Tech 21 Trademark 30 110 Combo

Documented in other reviews. SansAmp type pre-amp layout.

As a practice amp it is OK, just.

A bit dissapointed as I own a TM60 which is a good working amp.

This is nowhere near as good. You cannot gig with this as it is nowhere near as loud as you think. I play in a blues trio Ac' Guitar, Harmonica and Lead guitar (gibson 336)no bass and drums, when the monitors were turned up I couldn't hear this amp without foldback!

Very noisy also.

I must admit I should have realised that thiss is 30 SS watts.

OK.Not a gigging combo.

Good.

Very dissapointed as I could have bought a Fender Blues Junior for this price and at least I could have gigged with it. I don't know why they released this amp as it doesn't fill any gap in the market. The TM60 is a great amp for the price this isn't.

Clean sound is not loud enough, cannot jam with a band in a rehearsal room.

I traded this in after 6 months and lost more than I expected. Traded up to a Rivera Clubster 25 1x10" combo....... amazing but a lot more cash. No comparison.

Was a big mistake buying this, also overpriced in UK.

I like the variety of sounds that can be coaxed out of this amp. Mainly I use a Fender type of sound (Amp: Tweed, Mod: Clean, Speaker: US) and a Marshall type of sound (Amp: British, Mod: Clean or Hi Gain, Speaker: UK), but mixing & matching can come up with lots of good sounds.

There's no ability to run a footswitch to it, though. As a practice amp, it's one of the best I've played, but as a performing amp it leaves something to be desired.

I'm using a fat Strat, playing classic rock. It works well for that. However, obviously there's not much low end. So, when I used to play it in a band, I cheat I ran the XLR direct out into a spare input on my keyboard amp with its 15" speaker. That way, both the keyboard amp and the internal speaker produce sound. Boom, instant fullness.

I prefer the general tone and feel of this amp to any other solid-state amp I've played (Valvestate, Transtube, Dynatouch, etc.) except the Trademark 60. The 10 rating is given in comparison to the TM30's peers: SS, non-modeling amps.

I teach at a high school where we have two Trademark 10s and two Trademark 60s. Tons of high school students play through them every day and the only trouble I had with one was a power transformer going bad after the amp was severely abused. Based on my experience with them so far, Tech 21 makes very reliable gear.

Have not dealt with them. Repairs were well out of warranty.

This is an excellent, excellent practice/jam/very small gig amp. The only thing more I could ask for is floor control.

This amp has a wide variety of sounds. With all the versatility, I only wish you could purchase an xtra footswitch to be able to switch sounds. I would have pad xtra cash for this as even during recording I'd like to be able to change channels. I like to record in a similar way I'd perform so as to avoid that 'fake' vibe of changing sounds by stopping the recording and opening up another track. Otherwise the user interface on this thing is simple and well laid out.

Also, the cab and minimalist design of this is just awesome in my opinion. It baffles (in a good way) whether it's a vintage or modern product. I almost kept this (see sound comments below) just because it's so well designed.

Finally great output and headphone out.

Bummer. I was so looking forward to this amp for recording as my tube mesa and fenders have to be cranked to get 'the sound.' I really don't want to give this thing a mediocre review as it's such a well designed product but I must...

First of all, I have to agree with other reviewers that this little thing is WAY, WAY too noisy. I primarly bought this for recording, and it makes my 30 year old fender seem like it's quiet! I thought solid-state meant quiet?? The problem is that it hisses right in the sweet spot of your hearing spectrum and it cuts through not only during playing but in the recording as well. Yes, I did try the ground switch, plugged it into different plugs in different room (we have super clean conditioned power in the studio.) Many times, I play quietly with my amp cranked to get a rich and tense sound and this thing hissed and hummed ruining every nuance.

As for tone: (I'll admit first that I'm a spoiled tube brat.) Remember that first time that mean bully on the playground coaxed you into putting a 9-volt on your tongue? Well this thing sounds exactly like how that feels: sweetly metallic. This 'metallicity' pervades all the settings, rendering you with a 9-volt flashback-headache after 15-minutes.

Finally in terms of overdrive: if you can somehow, analytically put aside the harsh metallic quality, the distortion sounds kind of OK when you're plucking the strings like a gorilla. However as soon as the sound starts to fade, there's a much too noticable 'seam' in the sound from distorted to clean as if the overdrive is almost swithing off as the signal dies down. A very bad thing if you like to sustain notes and leave nuanced empty spaces while playing. But of course that emptiness will be filled with the hissing and humming anyway!


I really wanted to like this amp, did I say a million times how well it's designed and how pretty it is?

The reverb sounds great, though...

Very well built. did I mention how well designed and how pretty it is? I'm glad it has metal input jacks and isn't built like a toy like other comparable modeling amps like the vox's.

even before I bought this thing, I emailed tech 21 to find out if or when they would make a footswitch to change sounds on this. Nice explanantion from them, but their suggestion was to just buy one of their overdrive pedals... huh.

I really wanted to keep this amp as it had the near perfect options for my practice / recording setup. I returned it to today and am on the search for something that doesn't sound so metallic and isn't so noisy.

It's clear that tech 21 put a lot of thought into this thing. I just can't get over how bad it sounds. I was my bad: I noticed a (slightly) harsh and metallic quality on the website and attributed this to the mp3 file. In real-life however the bad tone was 10x more real than what some of the otherwise nice sound-clips only hint at...

Did I mention how well designed an pretty this this thing is?

The features are pretty well known, but for those not familiar, it offers three amp types (Tweed, British, California), three gain modifications (Clean, Hi-Gain, Hot), and three speaker types (Flat, UK, US). The amp types are intended to conform to Fender, Marshall, and the California customs. The gain switch positions interject tube-simulated overdrive, although I don't perceive much difference between the Hi-Gain and Hot positions. (Tech 21--do I have a dirty switch?) In any event, with the Drive knob cranked, one can get as much distortion as one's likely to want in an amp of this size and volume. The speaker positions interject somewhat more low midrange as one goes from clean to US.

As others have pointed out, there's no channel switching, so with gigging, you either pick a tone you like and live with it (that's usually OK for me) or reconcile yourself to walking over and flipping a bunch of switches and readjusting gain levels.

The amp also has level ("drive") and master volume controls, active 3-band EQ, spring reverb, XLR out, 30W, 10" speaker in a 15 lb. total package. All wishes for more and bigger should keep this in mind. If you value ease of moving much, this is spectacular. Next to this, my Blues Jr. feels like a tank.

It doesn't have any digital effects, but as this is not a digital amp, I'd rate that a plus.

The amp is intended to be very versatile, but it has its limits. The only clean sounds are in the tweed setting, which is where I end up using it the most.

I've been through a zillion practice amps, and I figured I'd take the plunge and go with this, partly because I'm very satisfied with a Trademark 60 I've had for a few years. I was going to give this a 6, mostly because the clean sound sounded limp, until I discovered a trick. Old Fender amps don't have master volume controls. I have a late 60s Vibrolux Reverb, the gold standard to me, and it sounds great, but once the volume knob goes past about 3, one just gets more overdrive.

The trick to get the Trademark 30 to sound more like a Fender is to treat it the same way. Crank the master volume all the way up (only backing it off later to protect cohabitannts and neighbors), put the speaker switch on UK, put the mod switch on Hi-Gain (or Hot, on mine it doesn't matter much), and with the amp switch on Tweed, use the drive control like a Fender volume control. It'll start overdriving at around 3, but the fullness comes back that's totally missing in the Tech 21 manual's suggested "clean rhythm" sound.

I don't use the distortion settings much, largely because of the absence of easy channel switching.

I haven't done any recording or live playing (with the XLR), so I can't speak to that, but I'm really glad to have the capability, knowing I could tote this thing to a gig and just plug it into a PA.

This has been fine so far, including having to ship it to Canada. I have had reliability problems with the Trademark 60, but thanks to the helpful customer service, those have been taken care of. I'd take it to a gig, but if you're in the habit of cautiously bringing a spare, as am I, I'd stick with it.

I'm not sure if my mod switch is defective, with little difference between "hi gain" and "hot" positions, but it's not a big problem.

I'll second all of the other reviews. Tech 21 will get back to you via email in a day or two with an answer to any question, including that bizarre solution to squirt capacitor cleaner into the send and receive jacks, as someone mentioned below. I had to fix a problem with the Trademark 60 the same way.

Having figured out how to get it to sound somewhat like an old Fender, I'd stick with it. We all dream of the perfect practice amp. This isn't it, but with the features in a small and lightweight package, this may be about as good as it gets. It is kind of expensive for a practice amp, but really does a nice job.

No complete review (I own the Trademark 10), but an important piece of information for those who complain about cold, harsh, tight or metallic overall sound: Do try pure nickel wound strings (like Fender 150s) instead of nickel plated steel wound strings. The sound will change completely: To real vintage warmth.

Features described in detail by others and on Tech 21's website. "8" rating is because it's a single-channel amp. Could only be more versatile if it was a dual-channel switching amp. But you can get a tremendous range of sounds out of this amp.

While not exactly a "feature," a bonus is the 4-ohm output, which means that you CAN plug it in to just about any other commonly-available guitar cabinet. Just for giggles, I plugged it into a 6x10 Traynor cabinet (5.3 ohms) and that took care of any "lack of bottom" issues. Naturally, power output is less going into higher-impedance cabinets, but depending on speaker configuration and efficiency, you should still get plenty of volume.

Of course the youngsters aren't going to think this amp is loud enough to gig with. And if you play in a full-bore, slammin' rock band, it's not. Nothing short of a two-twelve 50W tube or 100w SS amp or more will be.

But if you're aspirations are of a slightly more mature (elderly? fuddy-duddy?) nature, this amp has plenty of volume. I recently played mine on the main festival stage at a local event called "Hampton Bay Days" with two other electric guitarists (one using a Fender Hot Rod Deluxe, the other using a Crate V30 AND a Peavey Classic 30), two acoustic guitarists, a keyboard player, percussionist, drummer, bassist, trumpet and tenor sax. It was a big stage, so we were pretty spread out, which no doubt helped, but I had no trouble hearing myself with the amp turned up about half way on the master level control. And this was with the amp on the stage, not on a stand. Don't know how the FOH engineer felt, but the monitor guy loved it.

The amp is a little boxy-sounding, compared to a larger amp. How could it not be? It's an open-backed cabinet, barely large enough to contain the 10" speaker. There's no way to get a full, thumpin' bottom end out of a package this tiny. If that's what you want, why are you lookin' at a tiny combo amp? The notion of this in a 1x12 configuration is pretty intriguing, but OTOH, they already have the Trademark 60 for that. FWIW, I think this is a more useful unit that the TM10, but still just as portable. I like it the way it is.

So if one gets realistic, and evaluates the amp on it's own merits instead of how it compares to a 4x12 triple recto, one can't help but be impressed. For blues or classic rock, the amp has plenty of body, and plenty of volume if you have a drummer that listens at all to the rest of the band. And when you combine that with the size and weight (or lack thereof), it's really attractive for the casual pick-up gig, open mic or jam session.

There's a host of sounds you can approximate convincingly with this amp. The sound I like works pretty well with all my guitars, and responds well to the guitar volume control, to go from clean to loud & distorted enough for feedback effects. I'm currently using the British amp, the Clean mod and the US speaker, with the gain a little over half way, and the EQ adjusted to how I'm hearing at the moment.

While I haven't recorded with this amp yet, I have run the direct out thru the mixer and listened on the monitors, and for some reason, the direct sound is closer to the speaker sound with this than it is with my TM10. In any case, I've gotten some sounds I'm really happy with using the TM10 direct, and expect I'll get equally satisfactory results with the TM30.

I've compared this directly with a Roland BC-30 and a Tech 21 Trademark 60. In my garage, the TM60 can be noticably louder, but only if cranked higher than the level I gig at. The BC-30 is not necessarily louder, but it has more bottom. It's also honkier. The TM 30 keeps up remarkably well for it's tiny size, and while not as robust on the bottom end, it's by no means thin or tinny.

I haven't had this long enough to have a worthwhile comment in this regard. Every other Tech 21 product I've had (three others) has been very reliable. So in anticipation of similar reliability I'll guess "9."

Tech 21 has the best customer service I've ever encountered anywhere, anytime, for anything.

I only needed them once in 7 years, but I can't imagine Lloyd helping me out in any more expedient fashion. Helped me diagnose a problem, and even sent me some parts (free), even though the amp was long out of warranty.

Read any of the Tech 21 reviews, and you'll see the gist is that almost everyone has had positive customer service experiences with Tech 21.

I've been playing for 30+ years, have gone thru numerous amps both tube and solid state in search of great tone and reliability (I play and teach full-time). Tech 21 stuff has become my "go-to" manufacturer, 'cuz everything of theirs that I've used or come across works, as advertised, every time. I like the tone of my TM60 better than any amp I ever owned, and have logged better than 500 gigs with it with only one minor problem.

The TM30 is different, but just as good in it's own way. As a rehearsal, recording, and "casual use" amp, it's perfect for me. It's pretty much a "find one sound and go" kinda amp, but that's usually the way I roll anyway. If you need a couple dozen different sounds on tap, and want effects, obviously you need to look elsewhere.

The big appeal to me is the portability combined with good volume and tone.

It does have all the features one would hope for at this price range. The nice thing is the DI out through the headphone jack or xlr. It uses the sansamp for direct recording.

First off, it sounds like a practice amp. Not real big on how it sounds out the cab. It seems to be loaded at the mid frequencies (tech 21 states a 10db boost at 4K). I use an eq pedal anyway so I just cut there to get it close to what I like. The tweed setting sounds damn good to me. Especially when you add a nice analog chorus to the loop. This amp is great for a practice amp. Just does not do it for me out the cab for anything else.
Now on to the direct out..............EXCELLENT! sounds fantastic in the cans too. This thing is fantastic for direct recording. It is worth the price paid and more just for that alone. I would imagine if you ran a powerengine or two ooff of this it may really come alive. Wish I had one lying around to try.

Take care of your stuff man!

I emailed them the day I bought it wondering why I had a black grille cloth. They emailed me back the next day. I have one of the first 250 made.

For a practice amp it sounds fine (especially the tweed setting). Direct for recording (and I would imagine to pa would be nice) it really takes the cake. I jam out on this all the time with the cans on just cause it sounds that good. I chose this amp cause I needed a practice amp and it had the most features without 1000 effects and 1000 amps and 1000 cabs.....etc all smashed into 1000 banks(I am sure you get my drift. It has what you really need in a practice amp plus it sounds great when running it in the studio (I own and operate a studio).

I hate to lowball, or mediumball, this thing with only a few other reviews, but I gotta share. I really wanted to like this amp, based on the soundclips at the site and the glowing reviews, but to me this amp, at its worst, sounded noisy, harsh, metallic, (those may be good for some, I suppose) and small. My amp of comparison is an old hybrid combo with a 12AX7 tube in the preamp (that has been to the shop too many times, thus the need for a new amp). Never thought I would be one of those tube purists, but maybe that's what I have unknowingly become.

One email to customer service was lost in their spam detector, apparently, no biggie. Also, I think they should go ahead and post the pdf's of their manuals on the website, since they have them (why should I have to ask for them?).

Documented in previous reviews.

Very nice recordable tones from XLR DI. Even with pedals in front of clean settings produced good results. Unfortunately the volume produced from this combo is unlikely to compete even with a quiet drummer. It is a great bedroom amp and as mentioned great for recording. I should have remembered that 30 Solid State watts are not as loud as a valve combo of this rating. I still think you could take this to a gig and if you have good monitors should sound amazing!

I think the speaker dulls the sound a bit.

4 ohm extension cab out, hmmm... pity it wasn't 8.

First combo arrived with reverb not working. Combo replaced next day.

Own other T21 products, email them and they get back very quick.

This is a geat little amp, well built but...... way too expensive in UK... almost twice the price of US model. Someone is making a lot of money importing as this weighs so little. I would have been more happy with the LE model at this price. Low rating because of price... not Tech 21's fault.

However if you do not own any other amp simulators for recording this might be well worth buying as a Sans Amp/Tri-Ac is expensive in UK.

Would give it more marks but I'm Scottish and like Value For Money.

listed in previous review, not alot of features but you do get a few different amp sounds.

judging it as a practice amp, I like it, it sounds good. the tweed/clean is clear not too chimey. no sparkle like Fenders can, the british can get a good overdrive and the california sounds the british with more bottom. I use a '52 RI tele, a US tele that I mod with a Gibson 490 series at the neck and a deltone at the bridge, a les paul, Tokai strat, Rick 350v63. they all sound good from this amp, humbuckers are benefits alot more from this little amp and it fun to play, amp is not noisy at all.

one slight issue when I first got it, I got the black cloth grill so it is among the first 250 Tech 21 produced. I play it practically everyday but still too early to tell but then I don't abuse my amps.

when I first got it the sound would not come out from the speaker, like it stayed trapped in a bag or something, hard to describe but call Tech 21 and a gentleman name Llyod had me sprayed some contact cleaner in the send in/out at the back panel and presto the amp openned up the sound came pouring out of speaker and no issue since. I am sure I will not have any more issue with it.

I recommend this as a practice amp, I compare this to a Vox AD15VT. the Vox is warmer sounding and more open, the trademark is tighter and not as loud. I actually A/B them together and I enjoy this setup. and this baby is made is the good ol' US of NJ. :}
this is a good practce amp if something happened to it I go for the trademark 60.