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Double Bass NAD Traynor SB200H
- Thread starter madbanjoman
- Start date
I have one too (See avatar). It's a great little amp.l! When I really need extra eq control I run an Eden WTDI in front. I rarely do though.
Congrats!
Congrats!
Cool! Thanks! Do you use your SB200H with a drummer? My band is drummerless trio and 200watts is more than enough power. I was surprised when searching for more info on this amp how it was mostly on th BG side of TB that it was popular. I can’t wait to try it at a gig this weekend.
So, it sounds like the Tone Dexter pre doesn’t have enough to drive the input on some power sections. Perhaps a bigger power amp like a M700 powered MAS 1/8 will work. Hopefully someone will try it.
Ric
From what I read the output gain is only +6db. One thing I didn’t try was driving the output section with the boost engaged which adds another +8db of gain.
I tried it the TD with boost engaged and through the AUX input of the SB200H and I could probably use it like that but I didn’t really hear much of a difference and like the 4 band EQ and I think I could get more volume going into the normal input
I wonder if the AUX input is capable of handling the TD output like an FX return. I doubt it. They are usually just stereo inputs for MP3 players.
But if you dig the EQ on the head then I guess it's no issue. That looks like a super portable rig. Very cool. It's crazy how the footprint of bass gear continues to decrease. Great for our backs!
But if you dig the EQ on the head then I guess it's no issue. That looks like a super portable rig. Very cool. It's crazy how the footprint of bass gear continues to decrease. Great for our backs!
Yeah. Drummer within a 4 piece oldies/boogie/blues outfit. I use the little 2x8 can in my avatar too (electric bass though). No problems.
I did my first gig with the SB200H and it went great. Very transparent, I didn’t need to mess with the EQ. After 2hrs outside in 80+ degrees, it was barely warm. I never heard the fan while I was playing. My Quilter is fanless and gets quite warm, even hot. There was a noticeable difference in temperature between the two. I had the gain at 11 o’clock and the EQ flat. It was plenty loud enough. All in all I am quite happy with it.
Another update, I figured out a better way to go direct into the power amp. The XLR out of the TD is a total of 20db, I connect an XLR with a XLR to 1/4 “ adaptor into AUX in on the SB200H. I tried it tonight in practice and I am considering using it for this weekend’s gigs.
Thread resurrection to give a review of this amp.
I recently bought a used Traynor SB200H from a TBer and had the opportunity to play it for the first time at a live gig last night with my three piece rock cover band. This was a small bar with no PA support for the instruments (vocals only) so my bass rig had to carry the room. The guitarist plays through a 50 watt tube amp. Drummer is drummer.
My speaker cabinet is a compact single 15" neo (8 Ohms), which necessarily limits the amp to significantly less than its 200 watt @ 4 Ohm rating. If I wanted to get the most volume from the Traynor, I'd greatly benefit from an additional 8 Ohm cab running in paralell.
Nevertheless. I'm very impressed with the performance of this little amp. I had the gain at 70% for the entire show and the sound was clear and articulate and easily carried the room with a full bass sound that wasn't lacking at any frequency. I was concerned that I wouldn't have enough low end and the amp would strain to hold its own, but the Traynor really came through in performance. I did use a compressor pedal in the effects loop, which helped to maximize overall volume.
As a test, I briefly turned the gain up to 100% and discovered the amp had more oomph in reserve. Even at full volume I didn't hear any distortion or attenuation in the lower frequencies.
I tried fiddling with the tone controls throughout the show, but in the end, decided that it sounded best with everything set to noon. My overall impression was of a very clean and neutral sound that was very balanced at all frequencies, although it seemed to lack a richness of tone that I'm used to from more "colored" amps. I surmise this neutrality of tone is one reason why this amp is popular with a lot of DB players.
We're only a three piece band and we intentionally play at a modest volume (because we're old geezers). It may be that the Traynor might start to struggle with a 4 or 5 piece band playing more aggressively than we do, but I think for my needs this amp is going to work out great.
I love the fact that I can carry this amp in the side pocket of my laptop and tablet case. It's just so tiny!
The reason I bought the Traynor SB200H was to get away from the 30 lb rack mount heads I've been using forever. Like so many of you, I'm tired of hauling heavy amps and cabs around and want to take advantage of the benefits of state of the art class D micro amps. At only 2½ lbs, I can't see doing any better with size and weight for my needs.
I will admit that I'll miss the amazing tone of the big Ampeg and Mesa amps that I've been using for gigs for the past 25 years or so, and may eventually splurge on a Mesa Subway series amp like the TT800, but for now, I'm very satisfied with the Traynor SB200H.
I'm going to experiment with adding a Tech21 pedal to the FX loop to see if that might enrichen the tone a bit. I have the VT Bass and the YYZ (Geddy Lee) pedals to play with, so I'll see what they might add to the mix.
I recently bought a used Traynor SB200H from a TBer and had the opportunity to play it for the first time at a live gig last night with my three piece rock cover band. This was a small bar with no PA support for the instruments (vocals only) so my bass rig had to carry the room. The guitarist plays through a 50 watt tube amp. Drummer is drummer.
My speaker cabinet is a compact single 15" neo (8 Ohms), which necessarily limits the amp to significantly less than its 200 watt @ 4 Ohm rating. If I wanted to get the most volume from the Traynor, I'd greatly benefit from an additional 8 Ohm cab running in paralell.
Nevertheless. I'm very impressed with the performance of this little amp. I had the gain at 70% for the entire show and the sound was clear and articulate and easily carried the room with a full bass sound that wasn't lacking at any frequency. I was concerned that I wouldn't have enough low end and the amp would strain to hold its own, but the Traynor really came through in performance. I did use a compressor pedal in the effects loop, which helped to maximize overall volume.
As a test, I briefly turned the gain up to 100% and discovered the amp had more oomph in reserve. Even at full volume I didn't hear any distortion or attenuation in the lower frequencies.
I tried fiddling with the tone controls throughout the show, but in the end, decided that it sounded best with everything set to noon. My overall impression was of a very clean and neutral sound that was very balanced at all frequencies, although it seemed to lack a richness of tone that I'm used to from more "colored" amps. I surmise this neutrality of tone is one reason why this amp is popular with a lot of DB players.
We're only a three piece band and we intentionally play at a modest volume (because we're old geezers). It may be that the Traynor might start to struggle with a 4 or 5 piece band playing more aggressively than we do, but I think for my needs this amp is going to work out great.
I love the fact that I can carry this amp in the side pocket of my laptop and tablet case. It's just so tiny!
The reason I bought the Traynor SB200H was to get away from the 30 lb rack mount heads I've been using forever. Like so many of you, I'm tired of hauling heavy amps and cabs around and want to take advantage of the benefits of state of the art class D micro amps. At only 2½ lbs, I can't see doing any better with size and weight for my needs.
I will admit that I'll miss the amazing tone of the big Ampeg and Mesa amps that I've been using for gigs for the past 25 years or so, and may eventually splurge on a Mesa Subway series amp like the TT800, but for now, I'm very satisfied with the Traynor SB200H.
I'm going to experiment with adding a Tech21 pedal to the FX loop to see if that might enrichen the tone a bit. I have the VT Bass and the YYZ (Geddy Lee) pedals to play with, so I'll see what they might add to the mix.
Last edited:
Another thread reconstruction. I own a GK MB200 these days.:
OK, today Long & McQuade got the Traynor SB200H in for me to have a look at and, with nobody in the store on a Thursday afternoon, I had the opportunity to do an extended A/B with it and the GK MB200. It was quite enlightening.
As you can see from the photos below, the Traynor is actually substantially larger than the GK, at least an inch in each direction. The Traynor's size reminded me of my GK MB500. The weight felt about the same for both these units but, because of the larger size and the lever effect, the Traynor felt bigger, a bit more awkward in the hand, and less able to be stuffed into a small gig bag. (The manuals say that the GK is 2 lbs and the Traynor 1.5 lbs, but the latter number doesn't jibe with my impressions. I didn't have scales with me.) The fit and finish on the GK is better overall. The Traynor has sharp side edges where the panels attach rather than the round, folded corners on the GK. The Traynor's front panel is pretty, with the Traynor logo below the knobs being white on a chromed strip. The knobs felt more fragile and a bit wobblier than those on the GK. The broad base of the GK knobs gives them a satisfying, stable feel. Whether they're more rugged against damage is harder to tell, but my guess is that the recessing helps. There looks to be screwholes on the side of the GK for rackmounting (?). Maybe two of these puppies side-by-side in two rack spaces? There's none on the Traynor. I'd have to say that, overall, the Traynor felt more like a prototype, more pieced together, while the GK felt like it got a bit more industrial design. YMMV.
The extra width on the Traynor front panel allows for the Passive and Active (-6 db) inputs to be separate 1/4" jacks rather than the -10 db switch on the GK. There is a mute button on the Traynor front panel and a tuner out on the back, so that's nice. The preamp controls are identical on both, but very different in practice, and the Traynor has its "Low Enhance" knob versus the Contour mini-switch on the GK (more on these below).
On the back panel, the GK has a Speakon-only port while the Traynor has a Speakon-1/4" hybrid plug. Both have Aux In (1/8" on the GK, 1/4" on the Traynor). Both go into the power amp section after the pre-amp, so potentially useful with an external pre-amp. The Traynor recognizes a mono 1/4" signal in, which is convenient; you'd need an 1/8" stereo to 1/4" mono adapter for the GK which might be both flimsy and a nuisance but it might work for a preamp. If you're using a CD/iPod in for practice, then the GK is more convenient. The Traynor has space for a separate headphones jack which mutes the other outputs. The GK switches between line out and phones. I expect that the line out could be used as a tuner out. Both have a DI out which can be pre/post the preamp; only the Traynor has a ground lift. The GK's power button is on the front with the same pleasing colour display as on its bigger brothers. The Traynor's switch is on the back with a pilot light on the front. The fans in both were very quiet in a quiet store.
To try them out for sound, we plugged both into an 8 ohm Traynor TC410 cabinet that I've used before in backline set-ups: they can get loud and, while a bit barky, this cab wasn't too bad a test bed. The bass was an Ibanez 1205E Premium with Nordstrand pickups. I went back and forth a few times to convince myself of what I was hearing. Overall, the GK was very familiar (I still have an use a 400RB from the 80s), quite hifi in character and rather smooth. The EQ points were sensible and the knobs gave a modest +/- change in the mids and bass, and a bigger plus in the highs. The manual says +/- 6 dB in the mids, +10 in the bass, +14 in the treble. The contour switch, with its one choice gave the Ibby a very nice scooped character if you like that sort of thing. No surprises for me. The Traynor by contrast had some real bite to it, and I could see a rock player finding much to appreciate here. I'm a jazz/blues guy mostly so it was a poorer fit for me. The EQ points are quite different (Bass : 50 Hz, L Mid: 400 Hz, H Mid: 1 kHz, Treble: 8 kHz) vs 60 Hz, 250 Hz, 1 kHz, and 7kHz for the GK. Most startling was that the Traynor goes +/- 15 dB on each point. That's a *huge* range and you can get some pretty startling tones that way. With the GK you mould the tone; with the Traynor you can outright carve it. The Low Expander control didn't really give me much satisfaction: as well as the low mid contour promised in the manual, it seemed to me to substantially reduce high frequencies once you got past noon, muffling the notes. I also didn't get much of a sense of the expanded bass promised by the manual for this effect. For me, this knob produced some artificial and not terribly helpful changes. Again, YMMV.
So, how loud were they? Well the Traynor was loudish with a distinctly punchy/barky character. Once you went past noon on the gain, though, there wasn't much change in volume nor much change in the character of the sound (break-up, distortion of any kind). The manual speaks of the possibility of "crunch distortion" but I didn't really hear that in my set-up. It certainly wasn't pushing the 410 cab. By contrast, the GK was *loud* with the characteristic smooth, warmish GK character. Volume continued to rise around the gain dial and by the time you got past two o'clock, it was rattling the pants out of the 410. Again, not much sense of extra distortion, etc. as you cranked the gain. It was just real loud.
In the end, these are two quite different beasts. The GK is smaller, warmer, more refined in fit/finish, and quite a bit louder. Tone sculpting is effective but modest in extent. Jazz and blues players will like it, as will anyone who likes that characteristic GK sound. The ins/outs are constrained by the size of the unit, the 1/8" AUX IN and the absence of the 1/4" speaker out the most constraining. The Traynor is bigger and less bag-convenient but no heavier, less polished in its package, brasher in character, and not as loud. Tone sculpting can be huge but even with the mids pulled back, there is a punchiness to the sound that rock and metal players will enjoy. The Low Expander baffles me. With the larger chassis, there are are more ins/outs including a separate passive/active input jacks, a MUTE switch, separate headphone and tuner outs, and a ground lift for the DI.
These two are an interesting choice. At L&M, the price of the GK MB200 has been jacked to $340 CDN just as the Traynor SB200H was introduced at $300 CDN. Given that L&M owns Traynor/Yorkville, that's no coincidence I'm thinking.
Hope this helps you guys.
OK, today Long & McQuade got the Traynor SB200H in for me to have a look at and, with nobody in the store on a Thursday afternoon, I had the opportunity to do an extended A/B with it and the GK MB200. It was quite enlightening.
As you can see from the photos below, the Traynor is actually substantially larger than the GK, at least an inch in each direction. The Traynor's size reminded me of my GK MB500. The weight felt about the same for both these units but, because of the larger size and the lever effect, the Traynor felt bigger, a bit more awkward in the hand, and less able to be stuffed into a small gig bag. (The manuals say that the GK is 2 lbs and the Traynor 1.5 lbs, but the latter number doesn't jibe with my impressions. I didn't have scales with me.) The fit and finish on the GK is better overall. The Traynor has sharp side edges where the panels attach rather than the round, folded corners on the GK. The Traynor's front panel is pretty, with the Traynor logo below the knobs being white on a chromed strip. The knobs felt more fragile and a bit wobblier than those on the GK. The broad base of the GK knobs gives them a satisfying, stable feel. Whether they're more rugged against damage is harder to tell, but my guess is that the recessing helps. There looks to be screwholes on the side of the GK for rackmounting (?). Maybe two of these puppies side-by-side in two rack spaces? There's none on the Traynor. I'd have to say that, overall, the Traynor felt more like a prototype, more pieced together, while the GK felt like it got a bit more industrial design. YMMV.
The extra width on the Traynor front panel allows for the Passive and Active (-6 db) inputs to be separate 1/4" jacks rather than the -10 db switch on the GK. There is a mute button on the Traynor front panel and a tuner out on the back, so that's nice. The preamp controls are identical on both, but very different in practice, and the Traynor has its "Low Enhance" knob versus the Contour mini-switch on the GK (more on these below).
On the back panel, the GK has a Speakon-only port while the Traynor has a Speakon-1/4" hybrid plug. Both have Aux In (1/8" on the GK, 1/4" on the Traynor). Both go into the power amp section after the pre-amp, so potentially useful with an external pre-amp. The Traynor recognizes a mono 1/4" signal in, which is convenient; you'd need an 1/8" stereo to 1/4" mono adapter for the GK which might be both flimsy and a nuisance but it might work for a preamp. If you're using a CD/iPod in for practice, then the GK is more convenient. The Traynor has space for a separate headphones jack which mutes the other outputs. The GK switches between line out and phones. I expect that the line out could be used as a tuner out. Both have a DI out which can be pre/post the preamp; only the Traynor has a ground lift. The GK's power button is on the front with the same pleasing colour display as on its bigger brothers. The Traynor's switch is on the back with a pilot light on the front. The fans in both were very quiet in a quiet store.
To try them out for sound, we plugged both into an 8 ohm Traynor TC410 cabinet that I've used before in backline set-ups: they can get loud and, while a bit barky, this cab wasn't too bad a test bed. The bass was an Ibanez 1205E Premium with Nordstrand pickups. I went back and forth a few times to convince myself of what I was hearing. Overall, the GK was very familiar (I still have an use a 400RB from the 80s), quite hifi in character and rather smooth. The EQ points were sensible and the knobs gave a modest +/- change in the mids and bass, and a bigger plus in the highs. The manual says +/- 6 dB in the mids, +10 in the bass, +14 in the treble. The contour switch, with its one choice gave the Ibby a very nice scooped character if you like that sort of thing. No surprises for me. The Traynor by contrast had some real bite to it, and I could see a rock player finding much to appreciate here. I'm a jazz/blues guy mostly so it was a poorer fit for me. The EQ points are quite different (Bass : 50 Hz, L Mid: 400 Hz, H Mid: 1 kHz, Treble: 8 kHz) vs 60 Hz, 250 Hz, 1 kHz, and 7kHz for the GK. Most startling was that the Traynor goes +/- 15 dB on each point. That's a *huge* range and you can get some pretty startling tones that way. With the GK you mould the tone; with the Traynor you can outright carve it. The Low Expander control didn't really give me much satisfaction: as well as the low mid contour promised in the manual, it seemed to me to substantially reduce high frequencies once you got past noon, muffling the notes. I also didn't get much of a sense of the expanded bass promised by the manual for this effect. For me, this knob produced some artificial and not terribly helpful changes. Again, YMMV.
So, how loud were they? Well the Traynor was loudish with a distinctly punchy/barky character. Once you went past noon on the gain, though, there wasn't much change in volume nor much change in the character of the sound (break-up, distortion of any kind). The manual speaks of the possibility of "crunch distortion" but I didn't really hear that in my set-up. It certainly wasn't pushing the 410 cab. By contrast, the GK was *loud* with the characteristic smooth, warmish GK character. Volume continued to rise around the gain dial and by the time you got past two o'clock, it was rattling the pants out of the 410. Again, not much sense of extra distortion, etc. as you cranked the gain. It was just real loud.
In the end, these are two quite different beasts. The GK is smaller, warmer, more refined in fit/finish, and quite a bit louder. Tone sculpting is effective but modest in extent. Jazz and blues players will like it, as will anyone who likes that characteristic GK sound. The ins/outs are constrained by the size of the unit, the 1/8" AUX IN and the absence of the 1/4" speaker out the most constraining. The Traynor is bigger and less bag-convenient but no heavier, less polished in its package, brasher in character, and not as loud. Tone sculpting can be huge but even with the mids pulled back, there is a punchiness to the sound that rock and metal players will enjoy. The Low Expander baffles me. With the larger chassis, there are are more ins/outs including a separate passive/active input jacks, a MUTE switch, separate headphone and tuner outs, and a ground lift for the DI.
These two are an interesting choice. At L&M, the price of the GK MB200 has been jacked to $340 CDN just as the Traynor SB200H was introduced at $300 CDN. Given that L&M owns Traynor/Yorkville, that's no coincidence I'm thinking.
Hope this helps you guys.
Very thoughtful and through review. What impressed me about the Traynor (I own and gig with the SB 106) is it’s tone quality, EQ, and exceptional portability with Double Bass. Using it with my Lifeline equipped Kolstein Busetto Travel bass and my Ehrlund EAP Mirecourt 5/8’s, has been a joy. The Low Enhancer is a no go with Double Bass but the EQ is ideal for my instruments and you can’t beat the form factor of the SB 106. Traynor provides a full schematic and parts list for the amp
which gives it the edge should it have to be repaired.
which gives it the edge should it have to be repaired.
Another thread reconstruction. I own a GK MB200 these days.:
OK, today Long & McQuade got the Traynor SB200H in for me to have a look at and, with nobody in the store on a Thursday afternoon, I had the opportunity to do an extended A/B with it and the GK MB200. It was quite enlightening.
As you can see from the photos below, the Traynor is actually substantially larger than the GK, at least an inch in each direction. The Traynor's size reminded me of my GK MB500. The weight felt about the same for both these units but, because of the larger size and the lever effect, the Traynor felt bigger, a bit more awkward in the hand, and less able to be stuffed into a small gig bag. (The manuals say that the GK is 2 lbs and the Traynor 1.5 lbs, but the latter number doesn't jibe with my impressions. I didn't have scales with me.) The fit and finish on the GK is better overall. The Traynor has sharp side edges where the panels attach rather than the round, folded corners on the GK. The Traynor's front panel is pretty, with the Traynor logo below the knobs being white on a chromed strip. The knobs felt more fragile and a bit wobblier than those on the GK. The broad base of the GK knobs gives them a satisfying, stable feel. Whether they're more rugged against damage is harder to tell, but my guess is that the recessing helps. There looks to be screwholes on the side of the GK for rackmounting (?). Maybe two of these puppies side-by-side in two rack spaces? There's none on the Traynor. I'd have to say that, overall, the Traynor felt more like a prototype, more pieced together, while the GK felt like it got a bit more industrial design. YMMV.
The extra width on the Traynor front panel allows for the Passive and Active (-6 db) inputs to be separate 1/4" jacks rather than the -10 db switch on the GK. There is a mute button on the Traynor front panel and a tuner out on the back, so that's nice. The preamp controls are identical on both, but very different in practice, and the Traynor has its "Low Enhance" knob versus the Contour mini-switch on the GK (more on these below).
On the back panel, the GK has a Speakon-only port while the Traynor has a Speakon-1/4" hybrid plug. Both have Aux In (1/8" on the GK, 1/4" on the Traynor). Both go into the power amp section after the pre-amp, so potentially useful with an external pre-amp. The Traynor recognizes a mono 1/4" signal in, which is convenient; you'd need an 1/8" stereo to 1/4" mono adapter for the GK which might be both flimsy and a nuisance but it might work for a preamp. If you're using a CD/iPod in for practice, then the GK is more convenient. The Traynor has space for a separate headphones jack which mutes the other outputs. The GK switches between line out and phones. I expect that the line out could be used as a tuner out. Both have a DI out which can be pre/post the preamp; only the Traynor has a ground lift. The GK's power button is on the front with the same pleasing colour display as on its bigger brothers. The Traynor's switch is on the back with a pilot light on the front. The fans in both were very quiet in a quiet store.
To try them out for sound, we plugged both into an 8 ohm Traynor TC410 cabinet that I've used before in backline set-ups: they can get loud and, while a bit barky, this cab wasn't too bad a test bed. The bass was an Ibanez 1205E Premium with Nordstrand pickups. I went back and forth a few times to convince myself of what I was hearing. Overall, the GK was very familiar (I still have an use a 400RB from the 80s), quite hifi in character and rather smooth. The EQ points were sensible and the knobs gave a modest +/- change in the mids and bass, and a bigger plus in the highs. The manual says +/- 6 dB in the mids, +10 in the bass, +14 in the treble. The contour switch, with its one choice gave the Ibby a very nice scooped character if you like that sort of thing. No surprises for me. The Traynor by contrast had some real bite to it, and I could see a rock player finding much to appreciate here. I'm a jazz/blues guy mostly so it was a poorer fit for me. The EQ points are quite different (Bass : 50 Hz, L Mid: 400 Hz, H Mid: 1 kHz, Treble: 8 kHz) vs 60 Hz, 250 Hz, 1 kHz, and 7kHz for the GK. Most startling was that the Traynor goes +/- 15 dB on each point. That's a *huge* range and you can get some pretty startling tones that way. With the GK you mould the tone; with the Traynor you can outright carve it. The Low Expander control didn't really give me much satisfaction: as well as the low mid contour promised in the manual, it seemed to me to substantially reduce high frequencies once you got past noon, muffling the notes. I also didn't get much of a sense of the expanded bass promised by the manual for this effect. For me, this knob produced some artificial and not terribly helpful changes. Again, YMMV.
So, how loud were they? Well the Traynor was loudish with a distinctly punchy/barky character. Once you went past noon on the gain, though, there wasn't much change in volume nor much change in the character of the sound (break-up, distortion of any kind). The manual speaks of the possibility of "crunch distortion" but I didn't really hear that in my set-up. It certainly wasn't pushing the 410 cab. By contrast, the GK was *loud* with the characteristic smooth, warmish GK character. Volume continued to rise around the gain dial and by the time you got past two o'clock, it was rattling the pants out of the 410. Again, not much sense of extra distortion, etc. as you cranked the gain. It was just real loud.
In the end, these are two quite different beasts. The GK is smaller, warmer, more refined in fit/finish, and quite a bit louder. Tone sculpting is effective but modest in extent. Jazz and blues players will like it, as will anyone who likes that characteristic GK sound. The ins/outs are constrained by the size of the unit, the 1/8" AUX IN and the absence of the 1/4" speaker out the most constraining. The Traynor is bigger and less bag-convenient but no heavier, less polished in its package, brasher in character, and not as loud. Tone sculpting can be huge but even with the mids pulled back, there is a punchiness to the sound that rock and metal players will enjoy. The Low Expander baffles me. With the larger chassis, there are are more ins/outs including a separate passive/active input jacks, a MUTE switch, separate headphone and tuner outs, and a ground lift for the DI.
These two are an interesting choice. At L&M, the price of the GK MB200 has been jacked to $340 CDN just as the Traynor SB200H was introduced at $300 CDN. Given that L&M owns Traynor/Yorkville, that's no coincidence I'm thinking.
Hope this helps you guys.
Dang that's quite a size difference. Interesting to read the GK is louder.
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Just picked up a used Bugera Veyron Mosfet BV1001M- Latest: Gianni "Orlandez" Orlati
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