Posts Tagged ‘EL-84’

4.75 Tone Bones - Almost perfect but not quite

Blackheart BH5-112 Little Giant 5 Watt Combo

Blackheart BH5-112 Little Giant 5 Watt Combo

Blackheart BH5-112 Little Giant 5Watt Combo

Summary: Nice, simple, and versatile studio/practice/small venue amp with sporting happening EL-84 tones.

Pros: Sweet and chimey EL-84 tones with Class A circuitry; simple and straightforward to use. Switchable between 5Watts and 3Watts, ensuring usability in just about any smaller venue. 3W mode kicks ass for getting power tube saturation at a reasonable volume.

Cons: I wish it had a Master Volume, but that’s just a nit.

Price: $349 street (used to be $249 when it first came out! Damn! Shoulda gotten one then.)


• Single-ended Class A circuit
• All tube signal path
• One 12AX7/ECC83 dual-triode preamp tube and one EL84/6BQ5 pentode output tube
• Pentode (5W rms) Triode (3W rms) switch
• Solid-state rectifier
• DC filament power supply for all tubes
• 3-band EQ
• 16-gauge (1.5 mm) thick, folded and spot welded steel chassis
• Double-sided custom color PCB with 2 oz. copper
• 15-ply, 18 mm thick, void-free birch plywood construction
• Custom-designed 12″ Eminence Blackheart speaker
• 16 ohm, 8 ohm, and 4 ohm speaker outputs

Tone Bone Rating: 4.75 – Very musical and expressive amp. Nice cleans, with a decent amount of headroom.

I first heard about Blackheart amps back in 2007. They were so new that very few people knew about them. And while a local shop was listed as a dealer, only the owner knew about the amps, and they didn’t carry them in stock! Blackheart Engineering is sort of an overseas spinoff from Crate which produces cool, yet affordable tube amps. As a home studio enthusiast, I keep my ear to the ground about low-cost, low-wattage combo amps. When I first heard about the BH5-112, I was excited. I thought it was a bold move for Crate, and a smart one, considering Crate is a huge manufacturer with huge lineup of gear; adding even something cool like the Blackheart line would just get lost in the mix. But Blackheart was pretty low-key. No ads, spotty coverage on the Internet.

So it was a very pleasant surprise to see a few Blackhearts at a local shop yesterday, and among them, the Little Giant. I was actually there to play that G & L Tribute Comanche I wrote about last week; the last time I was at the shop, they didn’t have any Blackhearts, so I wasn’t expecting to see them at all. But with them there, I naturally had to try one out, and luckily they had the Little Giant.

Fit and Finish

This little amp has a real cool vibe going on. I really like the cabinet that Blackheart uses. It’s a closed back cab, and for an amp made overseas, it’s appears to be very well constructed. There were no apparent flaws in the tolex layering, and Blackheart logo on the front is killer. I dig the white vinyl trim used on the front around the grille cloth. Real boutique styling at a pretty affordable price!

The control layout is simple: An input jack on the left, volume and three-band eq knobs, an indicator light and an on/off switch, making it simple to plug in, dial in your tone, and start rockin’.

How It Sounds

I’ve really come to love the EL-84 tones, especially when they’re saturated, and the Little Giant doesn’t disappoint when delivering its sound. With the EQ knobs at 12 o’clock, the natural tone of the amp leans toward a slightly scooped tone with a bright voicing. Even with the specially-made Eminence 1 X 12, it’s bright, but it does retain a taut low-end that really smooths out the tone. Quite pleasing. I only tested the amp with that Tribute Comanche, but it didn’t matter. When I test an amp, I play it clean for a lot of my tests to see if it will deliver the natural tonal character of the guitar, and the Blackheart Little Giant fulfills its mission.

The amp is very responsive to volume knob and pick attack. With the volume set at about halfway, and cranking the guitar volume, I was able to get that AC30-like response: Clean and shimmery, with just the slightest bit of breakup when you dig in. Very pleasing to the ears.

Amazingly enough, even though its power rating is a minuscule 5 Watts, with the 12″ speaker, this amp can put out some volume! Hence its name “Little Giant.” It probably couldn’t keep up with a drum set and a band going all out, but it can pack a good enough punch to work well in a small venue where lower volume is critical, and it definitely could be put to great use in a studio!

Overall Impressions

What can I say? I dig this amp, much like I dig the Fender Champ 600. But unlike its Fender cousin, the 12″ speaker really lets the amp breath. And speaking of volume, I was quite impressed with the volume control. Unlike many amps that practically max out by 6, the sweep covered by the Little Giant’s volume knob is nice, even and more importantly, wide. Two thumbs up!s

Here’s a video (excuse the dude’s misinformation about Class A amps – damn! That’s even worse than my faux pas about modes 🙂

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Reason SM40 Head

Reason SM40 Head

Reason Amps SM40 HeadSummary: Deep, lush cleans, with bright, ballsy and aggressive overdrive. The SM40 is a classic rocker’s wet dream come true.Pros: Touch-sensitive and expressive. The voltage sag in the 5U4 is just enough to create almost a reverb quality as the signal fades. Truly lovely sound!

Cons: None.

Price: $2195


• Output: 40 watts RMS @ 10% THD
• (4) EL84 output tubes, in Class A Cathode Biased configuration
• (2) 12ax7 preamp tubes
• 5U4 Rectifier tube
• 3 way Stack switch – Normal, Stack, Bright
• Normal channel – Volume, Tone
• Bright channel – Volume, Tone
• StackMode™ – Bright & Normal channel controls are active, Stack Volume & Hi-Cut
• Oversized extra capacity power supply
• Harmonics Switch – works in the final output stage to change the harmonic structure of the
• Power Switch
• Standby Switch
• Half-power switch
• Independent output jacks for 4,8, 16-Ohm operation
• Footswitch access to all three channels/modes

Tone Bone Rating: 5 – This is a blues and classic rock machine!!!

This review is a long time in coming as I evaluated the SM40 over a month ago, but as they say, better late than never. As many may know, I’ve had a love affair with the SM25 that the Reason guys sent me to review, and that amp will be in my rig (see my review here). In my view, very few amps can match it in versatility. It is an extremely expressive amp that is capable of producing lush, ringing cleans, to searing overdrive. And according to both Anthony Bonadio and Obeid Kahn, the founders of Reason Amps, the SM25 Combo was built specifically with versatility in mind. It is very pedal-friendly, and StackModeTM is the greatest thing since sliced bread!

But sometimes, you just don’t want or need that kind of versatility because with versatility comes compromises. For instance, the SM25’s Normal or clean channel breaks up a little earlier than you’d expect though I actually rarely if ever play at the volume so it’s a none-issue for me. Since I play a variety of styles, versatility is a key factor in my decision on an amp. But that versatility is lost on those who just don’t need it. And mind you, that’s not a bad thing. It’s merely a matter of choice, which is why you have a number of amp options to choose from with Reason Amps. Premier Guitar already covered the SM50, which gives a fair picture of the SM50’s capabilities – though I do have to take issue with Premier Guitar giving it the “Loud As Hell” award. It’s not just a noise-maker. It’s just that you’d swear the SM50 is 100 Watts as opposed to 50 Watts. It’s an extremely powerful and expressive amp with classic EL-34 goodness.

The SM40, on the other hand is a very interesting take based upon EL-84 output tubes. Where the SM25 and SM50 are based on EL-34’s in Class AB fixed-bias configuration, the SM-40 is built around two EL-84’s operating in Class A Cathode Bias configuration. Like the other Reason Amps, the SM40 has two independent channels with the trademark StackModeTM “channel,” that combines the fully amplified signals from both Normal and Bright Channels in a series with an extra gain stage, while retaining both the volume and EQ control that each channel contributes to the combination.

The Story Behind the SM40

I called the Reason guys up to shoot the breeze a bit yesterday, but to also pick their brains about the SM40, Obeid Kahn (Reason’s amp designer) and I had a great conversation about the story behind the SM40. For all intents, and purposes, the SM40 was Reason’s first production amp. Obeid had gone through several prototypes before he finally produced the SM40 which included StackMode. Previous versions had completely independent channels with separate inputs, then evolved into switching between the two, then finally evolved into connecting the two channels in a series. So the SM40 could be considered the eldest sibling in the Reason amp line and the first successful incarnation of StackMode.

How It Sounds

The SM40 is targeted at blues and classic rock players, and it definitely shows that in the way it’s voiced. Moreover, there’s something really special about the clean tone of an EL-84-based amp. It’s naturally chimey and glassy, and guitars that have that natural quality bring that tone out even more. On the Normal channel, the kind of voicing is beautiful; chimey with lots of mid-range, but not overdone. And there’s TONS of clean headroom in this channel, which makes it ideal for use with pedals. Put a booster in front of this channel, and you get that AC-30-like breakup, which is subtle and smooth. Very nice.

The Bright channel, on the other hand, is actually not that much brighter than the Normal channel. In fact, the tonal differences between Normal and Bright are so subtle that you’d think there’s no difference at all. But that’s by design. Unlike the SM25 which was built around versatility, the SM40 is a much more focused machine, which is why you only get volume and tone on any channel or mode, as opposed to the SM25 which includes a 3-band EQ on the Normal channel. The idea behind that makes sense: Players who buy this amp will mostly play a certain style of music and don’t want to be bothered tweaking knobs to dial in their sound. Not that the amp can’t be used in a variety of genres, but players who play this won’t want to stray from the general tone the SM40 produces.

Similarities between the channels aside, the real kicker for me is the StackMode “channel,” which combines Normal and Bright channels in a series, while retaining both volume and tone shaping in both channels. This really opens up a whole new pallette of tones you can produce. It’s super-expressive, and because you’re essentially working with three gain stages in a series, this mode makes the amp incredibly responsive to volume knob and attack. Dime the volume on your guitar, and you can get tons of overdrive. Back it down and pick lighter, and the tone cleans right up. In my tests of both Reason amps, StackMode was pretty much all I used, unless I was playing something where I needed a pure, glassy clean tone for which the Normal channel excels.

An interesting switch labeled Odd/Even resides on the control panel. This is a harmonics switch that works with the phase splitter in the final gain stage. The idea behind it is that at super-high gain, you start getting a “notch” type of distortion. Flipping the switch smooths that out. I actually didn’t notice that much of a difference with the switch in either Odd or Even positions, but maybe that was because I was only 3 feet from the amp, and it was cranked! 🙂 For the most part though, the switch won’t have too much of an effect until you get into really thick overdrive.

Playing It

The SM40 was tested with a Strat copy and a Saint Guitars Benchmark with humbuckers. With the Strat copy, you’re immediately taken to the roots of blues. The chimey vibe really comes out with single coils, and I found myself closing my eyes to take in the sweetness. With the Benchmark, the SM40 grew big balls of steel. Not that you’d do metal with this amp, but humbuckers make the SM40 want to growl. It’s really nice.

Overall Impressions

The SM40 is a sweet amp, and like its sibling, the SM50, it’s really made for the stage. It’s expressive and ballsy, and is meant to be played hard. As both Anthony and Obeid have both told me, this amp is made for active musicians. And while I wouldn’t want to keep people from buying it because it sounds so good, by the same token, I wouldn’t recommend it for bedroom use. You wouldn’t be able to take advantage of its full range of tones.

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