Tech 21 Trademark 120 212 Combo

One of the last ones run off, been sitting in the store for a while. Since the features have already been gone over, I'll give the pros and cons of the the features.

Pros
- 3 channels that you can set ANY way you like, 3 clean, 3 dirty, etc.
- Most practical footswitch I've ever seen, with 3 channel switching, reverb and effect loop and boost on/off. Uses standard shielded cable.
- Active EQ allows for good tonal sculpting with any guitar.
- Very loud amp.
- No tubes/tube maintennance

Cons
- No designated clean channel. Clean sound comes from "tweed" setting, which is also an overdrive setting as you turn up the volume. Clean sounds are still quite atttainable at high volume, but I prefer my clean channels clean as they can be.
- Reverb is very bright. I find it very non-muddy, but many people find it sounding like a plate reverb.
- Cabinet contsruction looks to be rather lightweight (possibly particleboard), although i haven't had any cabinet problems thus far.
-Active eq means that the eq can be biased outside of what the speakers can actuall handle, resulting in speaker problems with some settings/volumes.

All in all, the features are exactly what you need and none of what you don't. i would have liked to see more effect loop options and an included y-cable for the loop, and plywood or hardwood cabinet construction.

This amp is just a giant tri-ac pedal. Best solid state sound I have ever heard. Hands down. The only difference in tubes is the note decay and resonoance. All channels are extremely responsive with smooth transitions to distortion. Easy to dial in classic low-gain sounds with minimal tweaking. This thing delivers good tones fast with versatitly that you will not find in any tube circuit. Does it sound as good as tubes in class A? Hell no. Tubes are tubes. This is solid state, and for a solid state amp is unbelieveable in the sound department. The only question that you need to ask yourself is if the extra note decay and resonance is worth all the hassle, weight and money of a tube amplifier. We as guitarists like to think that tone is everything, but the truth is that most people in a crowd couldn't tell this amp from JTM 45 if their lives depended on it. Great sounds. tested with American 50th anniversary Strat and 1978 Gibson SG.

Seems to be solid, however I have heard conflicting reports of reliability. If anything kills this amp in reliability it wiull be speakers or cabinet construction not being able to handle the power or frequencies of the preamp. But none of this has happened to me.

Been playing long time like everyone else here, and own lots of stuff that cost me too much money over the years. This amp is one of the FEW amps I would actually buy over again in the end. So many combo amps suffer from the same problems - weak tones. shoddy construction, little versatility, digital confusion, but mostly too much of what you don't need an not enough of what you do. This amp delivers where it counts. Screw digital preset shit. This thing is loud, 3 channel, organic sounding and playing, with a killer footswitch. That's a hell of alot harder to find than type. At least give this thing a shot. It sucks that they stoped making it. All the tech 21 amps are expensive as hell for solid state amps, but until I play a solid state that sounds better, this things a keeper.

i was told it's one of the last off the assembly line before they discontinued them.bummer..as this is a VERY cool amp.
it does just about anything i want it to,except fold my socks...
3 channels,all with the sans-amp switching...tre'cool,yah!
i really really wish it had a better reverb...it just sounds okay,nothing too special.
i gig this little beastie all over florida,and it eats the other guitarist's rig for lunch...WAY more power than i need,but that's cool.
don't stand in front of it all the way up,you'll go deaf..seriously.
pure analog...ahhhh....oh,sorry.

well,right now i'm running a 61 es-335 into it,and a rather modified stratocaster(it has '69 sg pickups in it!),and a telecaster that i built out of spare parts in my shop.
it does it all,everything that i can throw at it..it does,and does well.
it's not noisy at all,in fact,it's quieter than the active preamp i shove thru the front of it...
with an old ART-DST-830 head(converted into a pre...)the amp is beyond all sane reasoning..i run the two outs into a mono line,and the amp sounds lush...yes,quite.

i read in an earlier review that it smells when you're really pushing it hard..this is true.however..it DOES go away in time..took about 7 shows to do that.it makes a little pop when ya switch the channels..but thats about it..
solid as a rock...

never needed to get it fixed..the company's quite helpful if something ever does go wrong with it,so i'm told.
as i purchased it on EBAY,there's no warranty...oh well...

i have played professionaly for over 15 years,and been playing for 22.
i took apart my DST-830,as i wasn't getting the sounds out of it i needed,so now i run the head into the tech-21,and well..there it is.
1961 es-335 custom in dark cherry burst,1988 strat ultra modified with 1969 sg humbuckers(sounds awesome...)home-built telecaster with ash body,broadcaster pickups,and custom 4-way switch.newer yamaha 12 string,modified with bone nut,and bridge(MUCH better than the plastic)
and that's basically it.
if the company reads these posts..would you please start making these again?i'm going on tour this summer,and would love to have a pair of these...they're VERY hard to find now...

This is a used Tech 21 Trademark 120 60W x 2-12" Speaker Combo made in the USA. It features three identical, footswitchable channels. Each channel features a drive control, amp voicing switch, three-band active EQ, and level control. There is a master boost (variable up to 9dB) and spring reverb (variable) that can be turned on and off on the footswitch as well as a bypassable stereo effects loop.

For those with experience with the Trademark 60 or 10 models from Tech21 NYC, it is NOT an upgunned version of these amps. The channel selection and controls are somewhat different, though they incorporate the same SANSAMP technology. The Trademark 120 is more like an amp-combo of their TRI-AC pedal. It weighs a reasonable 55lbs which is nearly as light as most amps I know of with 1-12" speaker.

The design of this amp is very professional throughout and reflects a great deal of thought and consideration. If you play live, you'll quickly appreciate the flexibility of the I/O, which will help get your signal to a PA quickly and with minimal impact on your sound.

The footswitch is great. It uses any mono 1/4" cable (instrument or speaker, doesn't matter) to switch between all three channels, effects loop on/off, reverb on/off and boost on/off. This means you are not restricted to a pre-determined footswitch cable length. The only problem I have is when switching effects loop off -there is a slight delay that happens. This is something that one can adjust for, though.

The general feel of the amp is minimalist, considering its complexity. Each channel is a duplicate of the other channels allowing you to set each channel however you feel is appropriate. The controls are basic, though adjustments actually do a lot to construct the tone. The master section is the same with controls for reverb level, boost level, and master volume. If compared with digital modelling amplifiers, you'll find the sheer number of controls lacking -but I prefer this setup. Less time figuring out what each little button/knob does and more time creating tones.

The only effect available (not counting amp voicing) is reverb. Again, compared to a digital modelling amp it is lacking. Remember, though, that Tech 21 is all about analogue tone. To include a digital effects section would be counter-productive. Besides, there's that wonderful footswitchable stereo effects loop to mix in whatever modulation/delay-based effects you want. The very fact that it's footswitchable was a HUGE selling point for me. Noisy or tone sucking effects can be completely removed from the chain!

The 60W x 2 has been plenty loud in use. I have played alongside 50W tube amps (Ampeg Reverbrocket and Mesa/Boogie Studio Caliber) and the Trademark 120 has kept up. The fact that it's stereo was another selling point for me. Originally, I was going to purchase two small combos (probably Vox AD50VT or Orange Crush 30R) and use them with stereo effects. Since the Trademark 120 is stereo, that's one less amp to haul around. Some may dislike the close-quarters of the speakers but, remember, some great stereo amps are in the same format (JC-120, etc...). I almost always play through a PA system, so going direct allows a fuller stereo spread when it counts.

What I really like about the feature set of this Trademark 120 is that it doesn't try to do too much but it's totally open to your custom configuration. You can make your setup as easy or as difficult as you'd like and it will get you there. It's a completely analogue piece, so that's what I expect -no digital bells or whistles.

The Trademark 120 looks great, too. There's a neo-classic vibe that translates across a multitude of styles; it doesn't look out of place with any music genre.

I would give it a "10" but there's the lag issue with the effects loop switching.

For my review, I am using a Godin LGXT with stock, tappable humbuckers and a Squier Stratocaster with stock single-coils. I'm playing it against the aforementioned Ampeg Reverbrocket and Mesa/Boogie Studio Caliber 50 as well as comparing it to my notes from auditioning Korg Ampworks, Vox AD50VT, and Johnson J-Station (which I own and use regularly).

One thing I really like about Tech 21 and their Trademark 120 is that it doesn't claim to model, per se. It is an amp voice that you can select and modify. So, when switching to "Tweed" you're not getting a Fender Twin from 1965, rather you get a tone that sounds like an amp that was made by Fender (or another clean/warm American company). Likewise, the "UK" voicing, though said to give Marshall sound, is also capable of sounding like a Vox AC30. It all depends on where you adjust your tone. Tech 21 has also tried to approximate specific artist tones than specific amps and I appreciate that. If you play this amp, you're not going to (insanely) wonder if this amp sounds exactly like the model it claims to be because it doesn't really claim that much. Okay, so how does it sound?

Let me start with the bad. First, the reverb isn't as good as it should or could be. I found it to be rather metallic when pushed and overall one-dimensional with a short tail. It was unusable for me above the 2 o'clock position. I compared this with the Ampeg's spring reverb which was oh so warm and trailed on, effortlessly, and sounded great no matter where the knob was positioned. The reverb on the Trademark 120 is okay sounding; realize that it is the full size Accutronics and this is probably the best a spring reverb will sound on a solid-state amp. Okay. That was the worst part about the whole amp.

Next not-so-good thing: The suggested Vox AC30 settings (Beatles-esque and Brian May-ish) didn't quite get there for me. I know what these artists sound like and the Trademark 120 only gets about 60% of the way there (crap, I just quantified a qualitative opinion). It's probably the negative feedback of the Class A circuitry the Trademark 120 *isn't* voicing that's missing. My Johnson J-Station does a much better job of approximating the AC30 and the Vox AD50VT is untouchable here. I'm sure the addition of the "weep" control found on the Trademark 60 would help tremendously. If a dead-on AC30 tone is what you're looking for, look to the Vox AD50VT. The Trademark 120's AC30 sound is totally usable, though, and that's one of my preferred settings.

Speaking of the "UK" amp voice... I feel that it's sometimes too close to the "tweed" voice when there's a bit of overdrive. With most settings, I can tell the difference between the two but some settings send me checking which channel I'm on.

Next on the I-wish-it'd-do-better list: The Trademark 120 is just not as warm or spacious sounding as the Ampeg Reverbrocket's clean channel. Yes, it can approximate the tone of the Reverbrocket. No, it's not as warm. The upper harmonics of the Trademark 120 seem to break-up more harshly than do the Ampeg's when driving the cleans hard. Again, totally usable tone from the Trademark 120 unless you're examining it in a comparison test (which, I am).

Okay, so I've spent a few paragraphs bad-mouthing this amp (not really). Let me say this: I really, really like this amp. I am keeping it. Here's what I like:

Tone - Three different voices that sound great. There's not much crap that comes out of this amp. Each voice is usable from lowest drive amounts to fully cranked. The Trademark 120 is the most dynamic solid-state amp I have ever played. It cleans up like you'd expect when you roll the volume down on the guitar. You can actually hear the difference when you switch pick-ups and coil-tap on all settings. And the action you take (tone change, pickup change, coil tap, etc...) sounds like it should. I can't say this for any of the modellers (a few models here and there, sure, but

This unit is very sturdy with its construction (hooray! Made in America!) and very well designed to begin with. Though I don't expect it to last as long as a tube amp, I don't forsee any service issues in the near future.

The people at Tech 21 seem quite accessible (Hooray! Made in the USA!) and were quick to e-mail responses (response time of 24 hours -I've *never* seen that in all my dealings with audio companies).

This guitar amp is an amazingly versatile, toneful offering from Tech 21. Using technology that's over a decade old, it sure gives the digital modellers a run for the money. It's quite obvious that the designers put a great deal of thought into this amp that takes it well above and beyond the sub-$1000 crowd that it competes with. Again, my favorite aspects of this amp:
1. Useful, versatile, three-voiced tone.
2. Incredibly useful EQ.
3. Stereo.
4. Bypassable, stereo effects loop.
5. The most useful, practical footswitch included with an amp I've ever seen.
6. Stereo DI on XLRs with ground lift (so smart!).
7. Sharp, unique appearance.
8. Plenty of volume.
9. This is a thoroughly professional guitar amp.

I do wish it had the "weep" control of the Trademark 60 and a better- sounding reverb. One other thing I wish it had was a built-in kickstand. This should be standard on all combo amps!

If you can't tell, I am quite excited that the Trademark 120 is an American made amp. At least this way I am assured that it is built by people under ideal working conditions unlike the sketchy manufacturing used by some other companies in overseas countries. Please, be aware of the exploitation that goes on of both humans and environment to fuel our music-playing craze. Make informed decisions of material and manufacturing when purchasing new and used gear. It makes our music all the more meaningful.

This is a new 2004 model. Solid state but analog not digital. Large box Accutronics reverb unit. Got a deal because it was a floor model. It has the Sans Amp GT2 product built in and includes XLR outs to enable you got go right into the board or recording equipment direct and get the miked speaker emulation. I haven't used that feature to record yet but it does sound pretty damn good coming out of the PA. Pretty cool feature. Three channels all of which you can set to any of the three "characteristic" amp sounds. Tweed, British, California. Cool footswitch included that has a built in 9dB boost. Nice for soloing.

I use it with 2 USA custom shop Washburn models and a Parker Nitefly. I've got Duncan JB's in the bridge on both Washburns and a Gibson 490T in the bridge of the Parker. Both Washburn's have a Duncan 59 in the neck and on also has a Duncan single coil. The Parker has two Dimarzio single coils along with the Gibson I installed. All of these guitars sound really sweet thru this amp. I also own a Fender Prosonic which is a great amp. I bought this to get the "california" boogie stlye bassy distortion and this thing doesn't disappoint. The british setting has a nice "Jet" old 70's rock sound. Clean (tweed) channel is decent but hard to keep it completely clean. It does have a very realistic tube type breakup however which is very usuable. Dirty channels are execeptionally realistic to tubes. Not harsh as I have noticed with most SS stuff.

I haven't had a problem yet but I will say the first one I brought home the reverb crapped out the same night I brought it home. Ended up picking up another floor model at another store. Seems to work well so far. It does have me a little concerned. I will probably not trust it to gig - I'll bring the Prosonic just in case. I'm going to give it a 6 based on the first amp taking a dump the same night I bought it. Hopefully that was a fluke.

Since it was a floor model I didn't get a manual. Which I don't think you really need anyway but I email tech support and Lloyd responded within a day or two with a .PDF file of the manual. I've heard great things about Tech 21 support. Hopefully I won't have to find out but they were very prompt with the request for a manual.

I've been playing for about 17 years and for the first 8 I had about 10 different amps and countless effects. I went with a rack unit in the early 90's because I wanted a more processed sound. When the Digitech 21 pro that I was using started crapping out every other week I decided to go back to combo amps. I've owned Ampeg, Laney, Marshall, Dean Markley, Peavey, Fender. Both tube and solid state. I've been a tube amp fan for years because they really just sound better. Now with the modeling technology it's not necessarily true anymore. My problem is I don't want 10,000 presets and 65 effects that sound cool in your bedroom but aren't pratical live. Most of the modeling amps have all the extra junk that is a total waste for me. I don't want to read a novel to get some sound out of an amp. I just want to plug in and go. Less to crap out, faster setups and break downs etc. The Trademark is simple,it doesn't have a bunch of extra crap that you don't need, but it does have some really useful features and the tone is as close to a tube amp as I've heard.

I've had the same amp for the last 9 years - the Prosonic. I wanted a more modern sounding gain channel and the Trademark fits the bill. It's not a Boogie but for the price and versatility it close enough. It's now my main amp and the Prosonic is going to take a back seat for a while. I never thought I would say that - especially for a solid state amp.

made on 2004 i believed, paid a little less due to the fact the company ered it from re-taped the box.
perfect condition.
I think the features have been well documented, and yes there is a cutout when turning off the effects loop.
very versatile and loud amp.
The recording options are fantastic.

I play a highly modded strat plus with 2 seymore duncan alnico single coils and a sd invader pup in the bridge with 12-way pup selection.
It sounds like a strat when I want it to.

I play everything fom jazz standards to screamo, and this amp seems to be doing fine. NJOT noisy at all, even at high volumes.

tweed channel:
Getting the volume out of this channel is not as hard as people are whining about... just set the volume higher than the master and its done. acts quite like a tweed amp. I dont know though, it is a little too bright and bottom heavy. I Imagine it would sound great with a tele. It provides great burning spear type thin chanky sounds... Personally, O dont think I'll use this channel in my live setup at all.

brittish:
I thought I'd hate this channel. I always hated marshalls.
this is my primary distortion channel. sounds great and isnt muddy. mixes very well with a full band.

california:
when you drive this channel, its pretty over-the-top.
My last amp was a boogie dual recto 1/2 stack, and it seemed to handle my guitar very well. the tech 21 cali channel when driven, might take more kindly to a lower gain pickup.
The CLEAN sounds on this channel sound WAY better than the dual recto.
My primary clean sound. all I could ask for.
the verb got better sounding when I adjusted my pickup height. In fact everything did. Dont underestimate that process...

the verb is ok, it wont cut it in the studio however. I mainly just use a tad anyhow. it DOES sound like a plate verb. horrid decay and clatter. I usually just worry about the room verb when playing live. only complat here. that, and it would be nice if it had a level control on each channel.

this amp is loud enough to hold up, and doesnt do that annoying solidstate buzzy trebly thing at high volumes.
If you think it isnt loud enough, you must be afraid to crank it up.
sounds better at loud volumes. don''t be scared to push this amp... most of the volume comes at higher levels. also, realise that the drive and volume knobs do NOT work the same as on a tube amp.
drive is drive, not a pre volume, so you can pump volume without altering the tone. this is why people have a hard time with the tweed channel.
im giving this a 10, to bump the overall rating higher. I'd give it a 9 otherwise

seems well built. It does get hot and smells a bit as stated before.
doesnt seem to affect anything.

the smell is creepy, but I get the feeling it will go away/calm down after I have used it more.

I am thinking they redesigned alot of the structural issues, as it is not as others have described.
no problems yet, too new still so no rating...

I hear these guys are great. never had to contact them.

i went from a boogie dual recto, so yeah i miss the big distortion.
i think the portability, superior clean sound and versitility out weighs that. before that i owned a 5150 combo. BARF! I'd chose this amp over that anyday.

great amp for the price. recording direct sounds great. plently loud.
easy to dial in sounds. light weight. noiseless. versatile.
this amp is a keeper....

I purchased this amp in March of 2004. I will assume it's one of the latest versions.
This amp has 3 seperate channels that all have a switch to change between different preamps ( British-Marshall/Vox = Tweed-Fender = California-Mesa/Soldano ). Note; these are just terms that I use to describe their voicings such as, the California is much closer sounding to a Boogie than a Soldano but does high gain like these two amps respectively.
The versatility of this amp is so great that it was the leading point of interest.
3 channels side, it has a footswitchable effects loop, reverb and, an adjustable clean volume (lead) boost up to 12db. Simply put, VERSATILE.
This amp also is stereo (loop also) including a pair of XLR out for recording/PA use, it lends a helpfull hand. There is a 1/4 headphone out as well.
Two 12' specially voiced Eminence speakers driven from the twin 60 Watt power amp section.
The power is solid state but pre's are analog. Is there really a difference? Yes and no. S/S maybe but the Analog perspective comes from Tech 21's technology not owning up to traditional sounding S/S amps, thus meaning it sounds, responds and, feels like a Tube amp.
I use this amp for everything from practice to giging and everything in between. It will not leave my side.
One last thing.
It has a great vintage look with the Basket weave speaker cover.
Rating 9. Always room for improvement.

I own a Explorer with EMG's, Les Paul with Seymour Duncan Pearly gates and, a Jackson Rhoads V with PRS Dragons.
The TM 120 accepts all of these pick-ups nicely as well as 9 pedals from my board with no nasty artifacts.
I feel the need to expound apon this cuz' I've heard many say that Tech 21 amps dont like pedals but this simply is not true. If the equipment is set up correctly, It will work correctly.
This amp can and will do any style of music if time is taken to Dial in the tones with the sensitive Active tone controls.
Crystal clean tones to Overlly saturated lead tones can be acheived. Finding the right pre (Cali-Brit-Tweed) is all that is needed to get you there.
Rolling back the volume knob on the guitar results in the signal cleaning up nicely while darkening the treble a bit which is how a tube amp responds. The playing dynamics respond very much the same where as you pick softly and increase strength, the drive will increase as well. Awesome......
I also have heard others say that they cant get the Tweed volume to match well with Brit and Cali settings. This is once again a amatuer at work. All that is needed is a basic understanding of how these active controls work. I get great clean/Tweed settings on channel 1, warm overdriven/Brit Channel 2 and, searing hot lead/Cali tones on channel 3 all with an even volume level. If ya cant get what I just described then, your a rookie. I dont mean to be a nagative D**K, it's just that what some have posted bout' this amp have not given enough time to understand how it works.
Another cool thing about this amp is the reverb. Sweet lush reverb.
I like reverb with upper mids and this is exactlly what this accutronics verb has.
On the topic of volume, this thing is loud!!! It sounds great at low volumes. Even when the volume is at 2/3 up, there is no loss of definition to the lows, mids, or highs. It actually starts to sound better.
There is really not a whole lot more I can say to describe the great tone that resides in this amp.
Rating of 9. Always room for improvement.

This amp has performed flawlessly for nearlly a year that I have owned it.
No maintenance required for this amp cept' for the regular wiping down after a gig.

I will not rate this cuz' I never had to deal with them.
I have heard that they are great though.

I have owned the worst of the worst and the best of the best as far as amps go.
I stared out with a crate 17 years ago. I've had various Fenders, Marshalls and, Boogie set-ups since then. To name a few,Marshall Jcm 800 Combo's (2 50w & 1 100w), Blue tolex 30th Ann. 100w Head, 9200 Dual mono bloc 100w X2 power amp--Jmp-1 preamp, Mesa Boogie Dual Recto 100w head, Nomad 55 4X10 Jensons..... Blah Blah Blah.
Now,
I'm not gonna say that the Tech 21 is better than all of these cuz that would be just dum However, They on the other hand are also not better than the Tech 21. They all do simmilar things but they get the job done in a different way.
I quit using heavy ass huge tube equipment because it was such a pain in the ass to lug around, takes up a lot of space, need to turn em' up loud to sound good and above all, they really were not offering any benefits price or tone wise compared to the Tech 21 Trade Mark 120.
If I was part of a signed act that had roadies and I did'nt need to deal with all that shit, I might opt to use tube equipment to gain that 2% of tone I may be missing with an Analog amp. It will more than likely will not happen and if it did, It would not because of the equipment that I chose so I'll stick with my Bad Ass Tech 21 TM 120.

Made in 2003. This is a versatile solid state amplifier with three footswitchable channels. Each Channel has Gain, Treble, Mid, Bass and Volume controls as well as a 3 way switch to select Tweed, British or California settings. It has direct outs (XLR) and an effects loop. There are, of course 2 12" speakers and 120 Watts. The footswitch also has switchable reverb and boost functions. Both adjustable...nice!

Ah, yes! SOUND!!
This is where this beast shines. A round, fat, warm tone that resonates well and really suits my style well. I play a Godin LGXT and an Ibanez RG and it does them both justice. I use stompboxes to get my dirty sounds, so all I need is a good rich clean tone. The British channel does get some pretty incredible distortion sounds, but I still prefer stompers for this. I set it up with three clean sounds each with slightly different equalizations. One flat, one midboost and one midcut. These combined with the boost function give me six basic sounds on which to build. The Tweed channel will break up nicely at high gain, but again I prefer my footpedals. The California channel is too bassy for me, but younger players will love it. At high gain it sounds like machines eating planets. The tone controls are active and can drastically change the sound especially in high gain situations. The reverb is just OK, but the boost is really sweet, you can set it to attenuate or boost your sound and it doesn't change the character of the the tone. The footpedal is nice. The ability to use a regular guitar cable is a nice and welcome touch. Well done Techsters!

Tech 21 has a good reputation, but I've heard that earlier models of this amp were rather fragile. This one isn't. I hope I never have to find out about their suppot. I always carry a POD in my suitcase in case of failures.

Again, I hope I never have to find out. I did call to order a cover (pricey @49$)and they answered right away and were way cool.

I've been playing for 20+ years and I absolutely LOVE THIS AMP. I would certainly buy another. I own a Fender, a Marshall, a Kustom, a Line6 and an Ampeg and this is the amp I bring to gigs.

2002 TM 120

This amp is very versatile and works well with my playing style. I'll keep it nice and short, this amp is worth checking out! Now, you need to sit down with it though, and understand the EQ! This does not work like other ordinary EQs. Very important that you dial-in to the sounds with the EQ with the setting of the amp style you want. I think some of the unfortunate posters may have missed this very important point.

A couple of things I wouldn't mind seeing in the amp would be a post
send of the effect loop to ear phones, External and internal Speaker combined with out negating the internal amp speakers. Added true stereo chorus would be a bonus. Reverb could have a little more definition and depth, hard to explain (sounds more like a plate reverb). Other then that, this amp ROCKS!

I use a '97 USA Standard Fender Tele with stock pickup and a '72 Les Paul standard with P90's stock, an '81 Japan Fender Squire 60's Strat re-issue with EMG's. All these guitars match really well with the different amp types.

I play mainly classic/hard rock dated from the 70, 80, and 90?s. This amp
fits well with all those styles. This amp is very quiet by it's self, it's unreal. When I put outboard effect in the loop, I get a little noise. But I've worked this out with a noise gate and compressor and everything is great!

The clean tweed is one of the most difficult to get. Use a guitar that's got hot pickups (lots of gain without overdrive) i.e EMG's. I find that the amp has got a great clean sound but you do need to push it on the channel level to get it out there. When you sit down with the amp on stage, first work out the levels with the master and clean channel level first to the desirable playing level (stage volume). Then work in the levels for the preamp channels. I'll some times use the boost for clean when I need that extra push.

The SansAmp preamp is the best modeling technology I've ever heard. This is by far the closes to the real valve sound without playing through tubes!

N/A

I've been playing for 25 years. I've used up to this point a Wizard 50 watt EL34 tube head and a 2X12 closed back Wizard cabinet. Although the Wizard is a great amp the Tech 21 out does it in the versitility department. The TM 120 is going to be a hard act to follow!

Other amps I've compared with are a Vox Velvetronex, PV Trans-fex pro,
Fender DSP, Line 6. I've seemed to come back to the Tech 21 though. I love the vintage style package and you do feel like you are working with a tube amp and you don't even have to close your eyes!

I would love to see Tech 21 come out with a powered 120 2X12 external
stereo cabinet!!..Hey, call it the Power Engine 120!. I would buy it in a flash. I would like also to suggest the Tech 21 include the amp cover! That would be a nice touch.

Amp was bought 2003..Approx $1100.00 CAN. This amp is very versatile and fits well with the different styles I play. Anything from Classic rock to Country Rock stuff. I play Van Halen stuff to SRV in a flick of a switch, this amp really does it all in one shot really well!..It
has almost all the features I would ever need. Although I wouldn't mind seeing a build in digital stereo chorus option..But that's ok. I get it all through a S100 studio stereo effect rack anyway!..I use this amp on stage from a 75 person venue to a 500 person venues and have no problems hearing this amp..I do prefer a mike in front of the cone instead of the SansAmp line out option. That option is more useful to me in a studio setting.

I use a 1975 Gibson Les Paul Deluxe with slandered mini hums in it. 1997 Fender Telecaster with a Dimarzio Chopper T and Fishmen bridge pickup. 1987 Kramer Paser Dimarzio super 2.

This amp fits very well with all the musical styles I play. Anything from Rock, heavy Rock, Country Rock, Jazz..This amp does it really well. Sounds allot like the amps it models. I know because I've used and own a Marshall JCM 800, Mesaboogie Mark4 Combo, Fender Twin and I've left those behind...No more tube replacing!!!..

I found this amp had to be tweaked to get a clean Fender Twin like sound. But once I got it it was great!..This amp is not super clean..it will give you the level of clean that you would see from a tweed amp..

Preamp overdrives!..What can I say?..You got to hear the SansAmp technology to believe it..Very worm tones from all level of preamps settings..If you want more bite, then add a little highs from the channel EQ..

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I've been playing for 25 years. I do have two SansAmp GT2. Digitech S100 Studio effects rack. God forbid anything of mine gets stolen..This amp was a little on the heavy end in terms of cost. I would definitely buy another one after killing the bastards that stole
my amp..He..hee! I've done allot of cross comparing with other modeling amps like the Line6, PV amps, Fender and found that the Tech21 does a great job with making the amp respond to the dynamics of my playing. The amp behaved allot like a tube amp would. The other products seemed to thin out and loose texture and tone..something you don't want to have to deal with.

2003 model; three identical preamps (imagine three Trademark 10's in one package); stereo power amp (60 watts per side).

I played my Fender strat (loaded with Lace Sensor Hot Golds) through this amp. The Tweed (clean) setting was interesting but there was way too much bass - I had to trun the bass control down to zero, and still there was too much. I can only imagine how unmanageable this would be with my Les Paul or another humbucker-equipped guitar.

The British and California settings were kind of interesting, although they suffered from the same bass problem I discussed above. Also, I wasn't able to "dial in" a "medium overdrive" tone.

The Trademark 10 and the Trademark 60 both offer more interestinf and useable sounds.