Zt club amplifier reviews
I first saw the ZT Lunchbox amplifier in a company advert. Reading the claim that the amplifier was c apable of pushing a watt signal through a 6. Months later, I played a gig where the opening band consisted of two horns and a full rhythm section. My perception was that the tones I was hearing could only have come from a much larger and frankly more expensive amplifier than the lunch box sized amplifier I saw sitting on a chair next to the drummer.
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- Robot or human?
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Robot or human?
I first saw the ZT Lunchbox amplifier in a company advert. Reading the claim that the amplifier was c apable of pushing a watt signal through a 6. Months later, I played a gig where the opening band consisted of two horns and a full rhythm section. My perception was that the tones I was hearing could only have come from a much larger and frankly more expensive amplifier than the lunch box sized amplifier I saw sitting on a chair next to the drummer.
In this interview, Kantor discusses a variety of topics including amplifier design, modeling, tube amps and what makes his amplifiers unique. You have an extensive background in speaker design that includes work with psychoacoustics. How did you get into audio design and psychoacoustics and what role does psychoacoustics play in your current work?
Sound has fascinated me ever since I was a little kid. I played trumpet in school band. I took lessons on drums and guitar, and music theory. But it soon became obvious: I was a crappy musician. But, what I did have was an aptitude for the technical side of things. I started tinkering with audio equipment and instruments, repairing and building things. It was a way for me to stay close to music, and be useful to my more talented musician friends.
For several years, it was mostly glorified circuit bending, not really design in the way I think of it now. For example, I added a master volume to my amp, I built fuzzboxes out of the amp stages of transistor radios, added effects to wah pedals so they could be foot controlled. Gradually, I began to realize that to make any real progress, to be able to experiment with new ideas, required me to learn electronics.
I did this throughout high school, but getting an EE degree is what really made the difference. Even after a few semesters, I found myself doing design work for local audio companies and the more you learn, the faster you learn. At this point in time, in my opinion, instead of pushing forward to understand what great tone was about and learning how to achieve it, designers and manufacturers either fell back on the tube amps of the past, or pressed forward with tonally-challenged solid state designs.
As a result, musicians were forced to choose between great tone, on one hand, and power, reliability, size and convenience on the other. But, I was never satisfied with those compromises. I decided to try and understand what went wrong. What was it about the classic designs that engineers were missing? Hey, those engineers were not stupid so I figured there must be something missing in our fundamental understanding of audio. Big word, but all it means is the formal study of how humans perceive sounds.
Jumping in to that, perhaps I could find some better clues to the mystery of what sounds good, what sounds not so good, and why. Over the years, I have designed dozens and dozens of audio products. Psychoacoustics has become completely infused in the way that I think about amps and speakers. They help me set the technical goals for a new product, and guide countless decisions during the development process.
It helps increase the chance of making a better sounding product out of the box. Can you explain how you optimized the individual components amplifier, speaker and cabinet into a unified whole and the relationship between them in the signal chain? Well thanks! When we studied the behavior of the finest amps available to us, a pretty esteemed crowd, we found that they all had one thing in common: they all had these subtle and complex interactions. They had a slightly different response with every change in signal level, every nuance of the input signal.
In that regard, it is a wholistic re-thinking of the guitar amp — a clean slate. The key thing is for the parts of the amp work together to handle the signal in exactly the same way as a fine vintage amp, but using totally different tools.
So, the parts were not optimized individually. They were optimized together, as a system. The power supply can react based on what the power amp is doing, the preamp can adapt to the tone settings. It starts with a preamp that presents the exact load that a guitar expects, and which allows it to respond at its best.
The preamp readily handle the extreme dynamics coming from a guitar. When we very carefully examined the output of most guitars, we were astonished to find brief transients that were many time the voltage that would clip most preamps. Not in the good way that a player can use, but in a subtle way that robs the signal of some of its natural openness. Next, the line stage is what handles the complexities of responding to the individual notes, the pitch, the playing style, note dynamics, etc.
It also contains some really unusual, proprietary tone controls. Instead of just boosting and cutting the sound, they actual morph through a huge range of curves as you turn them. Just as the line stage is about the individual note, the power amp and power supply work together to determine the overall dynamics of the amp, and its overload characteristics.
Finally, the speaker is tightly integrated into the electronics. This speaker is understood by the amp, and performs as ideally as possible, from tone to protection. When I looked at the landscape prior to starting ZT, I realized I could buy some great sounding amps that were large and heavy and I could buy any number of smaller amps that either sounded bad, or were very limited in output and flexibility.
Most brands seemed to put their best chops into their large and expensive amps, and left their small amps as entry level or practice amps.
Meanwhile, its a dynamic world, and portability is more important than ever. It was easy to realize that many musicians would have a place for a top quality, very small amp. Many guitarists have tastes that are specific and stuck in sixty-year old amplifier models and size requirements. I would not have made the Lunchbox if simply catering to tastes is what I wanted to do.
We all know which amps from the past sound great. We all know how to copy them to whatever degree our patience and budget allows. Does that mean that no new amps can equal or exceed them? I have given a lot of thought as to why musicians, an extremely open-minded, intelligent and exploratory lot, get so dogmatic about technology.
I think it has to do with being pitched so much crap for so long, without any plausible explanations about what benefits might actually be achievable. We had a lot a people come through our lab during the development of the Lunchbox, and all our products. We tried to bring in the most cynical, opinionated, hostile players we could find, and there were plenty. We learned a ton from them, and maybe they learned something, too. Several of those guys have turned into our biggest supporters.
Now I own two. I never thought I would ever own a transistor amp, let alone one with digital in it! But, I will say that very few people who try it actually wind up disliking it. It would have been difficult to release an amp that size with a tube component. Was the decision to go solid-state solely a concession to size? I have zero interest in making a tube amp. There are already plenty of great tube amps to choose from.
I built my first tube amp when I was It was never a consideration. ZT is all about bringing new things to the table, and hopefully raising the bar. Besides there are plenty of problems with tubes, and the future supply is far from assured.
Yes, I follow that scene closely, and I know about all the chatter, but the clock is ticking. Most designers have their head in the sand, and rely on knee-jerk buying habits. It seems to me that most of the people building and selling amps over the last few decades have basically given up in the search for tone.
As I said before, they revert to the great sounding designs of the past. Or they start to believe in mystical totems, as simply adding a vacuum tube or an Alnico magnets or using point-to-point wiring automatically confers great tone.
This is pervasively believed, and widely advertised. But it is ridiculous, if you think about it. Along with playing technique and a good instrument, tone comes from exactly what happens to the electrical signal on the trip from your guitar and your ears.
It does not matter what kind of parts or output devices you use, if you use them correctly! The fact that people learned how to squeeze good sound from vacuum tubes before they managed to do it from transistors is interesting, but not crucial.
What is crucial is what happens to the musical signal. Do any non-musicial factors influence your design? The mechanical and cosmetic design of an amp influences its playability and its appeal. It also influences how the speaker works, which is an important consideration. Roadworthiness is also critical. We wanted the amp to stand out and be user-friendly. In your opinion, what should people look for in sound reproduction either professional or consumer use?
I will say that the main thing is to trust your ears, but also know the various ways your ears can fool you in the short-term. The Lunchbox features an ambience control rather than a reverb. Can you talk about the relationship or lack thereof between the two and what are your thoughts about incorporating reverb into the design? We designed in a chip as part of the digital architecture that had a reverb function. Unfortunately, before it came to production, the vendor deleted that function. So we were screwed.
shop best sellers ZT club amplifier faceplate grill [4*Q-29.5] Can be shipped the next day
The Lunchbox Acoustic. ZT Carry Bags our amps are meant to be portable! First of all, there are some things that we just won't stand for Zero Tolerance, you might say. Bad sound. Poor quality.
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Renewed and developed version of the original Lunchbox Guitar Amplifier - the world's smallest stage-worthy combo amp. The world's smallest stage-worthy combo amp. By using our website, you agree to the usage of cookies to help us make this website better. Modify settings Ok. Required cookies These cookies help make the webshop usable and workable. Marketing cookies These cookies help us to display advertisements and products that match your interests in the webshop. Products Menu.
ZT CLUB 200-WATT 1X12 GUITAR COMBO AMPLIFIER
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ZT Lunchbox Amplifier new version
Plus, how he cried the day Wes Montgomery died, and the surprise family connection with his prized '54 Tele. Rig Rundowns. Riff Rundowns.
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Very cool. I'm pretty sure you could just get an actual Super Reverb, like Lee Ranaldo actually uses, for less than that. I guess I never understood what the point of putting out gear that emulates the sound of a guitarist is, when that guitarist uses known, existing gear. I guess I've never cared about lightweight gear, though, or needed to play at low volumes. Is that the market this is after? I always thought of Lee Renaldo as a "whatever works, as long as it's got enough headroom for my effects" kinda guy when it comes to amps.
ZT Amplifiers CLG1 Club 200W
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The Best Amps for Busking ranked:
But, back in the real world in , things are a little bit different. Most guitarists, if not playing stadiums, will be more than happy with smaller, quieter and more affordable guitar amps. Perhaps that explains the popularity of mini amps! But one question remains: how BIG does an amp have to be?
Rather amusing idea