Description
The clean channel delivers full, 3D tones reminiscent of American 1960’s and 70’s amplifiers. The lead channel is related to the clean channel circuit-wise, so that it can be set up to act as a boosted clean channel or manipulated to make the channels sound like two completely different amps (the lead channel can be set from slight to very heavy distortion by simply using the volume and master controls). The bright switch on the lead channel has been carefully tailored to deliver familiar high-end snap and is particularly effective on the low strings, neck pickup settings, and with singlecoils, while the low-end response of the lead channel is full, tight, and clear.
Both channels on the Sonzera are designed to maximize note clarity and definition. The global presence control and the tone stack allow players to dial in a variety of tones from bell-like chime to warmer, thicker tones. The Sonzera 20 Combo also features global reverb control that is designed to enhance notes without clouding them. The reverb can be turned on and off via the footswitch. The addition of a built-in effects loop allows players to use all their time-based effects with ease without negatively impacting the overall tone of the amp.
In addition to its versatile tone, the Sonzera 20 Combo is also designed for reliability and serviceability. The power tube sockets are mounted directly to the steel chassis, and no push-on connections are used – all wires are soldered.
With robust construction, a wide range of tones, and steadfast controllability, the Sonzera 20 Combo is a solid gig- and studio- worthy amplifer.
SPECIFICATIONS
GENERAL |
Available Configurations |
Combo |
FRONT PANEL CONTROLS |
Global Controls |
Presence, Reverb |
BACK PANEL FEATURES |
Inlet |
Fused Power Inlet (IEC) |
Effects Loop |
Loop Return, Loop Send |
Bias |
Fixed Bias, Adjustable (bias jacks accessible from back panel) |
Extension Speaker Jacks |
5, Parallel |
Ohm Switching |
4 (x2), 8 (x2), 16 Ohms |
HARDWARE |
Cabinet Material/Contruction |
Poplar Plywood |
Covering |
Stealth |
Grill Cloth |
Black and Cream |
Piping |
Gold |
TUBES |
Power Tubes |
(2) 6L6GCMS |
Preamp Tubes |
(1) JJ ECC83S, (3) 12AX7AC5 |
PREAMP TUBE POSITIONS & FUNCTIONS |
V1 |
12AX7, Common Input Gain Stage |
V2 |
12AX7AC5, Gain Channel |
V3 |
12AX7AC5, Reverb |
V4 |
12AX7AC5, Phase Inverter |
MEASUREMENTS |
Amp Width |
19.5″ |
Amp Depth |
10.5″ |
Amp Height |
18″ |
Amp Height |
42 lbs. |
Total Impedence |
16 Ohms |
ACCESSORIES |
Included Accessories |
2-Button Footswitch (Channel Gain/Clean, Reverb On/Off) |
Brand
PRS - Paul Reed Smith
Paul Reed Smith
This passion for quality affects not only the work habits of individuals but also the structure of the whole company. Paul Smith: “We’re not organized like other companies. Every PRS craftsperson is a self-contained quality control ‘department.’ They have a lot of authority over their work, and if a guitar falls short in any way, they don’t pass it on to the next stage, and they make that decision themselves. They hand guitars back and forth all the time, and they inspect everything over and over. It’s like an old European guild or a shop. There’s a constant ‘is this good enough?’ conversation out there on the factory floor. So the quality control begins at the workbench. It’s not something we overlay or tack on. It’s an integral, organic part of the process, beginning with design and materials selection and going through every single step in construction and testing.”
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