as it is, but then I can return to bridge pickup (NB: SH4). It does not bleed, the sound is crisp and clear and the Lionheart who is a very good amp captures the sound spectrum. Saturated channel is very complete: if I put as much or little saturation and voicing, the sound will change completely: if I set to minimum (below 5/10 for each knob), I get a his very special, as if I had plugged an overdrive playing on the clean channel. On the other hand, if I push it all to 8 or 9/10, there I go really sounds bourrines property: if I had I would feel almost level attack to play Steve Vai (but hey it is a matter level). In addition, I tested this pedal with an Ibanez and Dimarzio equipped does not sound like either (like what the amp does not mistreat are generated by the guitar).
To summarize: it is really the asset channel preamp. In sum, it is very easy to understand now that I prefer the sound: the crunch channel with the EQ set as I described above, and the channel saturation which is very complete. The sound that I do not like: clear channel bridge pickup regardless of the setting of the equalizer. I put 8 because excellence could not be achieved if all sounds I had liked. OVERALL OPINION I use since July 2012, it should be 8 months (which gave me time to explore much of the sound of the beast). I have not tried any similar product model, I simply test this stuff up before you buy.
Feature that I like most: the variations of sounds you can get on the channel saturation., Price. Feature I like least: no bypass, poverty clear channel. As I said above: the price at which I got (€ 140 while the price new is € 375: more than two and a half times cheaper) is perfect for 140 € I play metal well nag no need to ruin me buying another amp head to a minimum of 300 €. With experience, I do not know if I would do this choice: it is a question of resources and availability (I do not buy my gear that opportunity because I do not trust the Internet for this type of equipment and prices in shops are prohibitive).
See comments for all previous ones CHARACTERISTICS prcises. All t adj Retailer Fawn exhaustive. UTILIZATION Setup could not be more simple, if you used an amp adj standard before. The manual almost useless features are so easy to use. The sound is obtained relatively easily with a little work done on the qualisation to get a good balance gnral.
SOUNDS Prs should not all styles of music if you take the time to rgler every time. This preamp Demme shows all its limitations when pushed to its limits, grain saturation typical of Hughes & Kettner tend disparatre and turn into a screaming fuzz. The clear sound, unlike anything that says prcdemment t is worthy of the best amps for the brand. Possdant les2 heads H & K Triamp MkI (1997) and MkII (2005), the sound of Tubeman trs is close to the clear sound of these amps rfrents brand. With a warm and rich.
Well, yes, the clear sound of H & K was never that of a Fender t like it or not, and that even if you activate the 'tight' on their. APRS we like it or not, but I think those caused by the clear sound of Tubeman will be as much of a head Triamp. For channel 2, is in his typically a Hughes & Kettner. I think this canalparcourt, channels 1B 2B Triamp, we will therefore clear sound bluesy, a british rock sound through a nice crunch, more or less saturated, pushing more or less the gain of this channel.
For channel 3, be sure rgler the voicing, as it is trs important to have some level of your homognitau qualisation on channel 3 Different. This channel 3, Unson CHARACTERISTICS distills the heads Triamp en3A and Duotone in Lead. Be careful, however, this channel shows these limits in large saturations. It is better to rgler gain low enough to maintain its typical heads Hughes & Kettner. OVERALL OPINION I use it for several months now. For me it's a 10/10 catgories.
Being in the dplacement abroad, just as not forced to carry my amp heads of all the preamps I have used the Tubeman is one that is right for me better. And for a price after all trs reasonable, especially if you want to purchase. APRS should take the time to work on her, as with any amp H & K.
The biggest advantage of this is to have Systm sounds close desmeilleurs trs H & K sounds in a very easy transport module, especially when compared to other brands. So yes, the Mesa Rectifier Preamp Engineering is certainly better but it is three times more expensive and is the size of2 racks. We can not have everything, we must decide a time.
Note that I am a user of the mark for 15 years now and I know the subtleties of their hardware for a long time. And I also possder essay or a large number of heads of amps from Fender, Marshall, Bogner, Vox, Mesa, Randall. So yes, H & K makes trs good things, but that does not fontles other brands (as they do what good dj. They have their own personality is an APRS matter of taste. To those seeking crystal clear sound at H & K, why look at H & K alorsque Fender and Vox do dj trs well!
Finally, simply connect, trs sounds good and close to the best MODELS, Hughes & Kettner characters without compromise, all you need to have fun, especially if you can not have a head of amp and cabinet on hand! Amplifies a console or amplifier output can largely be enough for some concert dates o scne space is more than small! What kind of amplification (lamp, transistor.)? Transistor and lamp (12AX7 ) - What connection? Instrument input jack, output amp in jack, output mix (with amp simulator) - What are the rglages the effects?
CHANNEL 1: Clear Channel, GAIN CHANNEL 2: Canal Crunch, GAIN, VOLUME CHANNEL 3: Canal Disto, GAIN, CONTOUR VOLUME EQUAL TO THREE CHANNELS COMUNE: Bass, mid, high. MASTER UTILIZATION - The configuration is it simple? Yes the config is simple - Gets it easy to sound good? Ca be addressed relatively easily and intuitively SOUNDS - Is it your style of music? Yes if there was this stamp bp compared to the CH2 channel 1 and 3. I, song, blues-rock (vaughan, hendrix, clapton, rolling stones) - With what (s) guitar (s) / low (s) or effect (s) do you play? I use it with a layer of the 70's and amp peavey tube 'classic blues' in 1995.
What kind of sound you get and with what rglages ('crystalline', 'bold '.)? CHANNEL 1: Clear Channel, begins cruncher qd knob the gain is about 14h on rgl. This channel is too dark, lack of shine.
CHANNEL 2: Canal Crunch, crunch fairly quickly, a small reserve of saturation, the gain was saturated enough to base a rock sound. This channel is Bill, lacks serious. CHANNEL 3: Canal Disto, reserve of saturated fat, gain over 14h it starts getting confusing. This channel is provided too serious lack of brightness (high end) - What are the sounds you prfrez, you dtest? For me, there is a incohrence channel 2 relative to channel 1 and 3.
Channel 2 is too bright compared to two other channels. C EHJV really what this pramp, c a shame. If all three from the three channels had cohrent t in terms of tone I think I would use it again. For now, I lends a friend who used it primarily as simulator amp. Telecaster - T-REX Moller (type TubeSreamer without loss in the bass) - CH2 - mix out - amp for acoustic guitar Shertler. OVERALL OPINION - How long have you use it?
- What is the particular feature you like best and least? Amp simulator is pretty good. Have you tried many other models before acqurir? Not - How do you report qualitprix? - With the exprience, you do again this choice? Pramp three channels of a 12AX7 team: Channel 1: clear sound - transistor circuit Channel 2 / 3: crunch and lead - lamp circuit.
Volume per channel, a gain knob for crunch and lead channels. A master volume. EQ common to all three channels with an outline on the lead channel that can sculpt the sound around mdiums.
CT Connect, a line-out 'To power amp' Sim and output with HP's 'To mix'. Replacement lamp can really change the CHARACTERISTICS of channels 2 and 3, which is apprciable.
As against it would seem that our friends H & K did not think we could have change the lamp, the maneuver as pluttdlicate. Original lamp (Ruby 12AX7): its a bit messy in the lower and not lead to hyper prcis -: the sound has become much more dynamic and gain! Trs lamp type rock - TAD 12AT7: I tried this rduire lamp gain factor. Channel 2 crunch time later, which allows for sounds with a trslger overdrive, which is impossible with the original lamp. 12AU7 Siemens test trs not conclusive, its too crystalline and frankly too rough in lead - 12AY7: blah. 8 / 10 for the legalization common and the original lamp that must change in my office.
UTILIZATION The config is really simple, it is not going to have his three shot her. The only BMOL legalization is common all channels, which may in some GNER seeking sounds trs creuss lead in a clear and clean, but use it pramp n is not really intended to nomtal and whatnot like that. At home, I plug in the simulation output with HP in a multi-purpose TC which I use also of A / D converter and then sound card / studio monitors. The simu HP dpanne well even if an equalizer is ncessaire downstream to cut some frquences acute (if not the sound a little 'bee' in disto) SOUNDS I play this with two Yamaha pramp, a Pacifica 812 (Start copy) and an AES 620 (Les Paul copy). Channel 1 (clear) but easily crunchable transistor circuit when pushed beyond the 7 / 10. I never use this channel as it is in fact a little dark.
Channel 2 (crunch) channel I prfre above all! Trs his brilliant (much more than the clean channel), the gain here to switch to the bluesy overdrive crunch lightweight type AC / DC. I leave the gain almost'm using the min and finally a clear channel / overdrive CONTRL lgre the saturation with the volume of the guitar, the typical 70's trs. I couple this channel with a clone of Tubescreamer for AES and a fuzz Belcat of the stratum. With that, it sounds vintage trs!
Channel 3 (lead): The reserve of gain on this channel trs is great, although I find that the sound loses a lot in with too much gain DEFINITIONS (a little fuzzy). It sounds quite modern with enough bass and mids Submitted lgrement back.
The outline can be very useful on this channel, you can go from a typical Marshall lead a dig in the trs mdiums. Despite this possibility dernire pramp this is not my sense is for nomtal. Good for the Metallica but no. Got my dl Clearly, this should pramp all out extreme styles. For what I play (rock in the 70s.), it gnral nickel! OVERALL OPINION I use it for 4 years but have been slow on matriser (relamping). Have three channels under the foot for 350 euros, it makes this a pramp pdalier-trs good value compared qualitprix competition (Mesa V-Twin, Koch PedalTone).
Given its sound quality and its solid, it will follow me a while!