Tone King Comet 40B 212 Combo

2 footswitchable channels
non - master volume
2 - dual mono power amps (footswitchable in lead mode only)
4 - 6V6 output tubes
tube recto
double sided plated through printed circuit board
reverb
Light weight, durable cabinet construction

I play mostly blues based rock - SRV, Hendrix, Jeff Beck, and some Robben Ford, EJ etc. This amp does the job very well. The clean channel has lots of character and the OD channel can go from a little crunch to tons of gain. The minimal controls have maximum effect on the sound with plenty of adjustment for individual tastes. I play a mostly stock Mex Strat and aim for Robben Ford, Eric Johnson tones. I expect my Strat to hold its own with any Humbucker equipped guitar in terms of fatness so the amp has to be right to do that. This amp can do it. The amp was kind of bright when I first got it. I swapped one preamp tube for a Sovtek LPS and that helped it some. But mainly it appears the amp just needed breaking in. In the last 3 months it has mellowed a good bit and is just a joy to play through now. I suspect the the speakers have loosened up a bit, and tubes have worn slightly causing the amp to sound better and better. I agree with earlier post that this amp also sounds better as it is cranked but I get a good tone even at a low volume too. If you want bedroom volume, get a 1 watt amp! I have gigged with it and it sounds great, even outdoors. I don't use the half power option. It does sound about the same at half power (breaks up earlier of course, which is the point), but seems to lose some fullness that I need. I have a friend who gigs constantly and he swears by the 20 watt setting when soloing.

Never had a problem with it. It is very well built.

Mark Bartel always answered my emails about the amp and has been very helpful when I had questions. The amp has never needed repair.

I have been playing for 35-40 years and have owned lots of equipment. The Comet has been one of my best purchases ever in terms of value/dollar. It is easy to dial in a good tone quickly. It takes effects well although distortion or overdrive effects seem to work better on the lead channel. Since writing this review, I have sold my Comet, only because I now know enough to build my own amps from scratch with exactly the features I want. The Comet is a fine amp and I don't hesitate to recommend it to anyone needing a very well made, great sounding combo.

2 Channels, lead channel has half power footswitchable (sometimes very usable), reverb, effects loop (not used). ETC....

I play in a reggae/acoustic/rock/jam band.

My guitars are 2 strats, 1 with a maple neck and Fender Custom Shop 54's in it, and 1 with a rosewood fretboard and DiMarzio Class of 55's (neck, middle), and a DiMarzio Red Velvet in the bridge.
My pedal chain is a Budda Wah, Menatone Red Snapper (OD), Barber Direct Drive (heavier OD), Apex Tuner, Line 6 DL-4, and a cheap Digitech multi-pedal for chorus, phaser, and compressor.

I use the rhythm channel for everything but solos. The volume is set at 4, treble set at 3.5, bass set at 6, and the reverb on 5. This setting just barely, barely breaks up when killing the strings. A fender Bassman-esque break up.

Very sweet clean sound that is super responsive to string attack. Very clear with the neck pickups, I think it sounds better with the DiMarzio (seems a little fatter, rounder). The bridge pickups are a little biting (SURPRISE!) but the strat with the Custom 54's has a tone control for the bridge, and bringing that down to 7 - 8 works very well to smooth it out. The reverb could be a lot better. Excellent note definition in solos, and clarity in chords.

The Lead Channel's settings are volume 4 - 7, depending on the half power switch's status (4 for full power, 7 for half power), MidBite at 3, and Tone at 4. This channel breaks up differently, and earlier than the other channel. It starts to break up around 3, and has tighter distortion sound, kind of Plexi-ish, with less treble. Stays fairly clean unless really pushed up to 9 - 10.
*** NOT A HIGH GAIN CHANNEL!!! ***

It handles pedals very well, and maintains its character.
When used with a Keeley compressor (set to very low compression) the amp sounds spectacular on the clean channel. That was the clean sound I'd been looking for, especially with the DiMarzios.

I bought it used, about 5 years old, and used heavily on tour by Rich from O.A.R. One of the speakers quit working shortly after I got it, but I talked with Mark Bartel, Tone King's creator, and he's going to replace it/fix it, as soon as I can find the time to get to his shop.

Mark is awesome. Responds quickly to emails, and wants you to call him.

Overall, I do like the amp a lot. It has a very punchy tonal character, and looks good on stage. Anyone looking to seperate themselves from the herd should look into finding one of these discontinued amps, or better yet, check out Tone King's new stuff. That's what I would do if this were stolen. It also sounds awesome with the 2x12 cabinet that I bought with it (but never get to use!).

*** Also make sure you change your strings often with this amp, it will show if you're using rusty/dull strings ***

See earlier reviews

I have owned this amp for 2 years and am continually amazed at the tones available especially with a lighter attack. My D'angelico sounds amazingly warm and sweet, my tele is raw and janglely, can find some cleaner hendrix type tones with the strat and by the way I played a Danny Gatton Tele with Bardens and was amazed at how that fatter sounding pickup hit the power tubes.

I have sent it back to mark twice now. He was quick with a resolve.

Mark handled my needs promptly

This is an incredible amp. If you are looking for black face fender/tweed/marshall tones to die for please try this amp.

2 channel single input "Dual Mono" design amp. 6V6 2X12 open back cabinet. 40W with a half power/one speaker 20W option.
Effects/bypass loop.
This amp is NOT point to point, but rather a more "modern" PCB circuit amp.
The dual mono in theory is a great design. (more on that later)

This amp has enough features for a solid player with good technique.

I play anything that comes to me. I play a lot of blues, jazz, rock, some Middle East type stuff, etc. etc.. and the Comet suits my styles fine.
This is a very quiet amplifier. Mark states on his website his thinking on point to point vs PCB wired amps, and his products go a long way towards proving his point. My Comet is an extremely well built high quality amp.

This amp is not designed to be played in the bedroom. This is definitely a club unit. It is designed to be played loud, and it doesn't even really open up until you crank it a little (which is around 2&1/2) It has a very forward projecting, almost midrangey kind of voicing. Personally, I could use a little more low end, but when I'm playing it at volume, I don't honestly notice. It actually sounds better loud.

As you may infer from the above statements, this is a VERY LOUD amplifier. I have a Clark Piedmont as well, and the Comet is much louder (although my Clark is in a category by itself, but I'm writing a Tone King review!) I can't overstate this. This is a seriously loud amp. I find myself staring at it in disbelief whilst playing. I've even looked for extra hidden power tubes!! I have no trouble at all keeping up with any drummer I've played with. It also weighs much less than my old "Evil Twin" so my back is very happy.

Now about the lead channel...
In theory, with the lead channel, you can switch to half power/single speaker mode, and therefore overdrive the power output section of the amp, thereby gaining true distortion (as opposed to cascading gain stage pre-amp model distortion) which I am a religious adherent of.
On his website, Mark warns people that to properly use the lead channel, amp placement in the club, baffling, or a power attenuator may have to be employed. He even suggests using a THD Hot Plate. He's right. The lead channel is so loud that if you could hear it at full (40 W) power mode, you might be tempted to look for the extra power tubes too. Herein lies the dilemma. This true power output stage overdrive, even at 20 W, is unforgiving. I have not been able to use this channel regularly. Maybe one day, but after 2 years, not yet. It's not a flaw, it's just vindication of how difficult it really is to get great tone at lower (non eardrum shattering) sound intensity.

This is my ONLY beef with this amp. I wish Mark would have included a built in attenuator, but that would send the price through the roof. A good power attenuator is very dificult to build well.

So, long story short, this amp can kick it old school, crank and grind, scream the blues, get all freaky and psychedelic, pretty much anything you can play, you can play with this baby. Be warned though, if you're looking for a great sounding amp for home, this may not be it, unless you have a basement, or deaf and/or very cool neighbors, or live in the ghetto like me. BUT: if you need a club amp, the Comet is a great choice. Compact, not too heavy, more than able to keep up with drummers, and great looking to boot.

The reason the old rock dudes sounded so well is because they played so damn loud. The only real way to get great overdrive is to overdrive an amp, which requires it be dimed. This amp is loud. If you need the firepower, here it is.

Thing is a tank. I've banged it aginst the walls of my stairs, into railings, doors, my pickup truck bed, my dog, my shin, my girlfriend, the list is embarassingly long. It looks brand new.

It did come with a blown preamp (12AX7) tube, and I had a spare, but when I e-mailed Mark, he insisted on replacing it with one properly voiced for the amp. How good is THAT for customer service?! He even sent me a follow up e-mail to make sure everything was good with it. It's evident to me that he takes a great deal of pride with what he does.

See above.

Hmmm...this is actually a tough question. If it got stolen, I would probably buy a different amp. I might regret that someday, but right now I'd probably try something different. I'm not saying that I don't like this amp, I do like it. It's just that I've become more accustomed to the voicing of my other amp (my Clark Piedmont). I think I need to give it equal time.
Overall, I'm very pleased with this amp. The one thing that I find a little disappointing is how loud the lead channel is, even at half power. I understand why Mark Bartel doesn't put an attenuator in his amps, but it's hard to find a practical use for the lead channel other than at very loud levels. If you need a dependable, club and gigging amp, you'd be hard pressed to find one better than this. And I don't even use the effects loop. I usually only run a Klon and a Barber Tone Pump II in front of it, sometimes a wah and a Roger Meyer Voodoo vibe. I think I'll go home and try it tonight.
Oh yeah, A Grosh, a Fender Custom Shop Strat Relic and a Heritage Archtop are my electric guitars.
If anybody has a need/desire to ask more questions, please e-mail me.

n/a

Just updating my review I posted below. I just sold this amp after having it for 6 months becasue although I initially loved it at home, at gigs it just couldn't seem to cut through cleanly. When played loud at gigs there was just so much sag and compression that it never wuite got "there". Well, I tried adn tried, but after a-b-c'ing it with my Dr. Z Maz 18 Jr, a Matchless SC-30, a Z Route 66, I decided I couldn't live with it anymore and sold it. I wish I had waited a while before posting my review below. The amp still had great clean sounds, but never was "usable" with the lead channel at my gigs. May others decide for themselves!

I've had my Comet for about two years. I love playing through it. My main styles include jazz, country, R&B, funk, etc., and I get all the sounds I need. I've used the amp live, and it has plenty of power for what I do. I really love bringing it in to the studio for recording sessions. The rhythm channel is absolutey gorgeous, and the lead channel gets this fat sound that kills. Some of Mark's older models had tremolo, and I think the new model, the Meteor, does as well. Oh well, can't have everything! I'm not much into effects, so I've never used the effects loop.

I mostly play my '66 Telecaster through the Comet.It's all original, and with it's rosewood fingerboard, it's darker sounding than a lot of Teles. With this combination of amp and guitar, I can get a very wide range of sounds, from fat and dark jazz tones to shimmering rhythm guitar, to screaming bluesy leads. I've also recorded with my '75 Strat w/Fralin pickups, and my '66 Epiphone Casino, which is all original w/P-90 pickups. I've never pushed the rhythm channel past about 5 or 6, so I don't know what it does past that. My main rave about this amp is that it sounds so musical. The sound is very balanced, the high end is never harsh. I've never had an amp that sounds nearly as good as this.

The amp has performed perfectly so far. I never bring a backup, and I don't feel like I'm being foolish. It's built extremely well.

Mark Bartel is a great guy.I emailed him when I was first thinking about buying a Tone King. He got back to me the following day, and he didn't try to hard-sell me an amp. He was very honest about what his amps do. Since buying the Comet, I've emailed him quite a few times, sometimes to ask a question, sometimes just to tell him how many people came up to me on gigs to rave about the tone I was getting. He has always gotten back to me in a day or two. That's pretty incredible when you stop to consider how busy he must be building these amps by hand. I've never needed a repair, so I can't comment on the repair process.

I've been playing guitar for 35 years. My other amps are an old Twin Reverb, a silverface Champ, a Gibson Varitone, and a Peavey Classic 50. I also have an old Gibson Super 400, a Guild D-35, a Harmony Stratotone, and a Garcia nylon string. If the Comet was stolen, I'd replace it ASAP. This is by far the best sounding amp I've ever owned.

Just bought this new but I understand that the amp is being remodeled by Mark and will have some new bells and whistles soon. I had heard that the sound of this amp was so good I did'nt really need to wait until the new production started up. Features are a bit limited on the lead channel - just mid-bite, tone, and volume, but on the rhythm channel thre is treble and bass. Reverb works on both channels but is automatically reduced when you are on the lead channel and crank the mid-bite. Channel switching plus half-power switching is directed from the footswitch. half power is not available on the rhythm channel, but you don't need/want it there, really. It has everything you need, basically.

I play every weekend with my band - blues, funk, rock, soul, roots, some jazz, R&B, etc. Using it with my 65 strat, 87 USA strat, and a recent MIM 50's tele. Simply - it is the most stunning sounding amp I have ever heard, and here's what I have owned or currently own: 55 Deluxe, 61 Deluxe, 61 Princeton, 65 Princeton Reverb, 64 Vibroverb, 66 Vibrolux, Dr. Z Maz 18 Jr, Dr. Z Route 66. I have also played a 61 Vox AC-30 and an original tweed Bassman. This Tone King has the best, most beautiful, dimensional, harmonic clean tones. It beats all my previous amps. Mark has tuned the cabinet to match the amp. It takes your breath away. And the lead channel snarls like you've always wanted it to. It does NOT do a good VOX imitation IMHO because it is a throaty, warm overdrive because of the 4 6V6's, not a jangly animal (on lead channel, that is). But it kills, just kills, from old tweed tones to aggressive Marshall-like tones. With an attenuator you're Duane in your bedroom! It is very quiet.

Great build, overbuilt if you ask me. It has it's own small fan blowing over the tubes even though it's an open back cab. And, did you ever see the tube clamps the Tone King uses! Holy cow, your tubes aren't going to shake, not one bit.
I've only owned it one month mind you...

Spoke to Mark and emailed him, too - easy to talk to.

I have been playing 20 years, I would buy this amp again. I wish I had bought it sooner! The clean tones are just unreal and when you push the clean channel into distortion (colume knob above 7?) it's a beautiful breakup. The lead channel turns this amp into a different beast. Throw your pedals away, but buy an attenuator to control the volume. The tubes need to cook to get this amp talking, but it's all in the manual - download the .pdf at the Tone King website. Unreal amp for the price.

2001 model i believe. 2 channel 40w 2X12, 20W 1X12 at half power which is neat. spring reverb, effects loop. line out and ext speaker out. (although it doesn't specify ohmage on the chassis or in the manual.) i wouldn't mind tremelo like the imperial has so it gets a 9.

using a reissue strat with a jbjr in the bridge. considering fralin or noiseless pickup instead but it still sounds great. for a long time i've wanted an amp that felt like a supro or other low watt head when you turn it up all the way, just louder. that's what this thing feels like to me. righteous! it's a huge sound as the 6v6's are putting in an honest days work. no boogie fizz here. exactly what i wanted.

had an imperial since 96 and only replaced tubes. this seems even more solid as the tubes are held in place with these weird audiophile things. haven't had it long enough to say.

Mark Bartel is prompt with returning emails. Nice guy!

i've been playing in professional touring bands since 1991 and after a while you figure out what sounds good with a band. you cannot get a bad sound out of this amp. everything from the fullest clean to spiritual overdrive that can keep up with the loudest drummer if need be. if you want an amp that sounds like the power tubes are doing something then look no further. plus it looks cool!

I like the channel select function. Lets me overdrive the amp at lower levels. Great sound.

I play with a variety of guitars. Fender strat. PRS custom 24, les Paul Signiture (hollow body. I can get the most transparent, rich, warm shimmering clean tone I have ever heard. At higher volumes the tone is the same. It does not break up or get distorted. I enjoy playing blues and jazz. This amp does it like no other in its price range. The only drawback is that at lower volumes you really cannot get the tubes to sing as well. This amp has only 40 watts and playing out in smaller venues it is all I need.

I have not had a problem with it. I use it all the time. Of all my amps it gets the most use.

I have vintage fender and ampeg amps. I have the desire to own many others. If money were no object I would. But since it is, I found the amp that can handle all my needs.

The Comet 40B is a NON-MASTER volume 40 watt combo with two custom speakers rated at 60W a piece (the 40A is the one speaker version of the same amp). It has one input and two channels, rhythm and lead (switchable by foot switch or on the front panel). Rhythm controls are volume, treble, and bass and lead controls are volume, tone, and mid-bite. Reverb is applied to both channels by one control. The rear panel has the following: AC Line, Fuse, Power Switch, Standby Switch, Effect Loop Series/Parallel Switch, Effect
Send, Effect Receive, Speaker, Extension Speaker, Line Out, Footswitch.
I'll rate these feature as a 9 since they encompass everything I want and need from an amp. I'm sure some players are used to a "pressence" knob or more extensive EQ control with a mid range knob but, believe me, you won't miss them.
The cabinet is designed to resonate with the speakers to give a more acoustic feel to the tone and it does just that. You have to be carefull with base heavy pick-ups (I play a PRS custom 22) as the cabinet will rattle if you try to give it too much. All I've needed to do, however, is roll off the volume on the guitar or turn down the bass a bit as I increase volume and it sings nice and evenly with out any trouble.
The Comet uses two individual 20 watt amps in a dual-mono parallel arrangement. Both are on when the clean channel is used giving lots of clean volume. One of the amps can be turned off with the footswitch in the lead channel though to allow for smooth transition between channels, maintaining the tonal qualities of higher volume settings with out a huge boost in actual output volume upon chanel switching.
I am doing mainly home studio recording with the amp as of now but I don't see myself ever needing another amp for any applications. It's plenty loud and delivers exactly what I have been looking for tonaly.

From the web site (www.tonking.com)

Electronics

Tube complement: 3x12AX7A, 4x6V6 (matched NOS American-made), 5AR4
Vintage-style paper-bobbin transformers
Double-shielded, totally-enclosed, black anodized aluminum chassis
Cooling fan for extended tube life
RFI/EMI line filter to eliminate radio-frequency interference
DC regulated filament supply to eliminate hum and noise
High-quality polyester fim capacitors, carbon composition resistors, and American-made
electrolytics.

Cabinet

Rugged, lightweight, finger-jointed birch ply construction
All-new custom-designed 12" speaker
Durable custom-color tolex covering
Two-tone color scheme (brown/cream)
Protective metal corners
Updated styling

Like I wrote above, I use a PRS 22 with the stock Dragon pick-ups which sounds beautiful through the comet. I play mostly clean with a Lexicon lxp-1 for reverb, although I would have been happy with the reverb on the comet if I didn't already have the lexicon. I play mainly my own stuff but I'm heavily influenced by Bill Frissel, Steve Kimock, Mark Knopfler, and the likes. When I tried out the amp I played a Reverend guitar with lipstick pickups (sorry, I don't know the model) and I am considering picking one of those up as the lipsticks were heavenly sounding through this amp.

I can't say enough about this amp! I don't care much for most Fender amps I've played as they all seem a bit muddy and metallic to me, Mesas a bit thin, and Marshals more geared toward the lead channel. I could not get the tone I wanted out of anything I played in any store until I found a Tone King Continental on the North side of Chicago about 2 years ago. i fell in love with the amp but couldn't afford it. I still can't afford the Comet but it was the newer, perfected version of the Continental and I couldn't pass it up.
I can finally get the Strat tones out of my PRS! I didn't think they were actually there before. All of the PRS pickup arrays sound great through the Comet; tight bass, "scooped" mid range, and bright, jangley highs without any shrillness or loss of fatness. Notes are well defined and everything really sings.
The lead channel has the mid-bite control which alters the gain in the various stages of the circutry and gives a nice range of distorted tones from a tweed honk to a nice crunchy growl. They all sound great.

It is well built and looks to be here for the long haul although I have only owned it for 3 days. Weighs 48 lbs, covered in tolex (unlike earlier models).

No contact yet but the guys I bought the amp from seem to talk with Mark Bartel (the builder) all the time. He only has about 12 dealers in the States, I think, so he knows them all well enough that you should be able to get ahold of him with ease through the dealer you buy from if you can't contact him yourself.

I've been playing for about 14 years and like I stated above, this is the first amp I've fallen in love with; enough so to spend 2 months salery on it. Remarkable tones all around and as far as I can tell, the last amp I'll ever buy (but you never can tell). As for a great value? Well, for the price of a middle of the road Mesa you can get a truely classy, and destined to be classic, work of art that has captured the essence of great, balanced tone.