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I began with the AER Combo 60 and Acousticube, some of the best amps I’ve ever heard my Gallagher acoustic guitars through. There are some electric players that use them, mostly jazz players, but I found the electric to be lackluster and muddy through these amps. I’ve never had a better acoustic sound, however, and can highly recommend them for anyone looking for a stellar acoustic amp. I have been using an Ultrasound CP-100 for my acoustic; it’s the right size and weight, has plenty of power, and my acoustic guitars sound great with it. I have also heard of some jazz players using them, so I gave it a try, but to my ear it is just not voiced appropriately for the Artcore’s pickups (Seymour Duncans). Once again, for an acoustic guitarist it’s near ideal, and has an input for a vocal mic as well.
The Marshall MG30 FX was the right size and had a nice clean channel, but I felt that it wouldn’t give me the volume I need to be heard over a drummer. I was shocked that a Marshall could deliver such clean tone, and I tried one of the same series with more power, but it was bigger than I wanted – I have to fit it in the back of a VW Beetle – and didn’t deliver the same tone as the smaller model.
I tried the Tech 21 Trademark 60 several times. It is a very versatile amp, and seems to have a lot of volume and drive, but it seemed to break up at a fairly low volume, which was not what I was looking for. The big brother, the Trademark 300, however, had a positively delicious clean sound with enough volume to scare the neighbors a block over without breaking up a bit. The tone controls are simple and allow you to dial in exactly the tone you are looking for. I came extremely close to taking this one home, but unfortunately it wouldn’t fit in my car. So close, but no cigar.
The Genz Benz Diablo is another sizeable unit, with a wealth of clean gain, and power to burn. However, for the way I play, the attack was too harsh and there was significant self-noise. The Carr Mercury and Rambler ultra-low wattage amps were very appealing, but once again I was surprised by the amount of self-noise these amps put out. In order to get the volume up over the drums, I started hearing significant amp hum and the smooth, rich jazz tone began to break up. I found the attack to be pleasant at lower volumes, but once I began to push it the attack became very harsh.
My husband, Curtis, made some phone calls about the Budda Superdrive 18, as he heard it had an extremely clean channel. He talked to some very helpful people at Budda, and they thought it would be very much worth my time to play it, but the closest place I could go hear it was five hours away, and I didn’t have the time to make the road trip. I talked to my friend Pat Smith, formerly of the Penguin Jazz Quartet, who has ears I trust, and asked him if he was familiar with the Budda. He had played them, but said the only thing he knew them for was killer rock tones and wasn’t familiar with the clean side of them at all. He thought they were great amps, but knowing my style, he advised that they were probably not what I was looking for.
| At 20 pounds, compact (14”x14”x8.5”) and a barking clean 60 watts, it has the tone and the oomph I need to be all that I can be without breaking my back. |
Pat did suggest I try a Claris Coda R, and he played his for me over the phone. The phone line aside, it was gorgeous, rich and brilliant, with plenty of power and the right size. If you need to move more air you can use an extension cabinet as well. My husband was concerned about recording with this amp because the woofer shoots straight down and the horn and the mid come out the front; this means it would require an extension cabinet to be really viable for me. It is an excellent all around amp and one that got my serious consideration, but in the end, I declined.
I tried an entire array of Fenders – the CyberTwin SE, Chorus, ‘65 Reissue Twin Reverb, DeVille, Princeton Recording Amp and the Blues Deluxe Reissue. The CyberTwin is an amazing machine, incredibly versatile, and if you’re in a band where you play everything from Jimi to Townsend to Van Halen to The Edge, I can see where this amp might be appealing. I think I found one setting I really liked, and a few others that were passable, but it was just not for me – although I do have to say it was one of the quietest amps I tried. The rest of the Fender array had great tone, though the Princeton wasn’t quite rich enough. The rest of them had that trademark Fender hum that so many players really do love, and I understand that, but in the end they just weren’t right for my purposes. 
