With boutique-quality tones for recording, coupled with enough power to use on stage, the 101 Mini Head is the perfect amp head for the modern musician. Despite its small size and streamlined 5-knob control panel, this amp head can also serve as a backup for almost any stage amp .
The exclusive TRI-Q control blends three distinct voices, scoop, normal, and lead providing much more tone shaping than an ordinary "tone" control. The EFFECTS LOOP provides an idea place to connect "sweeteners" such as delay or chorus, adding their tone to the overall sound of the amp, including its overdrive. The Effects Send also provides a line out signal, and the HEADPHONE jack provides private listening as well as an alternate line-level output. DUAL SPEAKER JACKS on the back drive any normal speaker with a warm, musical response, and the amp is stable with no speaker connected.
TRI-Q: As indicated by the graphics on the face plate, this control travels smoothly between three basic eq patters. These settings affect the relative strength of low,mid, and high notes prior to reaching the overdrive section and therefore, help control which notes reach the point of overdrive first.
--The Left end of this control engages a mid range "scoop." This setting tends to clean up the sound by reducing the volume of notes in the middle of chords, which can add to clutter. This allows the sound to be dominated by low notes and chiming highs, which creates a big bright sound, excellent for rhythm support and clean "acoustic" voicing.
--The central zone is basically neutral, representing the true sound of your guitar. The mid range is full bodied, which produces a lush, relaxed tone with more potential for overdrive.
--The upper range emphasizes middle and high tones, for a classic lead-guitar voicing. By reducing relative bass gain, low notes don't bottom out so easily, so plenty of overdrive can be used without chords becoming too muddy.
This five-way switch selects among five overall tonal personalities, applied before and after the overdrive section, thus effectively giving you five different combinations of amplifier power and underlying EQ curves. It's almost like having five amps in one!
--Full Q: This is the baseline sound of the amplifier, with no superimposed tone shaping. The overdrive distortion is inspired by vintage British amplifiers using EL-84 or EL-34 tubes, with a smooth controllable entry into mild breakup, which can then be pushed further into plenty of incisive sizzle and slashing lead notes. The output wattage at the point of breakup is printed around the master control, which allows the power to be kept within the speaker's rating
--Tweed:Tone shaping is added after the overdrive to mellow out the highs and create a smaller, chestier bass response, inspired by the tone of early open-back amplifiers.
--Jazz: Input gain is reduced, and the clipping threshold is increased, to produce more clean headroom, without any added EQ voicing. The relaxed neutral tone response will remind you of vintage amplifiers used by early jazz guitarists. There is still enough gain to get into overdrive, so if you go there, remember that the maximum power is increased to 100 watts, and adjust the Master accordingly to protect your speakers.
--Surf: An overall scoop is added to the preamp EQ, inspired by the tone of 60's era Fender blackface amps, and the peak output power is increased to 100 watts. The result is a big, clean, sound with lots of body and chime and less mid range clutter. As always use the master as necessary to reproduce overdrive dynamics at any output volume level.
--Lead: the preamp's full gain is available for maximum overdrive. A bass-treble boost and mid range cut is applied after the overdrive stage, for maximum incisiveness and penetration. This enhances the overdrive harmonics and produces musically louder tones without actually increasing the net power into the speaker.
As indicated by the panel graphics, this control progresses from the amp's neutral full-range response to the left , to a milf treble reduction in the middle, and to a steep treble reduction with a frequency peaking on the right.
--The left end allows the amp to develop its full brightness and overdrive sizzle. This will usually play well with average guitar speakers, especially those with a somewhat mellow tone.
--When using headphones, full-range speakers, or for direct recording, the full range sound may be too "fizzy," so increase the hi-cut to take the edge off. Even with regular guitar speakers, many players refer to the sound with Hi-Cut somewhere in the middle.
--The upper range of Hi-Cut progressively rounds off the tone and adds a mild presence peak with a singing quality. This tone can sounds good for blues or soaring leads. Sweep the control up and notice how the frequency peak continues to move down the scale. The right end of the Hi-Cut range will be almost flute-like.
This control regulates the overall loudness or power level of the amplifier, without changing the tone established by the other controls. For general convenience , wattage marking are shown from 0 to 50 watts, which should aligh with tube amps having similar wattage ratings. The power scale is most accurate for the Full Q Voice setting. The other voice settings increase or decrease power at certain frequencies, so the marking are only a guideline.
Power Output: 0-100 watts maximum 4-8 ohms
Ac Power Requirement: 100-240 Vac, 50-60 Hz, 150 W mamimum
Input Connection: 1/4" mono, 2M input impedance, 6V peak
Effects Send: 1/4" mono, 1V full scale 600 ohms
Effects return: 1/4" mono, 1V full scale, 47K
Headphone Output: 3.5mm mini jack, 4V peak
Speaker 1 Output: 8ohms, 60-100 W recommended speaker rating
Speaker 2 Ouput: 4 ohms, 60-100 W recommended speaker rating
Dual Speakers 1+2: 8 ohms each, 30-50W recommended rating each
3.15" x 8.5" x 5.8"
H W D