#Tone king metropolitan footswitch reverb problem pro

#Tone king metropolitan footswitch reverb problem pro

Given all that the Sky King can do-from mid-gain and midrangey JTM45-inflected crunch to scooped and crystalline Pro Reverb cleans, to grinding вЂ™50s tweed and fat, plummy вЂ™60s Valco-inspired tones-itвЂ™s surprisingly easy to dial in. It also looks great in the retro-kitsch turquoise vinyl that covers this one. The TV-front cabinet is of the same 24'x18.75'x12' dimensions as its predecessor, and still reflects BartelвЂ™s meticulous design sense and his goals of maximizing resonance, projection, and clarity. That and the other changes bring the 2018 model in eight pounds heavier than the circa-2013 combo, at 56 lbs. The new combos also use a different speaker-a Celestion-made Tone King 1660, purportedly for a wider overall frequency response. ItвЂ™s worth noting that the ampвЂ™s 5AR4 tube is also a change from the original versionвЂ™s 5U4G, and denotes a somewhat stiffer rectifier. Probing deeper into the Sky KingвЂ™s workings reveals both a heavier redesigned chassis and a printed circuit board in place of the former handwired circuit, which Tone King says has been adopted to minimize noise issues. Pentode feels faster, more responsive, more articulate, and bolder (think Fender blackface), while ultra-linear is rounder, richer, and a bit reduced in overall output. The mode switch, found on the ampвЂ™s back panel, toggles the output transformer between pentode and ultra-linear modes. And it allows you to tailor independent lead- and rhythm-channel output levels, meaning you can crank the former for maximum grind and still dial it down at the output and leave the latter more wide-open for optimal headroom. With an independent 6-position knob for each channel, itвЂ™s a superbly handy feature.

Instead, the Sky King dials down output level via a pair of built-in, reactive-load Ironman II attenuators. YouвЂ™ll note an absence of a master-volume control. The two channels share knobs for reverb and the tremoloвЂ™s rate and depth. The rhythm channel sports volume, treble, and bass controls. The latter control adds gritty tweed-like drive to the ampвЂ™s sometimes Marshall-y roar. Situated just after the comboвЂ™s single input, the lead channel has controls for volume, tone, and mid-bite. Wide-open is where the Sky King sounds best. Known first and foremost for capturing alternative takes on Fender-inspired sounds, Tone King branched out with this model without sacrificing blackface-like voicings.

The first-generation Sky King won fans for its impressive combination of performance-enhancing features, deceptive versatility, and, well, kingly tone. The format may not be revolutionary, but the Sky King is unique in many respects.

The new 1x12 Sky King combo generates 35 watts from two cathode-biased 6L6GC output tubes, with foot-switchable rhythm and lead channels, onboard reverb and tremolo (tremolo is also foot switchable, reverb is not), and an attenuator for each channel. TheyвЂ™ve released a revamped Sky King that aims to retain all the plusses of the original design while improving a handful of details in the process. With the dissolution of PBG and BartelвЂ™s departure, Boutique Amp Distribution of California is now home to Tone King. In 2013, Tone King was part of the Premier Builders Guild (alongside Two-Rock amps and Fano, Koll, and Baker guitars), although Bartel was still at the helm design-wise. It featured dual onboard output attenuators, a switchable output transformer configuration, and a totally handwired circuit, while previous Tone King models had carried quality hand-soldered printed circuit boards.ДЄ lot has changed in five years. And when introduced in 2013, the original Sky King was both a repository for all that founder and designer Mark Bartel had learned up to that point, and a signpost to a new way forward. Tone King has built stylishly retro and tonefully infectious amps for two-and-a-half decades.