![]() ![]() That speedier impression is shared somewhat with the Shuguang triodes and also a common byproduct of lesser overtone saturation. The pentode shortie, on the other hand, has more fire on top and its reflexes are faster. The latter - justified in my opinion - have a rep for harmonic density that's not part of an EL84's project brief. The 6BQ5s in the Glow were more similar to the Shuguangs than WEs. Those are leaner and lither than my stash of current production Western Electrics. The surprising bit was simply how little overall was sacrificed. well, let's avoid the obvious locker room gab and just say that an amp with a bigger stiffer supply will nearly always edge out a competitor otherwise equal. above where the active bass system takes over). While the Glow had no issues, period - it played ungodly loud and distortion free - it didn't quite have the same sense of control and grip in the upper bass where the Presence is still covered passively (i.e. Woo's power supply alone is thrice the Glow's allness. ![]() For seconds, the anticipated setback when switching from my $4000 tricked-out Woo Audio Model 5 to the Glow driving the 101dB-rated Zu Presence were far milder than reasonable if one approached these amps with the usual propaganda skews. Especially not on an AC line I've measured as high as 258V (240 being the nominal Cyprus value). Such quietude and cheapness do not traditionally hand in hand go as Yoda would preach. The only thing quieter than the Glow in my stable are the First Watt F4 monos. It's so quiet in fact as to outmute my Woo Audio 300B and Yamamoto 45 SETs which are very quiet for the no-feedback breed but create just the slightest of steady-state noise right up against an 98 or 101dB speaker. As it turned out, no brains were needed either to recognize that it's mindlessly, bite-you-in-the-arse clear good!įor starters, it's very quiet. To know whether it's competitive, you must listen to it. Still, cheap cheer won't make the Amp One competitive just cheap. As a concept, the Glow thus competes against US or EU-made amps selling through retailers anywhere between $1,200 and $2,000. ![]() Being sold direct subtracts a similar percentage again. Being made in China knocks build cost down by at least half. It takes no listening or brains to know that the Glow amp competes with amps up to $2K. Maybe swapping out the crunchy options for a couple more acoustic models would have made it even more useful, but this remains an appealing six-string multi-tool and a genuine problem-solver for many gigging players.This review page is supported in part by the sponsors whose ad banners are displayed below “The launch of the Acoustasonic Player Telecaster feels like a no-brainer move for Fender, spreading the potential appeal of what is virtually a whole new category of guitar. The feel of the bevelled arm rest and fingerboard edges says quality and comfort this is an inviting guitar and that Modern Deep-C neck will feel familiar to anyone who has played the electric Player series models.” A lovely dark rosewood fingerboard and bridge replaces the US version’s ebony, but that’s not anissue for us. “In terms of feel and build, we honestly can’t find a compromise between this Ensenada-made Player and the US Acoustasonics we’ve tried. MusicRadar: The onboard voice options might have been scaled down but the Acoustasonic Telecaster sticks the landing as a Player Series model, in what could be one of the guitars to make the hybrid build truly go mainstream.įender Player Series Acoustasonic Telecaster: The web says That, in sum, is the sort of thing the Acoustasonic format encourages. That said, it can be pressed into service of many different kinds of styles, perhaps some that are all your own. It is warmer, with a little more width than you’d expect from a Tele’s bridge pickup. Fender promises twang but this isn’t Pete Anderson levels of twang. Park yourself on position one for a more traditional electric guitar experience, but don’t necessarily expect a traditional Telecaster experience. In a sense, this is a sound that almost exists outside of the spectrum of acoustic/electric tones, and is sure to support pedalboard experimentation. The sound is just coming from the piezo and as you turn the blend control it adds drive. Here is where the true hybrid tones are, and as such, there are fewer references for what we are hearing. ![]()
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