Research Triangle Park, NC (July 13, 2015) -- Acoustic Image today announced that, in response to customer demand, it is reintroducing new and improved Series 4plus versions of its ultra-portable Clarus SL and Clarus SL-R model single-channel amp heads incorporating AI’s industry-leading Flex pre-amp technology as well as more features and a full 600 watts of power into 4 ohms.
Designed, like all Acoustic Image products, to amplify any instrument, the full-range Clarus SL-R (with high quality reverb) and Clarus SL (no reverb) share the same tiny format as their predecessors (approximately 2X7X7 inches). At just over 2 1/2 lbs., each sets a new standard for portability, power and transparency.
“Players have been telling us for years that there is a need for a small, powerful, one-channel, high fidelity head for gigging anywhere, but particularly on the road,” said Dr. Rick Jones, Acoustic Image Founder and Chief Designer. “The Clarus SL-R and Clarus SL—incorporating our widely-praised, proprietary Flex preamp technology—are a direct response to that need.”
Street prices are $549 for the Clarus SL and $649 for the Clarus SL-R.
Clarus SL-R
Features and specifications for the two models:
| System | |
| Frequency Response | 30 Hz - 20 kHz, ±3 dB |
| Signal to Noise Ratio | >110 dB at direct out |
| AC Power | 100V to 240V, 50/60 Hz, automatically switched |
| Size | 2.1” H x 7.2” W x 7.4” D |
| Weight | 2 lbs, 10 oz |
| Preamp | |
| Instrument Input | 1 Mohm or 10 Mohm, 1/4 inch jack |
| Direct Out | +4 dB, balanced, XLR connector, ground lift, pre/post EQ selector, 10 dB pad |
| Effects Loop | Parallel type |
| Low Control | Shelving type, ±12 dB at 30 Hz |
| Low Mid Control | ±12 dB at 250 Hz |
| High Mid Control | ±12 dB at 1200 Hz |
| High Control | Shelving type, ±15 dB at 10 kHz |
| Low Cut Filter | -12 dB/oct sweepable from 30 to 180 Hz |
| Effects (SL-R only) | |
| Type | 24 bit digital with 3 programs |
| Programs | Reverb with variable decay time, Delay/Reverb with variable delay time Delay with variable delay time All have variable wet/dry mix |
| Power Amp | |
| Topology | Class D (PWM) |
| Switching Frequency | 500 kHz |
| Output Power 8ohm | 300W rms continuous 350W rms music (40% duty cycle) 500W peak transient |
| Output Power 4ohm | 500W rms continuous 650W rms music (40% duty cycle) 1000W peak transient |
| External Speaker Out | Speakon type (pole 1), 2ohm min load |
Supplied Accessories: Gig bag, Speakon to 1/4 inch adapter
For more information:
Acoustic Image
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Joe Bonamassa Introduces the Epiphone 1955 Les Paul Standard - YouTube
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But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
