This amplifier is the one for me, at least for the time being. Since I bought this amp I've felt alot closer to the sounds I chased growing up listening to the British Beat bands of the sixties. The reasons I'm never far from this amp is not just because of the history that happened before my time, but also how I found it almost upon my front door in my hometown, hidden away waiting to be played once again.

For years I played shows with this amp at reasonable volumes finding clean sounds that sustained better than amplifiers I previously used. Playing fuzz through this amp was also satisfying as the cabinet in use is a 1968 Vox T-100 with two fifteen inch speakers, speakers with such bass response that the low end of any fuzz could be controlled and remain tight at loud volumes.

After years went on, I started to record more and using this amp for its original intention on bass guitar, the recordings sounded correct, with saturation and room dynamics. During these controlled sessions, I started to push the amp higher in the frequency and louder for heavier guitar parts. It didn't always satisfy in that way as the amplifier will seek bass traps in any small room and distant microphone techniques are particularly needed to get the correct frequency balance. There amp were designed to be herad at a distance. The larger speaker cones shield the sound at close distance trapping the high frequencies in bass as so the sound can be carried until the bass wears off and the clarity is preserved for a distant crowd to hear.

Thankfully, the output on this AC-100 is a double quarter inch jack and so I am able to use this amplifier as public address for the average crowd.