4/29/2023 0 Comments Acoustica reviewIt’s probably a correct placement from a signal-chain perspective, but I think it could be difficult to see in a dark club and more challenging to grab for a quick, mid-song volume change. Immediately to the right of the OD section is the volume control. High points are due for the inclusion of a blend control to ensure a solid foundation is retained when engaging the overdrive. But if traditional, wooly sounding fuzz is your thing, this OD will be highly satisfactory. I personally prefer a brighter, more-distortion-than-fuzz sounding overdrive channel, and I found that some of the higher transients and overtones got lost with the B100C’s overdrive section. It made easy work of dialing up anything from a slight speaker breakup to roaring super-fuzz-feeling tones ideal for indie rock. I applaud the inclusion of the overdrive section on the B100C. Acoustic got it right by designing this combo with correct low-end voicing. I find that smaller combos and bigger amps alike often leave me wishing there was a little more bass in the sound with the EQ set flat. That said, I was also impressed with the way this amp sounded absolutely flat. The amp delivers even more of a vintage rock ’n’ roll sound with the shape switch engaged, which made pick styles sound just right without any additional EQ needed. This musicality turned fret noises and finger slides into something enjoyable and organic sounding-something I’ve found that a few companies in the vintage-sounding bass amp market have lost in recent years. By that I mean it has an inherent musicality in the high mids that is somewhat vintage sounding. When I turned on the amp, I immediately thought it sounded just like, well, an Acoustic. Around back, the amp houses an XLR out that can be used pre or post EQ and has a corresponding output-level dial. While an aux in and headphone out are common features on amps of this caliber nowadays, it’s still nice to see them on the B100C, because they add to its versatility. It’s a quick solution to EQing for players not yet comfortable with the finer details of a 4-band EQ. The Acoustic’s frequency notch filter grabs onto one frequency area and allows you to move that singular cut from the sub lows up to the very top of the highs as you turn the control clockwise. The control functions slightly differently than the enhance or character knobs seen on other combos, which alter several frequencies at once. There was no need to push this baby to make it show its true character, which is very handy when recording with a mic in front of the speaker. Another bonus is the frequency notch filter, which goes through a variety of preset EQ curves as it’s being turned clockwise. It has a 4-band EQ with controls for low mid and high mid, a blend control for the onboard overdrive section, and separate gain and volume controls. The B100C has front-panel features one would typically have to seek out in a higher price range. I’d like to see more manufacturers make this a standard cabinet shape. A big benefit is the ability to position the combo in front of you onstage for those times when the FOH engineer doesn’t want any stage volume at all, which happens surprisingly often. The design looks great and makes the amp easier to fit in smaller spaces and cars due to its decidedly less-boxy shape. Thanks to its cabinet design, the combo has the option of being positioned monitor-style or standing up in a traditional fashion. I nodded my head in approval the moment I pulled the B100C out of its box. We had the opportunity to check out the B100C: the 1x12, 100-watt model in the series. With a rich history since the company’s humble beginnings on Sunset Boulevard in Los Angeles 50-plus years ago, Acoustic recently released a new line of budget-minded bass combos. And let’s not forget the other ’70s greats associated with Acoustic, such as Larry Graham, John Paul Jones, and John McVie. The aggressive bridge-pickup midrange and signature growl from his fretless J certainly had help from the Acoustic head he was often seen plugged into. When a bassist sees the Acoustic logo and familiar baby-blue/black color scheme, chances are he or she will reminisce about the best-known player associated with the brand: Mr.
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