The China-made 50-watt, dual-6L6 1x12 H650—the largest of the three new Harmony amps—occupies a power sweet spot that a lot of large-club performers in many playing styles prefer. But it’s not a deafeningly loud amp, and it comes with a built-in attenuator that makes home and apartment use possible, as well as a raft of tricks and quirks that will appeal to retro-minded players looking for a distinct voice.
The tremolo is warm, round, and bubbly.
Feature Film
The original Chicago-based Harmony company cranked out well-made, affordable acoustic and electric guitars for decades. At one time they were the largest guitar manufacturer in the nation, and possibly the world. As electrics became more and more a part of the company’s product mix, Harmony offered amplifiers, too, though these were generally made by third-party manufacturers. Some of these amps have become minor legends in their own right. The mid ’60s H415 model made by Sound Projects Co., for instance, is regarded by Trainwreck tube guru Ken Fischer as a gem among affordable vintage amps.
The H650 isn’t much like old Harmonys in terms of circuity or tube complement. A pair of 6L6GC power tubes delivers output that Harmony claims as 50-watts, although that’s on the high side for these tubes (most similar class A/B dual-6L6 amps generate 40 to 45 watts). Four 12AX7 tubes drive the preamp, effects, and phase-inverter stages.
The cab is a semi-closed-back design, with a vented aluminum cover over the space between upper and lower back panels. Inside, a single Italy-made 12" Jensen Tornado Stealth 65 speaker converts all that energy back to moving air. The entire rig measures approximately 25.5" x 19.5" x 10.5" and weighs 49.8 pounds, which is still pretty hefty. But a wide, padded leather handle makes toting this substantial amp a lot more manageable.
Removing the upper back panel reveals a rugged printed circuit board, with through-hole, surface-mounted components. All potentiometers, switches, and tube sockets are mounted directly to the chassis itself, which should aid reliability over the long haul. Mounted on the grill side of the chassis, the tubes are tricky to reach, but it’s not impossible to access and replace them without pulling the whole chassis.
The top-mounted control panel offers a single channel with gain (which doubles as a push-pull control for boost), bass, middle, treble, reverb, tremolo depth and speed, presence, and master volume. The back panel is home to dual speaker jacks with a switch for 8- or 16-ohm output, and a rotary selector for the built-in attenuator, which offers 1 watt, 0.5 watt, and 0 watt output for silent recording via the line out. There are also two TRS footswitch jacks for a tremolo/boost and a reverb/effects loop, as well as a send, return, and bypass switch for the effects loop. Harmony thoughtfully includes both footswitches with the amp.
Blue Moves
Whether with humbuckers, single-coils, or P-90s, the H650 sounds distinctive, though at times a bit quirky. At lower to medium volumes, it ably produces clean to clean-ish tones reminiscent of a 6L6-based black- or silver-panel Fender platform: relatively mid-scooped, firm lows, and sparkling, glassy high-frequency tones. The Harmony’s greatest strengths are rooted in this foundation, but the spring reverb and tube tremolo help create lush retro soundscapes that are well suited to the fundamental voice. The tremolo is warm, round, and bubbly. The depth control’s taper increases drastically in the final 10 percent of its travel, but all the sounds are great. The H650’s reverb also sounds cool. It’s spacious, with a deliciously long decay but is never excessively splashy—even at maximum settings. The effects loop works effectively, and the external bypass switching is a bonus.
Things get wilder and more interesting when you crank the H650 to the point of overdrive. And whether you find these overdrive sounds fantastic or raunchy depends on your own tastes. With the gain past 1 o’clock and humbuckers or P-90s out front, the amp-generated distortion can sound a tad ratty and fizzy, which is very much in keeping with the cranked-up catalog-amp ethos that makes vintage Harmony amps appealing. Engaging the boost makes it even more so, as do most drive pedals. That said, there’s no end to the raw, garage-rock fun you can have with the gain maxed and boost engaged. Just don’t expect archetypal big-stack classic-rock lead tones.
The built-in attenuator is good at enabling ultra-hushed overdrive at bedroom practice volumes, but high-gain sounds can sound comparatively gnarly and compressed at 1 watt. It also seems that, given the effort of including such a feature, it would have been worth creating a 10-watt setting. Though the silent recording feature is a big plus for players that may be on the fence about justifying a 50-watt amp.
The Verdict
The H650 offers an interesting, if somewhat dichotomous, palette of sounds. On one hand, it’s capable of black-panel Fender-style clean tones that sound impressively refined if you stay in the amp’s sweet spot. On the other, you get hairy, raunchy overdrive in line with amps that constituted Harmony’s competition in the 1960s: Danelectro, Silvertone, Valco, and the like. The ethereal reverb and tremolo are a significant bonus. But whether the H650 works for you is probably down to how well you love the amp’s raunchier side.
Harmony H650 Demo | First Look
Maggie Mélange
The Starlite is something of an early-’60s Magnatone mashup. The name is borrowed from a series of Maggies from the mid ’60s best known for their arresting “squiggle” grill cloth. But the cabinet design and circuit are more closely related to the Custom 210, a 5-watt, single-6V6GT-powered rival to the Fender Champ and other small amps of the time, distinguished by the inclusion of Magnatone’s rather legendary vibrato circuit.
Sadly, there’s no vibrato on the new Starlite. The inclusion of the effect would have likely made the amp exceedingly expensive for its size. But the flexibility of the Starlite’s circuit is still extra impressive thanks to a clever tone control and a negative feedback switch that, as we will see, can profoundly transform the sound and tactile experience of playing the Starlite.
Just like every new Magnatone we’ve seen since the company’s 2014 resurrection, the Starlite is both sturdy and exceedingly handsome. I can’t think of an amp that’s less likely to disrupt the design of a well put-together living room. And its compact 17" x 8" x 12" dimensions might make it look—to less guitar-savvy interior-design-enthusiast friends—like a beautifully restored vintage radio or hi-fi speaker.
The Starlite’s construction is robust. Its smallest components, like caps and resistors—which number fewer than 30, by my count—are neatly arrayed on a glass epoxy PCB. The power transformer is from Hammond, and the power and preamp tubes are Apex-matched JJs—a 6V6S and 12AX7 respectively.
Tiny, Toneful, and Brutish
Though the benefits of using a small amp in a recording situation are well documented, there are limitations to such setups. Sometimes an 8-inch speaker won’t offer the bass response necessary for inciting a certain kind of performance. Lower wattage and smaller speakers can also change the way pedals like fuzz and high-gain overdrive respond to your playing in adverse ways. But if ever there were a 5-watt, 8-inch-speaker-equipped amp with the flexibility to help bridge those gaps, it’s the Starlite.
Much of the Starlite’s versatility is derived from its very flexible tone control. Magnatone suggests that it helps bridge tweed and black-panel Fender Champ sounds. And to some extent that is very true. Counter-clockwise from noon, the control scoops out progressively more midrange, which is a hallmark of black-panel Champs, resulting in exceptionally crisp, sparkling high-end output and honking, modest bass response with low to moderate amp distortion. Cranked to the gills, as any black-panel or early silver-panel Champ fan knows, this tone profile can sound pretty brash and splatty—particularly with single-coils. That’s where the midrange-boosted clockwise half of the tone control becomes invaluable.
Warmly saturated overtones can give you the confidence to lean hard on the amp at full volume without fear of being too piercing.
Clockwise from noon, the added midrange starts to massage and round off harsher transients while increasing saturation to the lows and low-mids, adding flattering contours to 5th- and 6th-string output and a satisfyingly distorted edge to high strings. Because of the Starlite’s class-A single-ended circuitry, there isn’t any of the tweed sag you associate with amps like the Deluxe—at least in the clinical sense. But these warmly saturated overtones can give you the confidence to lean hard on the amp at full volume without fear of being too piercing.
The beauty of both of these tone settings, and the many cool in-between shades available through the control’s ample range, is that the Starlite is super responsive to guitar-volume attenuation. You can very easily set the amp up at wide-open volume and move from aggressive crunchy tones to clean ones with a slight adjustment of your instrument’s controls.
The amp’s response and distortion makeup can also be completely reshaped by the negative feedback switch. With the switch on (a configuration that sets the amp up as Fender designers of old would have intended), the Starlite’s distortion tends to be warmer, and clean tones tend to be less spiky. In general, the negative feedback “on” settings were more satisfying and versatile to my ear. But in the moments I hankered for extra Mike Bloomfield-style sting, taking the negative feedback out of the mix was an enticing and thrilling option.
The Verdict
At $1,299, the Starlite is 100 bucks more than Fender’s excellent ’57 Custom Champ. And I suspect that for many potential customers, the more expansive and flexible tone control, negative feedback switch, output for an 8-ohm external, and the dashing, less-common styling will be worth the extra cash. Even if you find the head-to-head tweed-style comparisons a toss-up (and the Starlite is not, strictly speaking, a tweed Champ equivalent), the Maggie arguably has an edge in versatility. In its most black-panel-like settings, I still found the Starlite throatier, more massive, and even a little more sparkly on top than my otherwise sweetly ringing early-’70s silver-panel Champ (which is identical to a black-panel in most respects). The same qualities also make it a little more conducive to use of boost, overdrive, and fuzz, which, by the way, all sound fantastic-to-fantastically-trashy in tandem with the Maggie.
Such margins of advantage may be slim to modest in each comparison. But when using a small amp in the studio, where creating the illusion of a bigger amplifier is often the aim, the Starlite’s knack for lending a little extra illusion of mass and muscle is no small consideration.
Magnatone Starlite Demo | First Look
