Traditional 3-Ch Head
Amps
The Traditional 50 was tested by
Device Type
All-tube guitar amp head, 3-channels (two and a half) - Clean, Crunch, High Gain with serial / parallel switchable effect loop, completely made by hand in Germany, wired point to point
Power 100W Model / 50W Model Class A / B push-pull output
Tubes
Power Amp Tubes 100W Model -4 x EL34B-STR (Quartet,TAD ), 50W Model -2xEL34B-STR (Duet, TAD )
Preamp tubes 3 x ECC83-Cz (TAD ), 2 x 12AX7 Tung Sol
Chassis
1.5 mm sheet steel surface-finished, front and back plate 1 mm natural anodized aluminum,
Pre-amp tubes with sheet metal caps shielded and secured against slipping, power tubes secured with clamps.
Casing
15-24 mm multiplex, cover imitation leather, metal caps nickel plated on all corners, ventilation and protective grille 1 mm nickel-plated steel, handle imitation leather metal-reinforced, rubber feet
Dimensions (WxHxD / mm)
720 x 285 (with feet and handle) x 260
Mass
100W model -ca. 21 kg, 50W model -ca. 20 kg
Equipment:
- Power cable
- Protective cover
- Flightcase medium heavy version (surcharge)
- Director floorboard with 7 meter connection cable screwed at both ends (surcharge)
All-tube guitar amp head, 3-channels (two and a half) - Clean, Crunch, High Gain with serial / parallel switchable effect loop, completely made by hand in Germany, wired point to point
Power 100W Model / 50W Model Class A / B push-pull output
Tubes
Power Amp Tubes 100W Model -4 x EL34B-STR (Quartet,
Preamp tubes 3 x ECC83-Cz (
Chassis
1.5 mm sheet steel surface-finished, front and back plate 1 mm natural anodized aluminum,
Pre-amp tubes with sheet metal caps shielded and secured against slipping, power tubes secured with clamps.
Casing
15-24 mm multiplex, cover imitation leather, metal caps nickel plated on all corners, ventilation and protective grille 1 mm nickel-plated steel, handle imitation leather metal-reinforced, rubber feet
Dimensions (WxHxD / mm)
720 x 285 (with feet and handle) x 260
Mass
100W model -ca. 21 kg, 50W model -ca. 20 kg
Equipment:
- Power cable
- Protective cover
- Flightcase medium heavy version (surcharge)
- Director floorboard with 7 meter connection cable screwed at both ends (surcharge)
Sound & characteristics of the Schröter® BrownArtist and the Schröter® Traditional 100W and 50W models
The tops Schröter BrownArtist and Schröter Traditional 100W are identical in their basic sounds!
They differ only by some switching functions and equipment, which make the BrownArtist even more flexible compared to the traditional models.
The 50W version of the Traditional again differs from the 100W version only by the lower power output.
Regardless of the Volume!
These high-end amps unfold their tone and a pleasant feeling even at room volume, because they are not technically set to overdrive or compression of the power tubes, as is the case with vintage and also with many modern amps. Instead, the RhyVol and SoloVol controls, in conjunction with the Output Power knob (and Halfpower switch on the BrownArtist) and Rise knob, provide control over the density and dynamics of their tone in every position.
They are never too strong for small clubs and never too weak for big stages!
Allround Talents
With their 3-channel concept Clean, Crunch and High Gain, the amps are basically all-round talents.
All three models are very clearly marked by a British character. Warm, smoky, rough, wiry, three-dimensional, high-glossy aptly describes their basic sounds. Standing wiry, dry and extremely lively, they appear in appearance, mud is alien to noble-minded amps!
Point to Point Wiring
The guitar signal "flows" from the input jack to the speaker outputs, practically through point-to-point wired circuitry, and comes into contact with nothing but resistors, capacitors, tubes, and metal in the form of leads and switch contacts, just like vintage amps the case is.
Neither in nor on (!) the Signal path semiconductor devices come in any form and therefore can not creep into their sound synonymous anything synthetic!
The tops Schröter BrownArtist and Schröter Traditional 100W are identical in their basic sounds!
They differ only by some switching functions and equipment, which make the BrownArtist even more flexible compared to the traditional models.
The 50W version of the Traditional again differs from the 100W version only by the lower power output.
Regardless of the Volume!
These high-end amps unfold their tone and a pleasant feeling even at room volume, because they are not technically set to overdrive or compression of the power tubes, as is the case with vintage and also with many modern amps. Instead, the RhyVol and SoloVol controls, in conjunction with the Output Power knob (and Halfpower switch on the BrownArtist) and Rise knob, provide control over the density and dynamics of their tone in every position.
They are never too strong for small clubs and never too weak for big stages!
Allround Talents
With their 3-channel concept Clean, Crunch and High Gain, the amps are basically all-round talents.
All three models are very clearly marked by a British character. Warm, smoky, rough, wiry, three-dimensional, high-glossy aptly describes their basic sounds. Standing wiry, dry and extremely lively, they appear in appearance, mud is alien to noble-minded amps!
Point to Point Wiring
The guitar signal "flows" from the input jack to the speaker outputs, practically through point-to-point wired circuitry, and comes into contact with nothing but resistors, capacitors, tubes, and metal in the form of leads and switch contacts, just like vintage amps the case is.
Neither in nor on (!) the Signal path semiconductor devices come in any form and therefore can not creep into their sound synonymous anything synthetic!
Short Signal Paths
In addition, the signal paths are basically kept short by the special concept of the effetcs loop (true parallel), the amps achieve a sensationally fast, direct response, which gives the impression that the sound would be there just before striking the strings.
Completely away fall by their elaborate construction by hand, the typical characteristics of most modern industrial multi-channel amps, which often i.a. in order to save on manufacturing costs, technically show a rather compromising structure and therefore like to suffer from lack of directness, slow reaction, a "carpet over it", flat tone, etc.
Feel what you play
The guitarist feels a very clear feedback on his input due to the pleasantly cushioning, vehement response to the string attack. Instead of stirring with the plectrum in the spongy, lazy swamp :-), you have the sound of these high-end amps always in your hand and can form it wonderful!
Purified Tone
Since there tone is ’purged’ in a special manner, there are no problems with unintentional feedbacks and therefore the Schröter® BrownArtist can handle complex chords at relatively high gain settings. Airy, transparent, sparkling and glistering (somehow kind of 3-dimensional), that’s how one sound cloud stands in front of the speaker cabinet while pedal-tones stay clean at any time – perfect for Jazz Rock, too!
Highly Dynamic
Especially the crunch channel is to be highlighted in dynamic discipline. It's so dynamic that you do not really need the channel switch for most situations. Because purely only by the string attack almost clean to heavy Crunch is possible, so tinkering with
the guitar's volume control is no longer necessary! (see sound files "Clean channel - Crunch channel with Gibson ES 345")
Switching
In conjunction with the Director floorboard, which also includes a true hardware bypass loop for effects between guitar and amp, and can automatically turn on / off the amp's effects loop of with the solo volume or manually, a small setup is just as easily realized as a big one, because the amps are additionally equiped with channel switch plugs for external control via midiswitcher ready.
FUNCTIONS OF THE TRADITIONAL
FRONT
13 - Impedance selector and speaker jacks
The impedance selector must always be set to the total impedance of the speaker cab(s) connected to the parallel-wired speaker jacks.
Attention: Only use loudspeaker cable! Guitar cables can cause serious damage to the amp!
14 - Mains jacks, Mains fuses, HT fuse
The HT fuse protects the high voltage part of the amp against excessive current flow and thus against higher damage. The Traditional 100W models need a 1AT fuse, the 50W models a 0.5AT fuse
Mains Fuse (mains fuse / main fuse) must be 2AT for mains voltages 230V and 240V and 4AT for 100V and 120V. The T behind the A stands for slow (= SB = Slow Blow)
1 - Mains / Stby switch, each with associated control lamp
By tilting the Mains switch down, the amplifier is switched on, ie supplied with mains voltage and the Mains indicator lights up. If the Stby indicator light is not (yet) lit, the amplifier is in Stby mode. This means that all operating voltages of the amplifier circuit are present, except for the high voltage of all tubes. In this state, the amplifier should be at least 30 - 45 seconds after switching on!
If now also the switch Stby is tilted down, Stby shines and the Traditional is ready to play.
2 - Master Section with the controls Rise, RhyVol and SoloVol
3 - Clean Channel
The clean channel is completely independent of the crunch and high gain channel adjustable. Its gain control determines how "clean" or already "crunchy" it should be depending on the guitar. Adjustable in Bass, Middle and Treble, the clean channels volume control matches it to the volume of the other two channels (see Master Section above).
By tilting the Mains switch down, the amplifier is switched on, ie supplied with mains voltage and the Mains indicator lights up. If the Stby indicator light is not (yet) lit, the amplifier is in Stby mode. This means that all operating voltages of the amplifier circuit are present, except for the high voltage of all tubes. In this state, the amplifier should be at least 30 - 45 seconds after switching on!
If now also the switch Stby is tilted down, Stby shines and the Traditional is ready to play.
2 - Master Section with the controls Rise, RhyVol and SoloVol
The Rise control is related to the Tight/Mild switch and shows a similar effect. The more you turn it up, the brighter, bassier and muscular the tone gets. Moreover this control (in combination with the Output Power control) is a profound tool in order to get the impression of a cranked up amp at low volume.
With RhyVol and SoloVol the Traditional provides two recallable (via Director floorboard or external switching) volume settings for all 3 channels.
When SoloVol is activated the corresponding LED is lit. Different volume settings have a drastic effect on the amp's compression characteristics. The overall amp volume is adjusted with the Output Power control located on the rear panel.
3 - Clean Channel
The clean channel is completely independent of the crunch and high gain channel adjustable. Its gain control determines how "clean" or already "crunchy" it should be depending on the guitar. Adjustable in Bass, Middle and Treble, the clean channels volume control matches it to the volume of the other two channels (see Master Section above).
4 - Channel Switch
This is for switching the 3 channels (Clean, Crunch and High Gain) manually at the amplifier. The switching status is indicated by the channel LEDs CL, CR and HG. When using the Director floorboard or the external switching jacks, the Channel Switch has to be in the middle (Crunch) position.
5 - Crunch and High Gain Channel
Since both channels are extremely similar in basic sound, they share the bass, middle, and treble tone controls, but have independent gain controls for adjusting their respective distorting behavior.
The crunch channel's Pre Bass control has a decisive influence on the bass part in the preamp section and therefore behaves quite differently than bass in the EQ. Since the bass part of the preamp is heavily dependent on the position of the Gain control, Pre Bass is used to compensate for it. Little distortion - Pre bass up, a lot of distortion - Pre bass down. It is not used for the actual setting of the bass!
The high gain channel has an independent gain control and is adjusted with its volume control in volume to the crunch channel.
6 - Crunch - High Gain Link
This switch determines with its 3 positions whether the Traditional is an amp with clean, crunch and high gain channel, or an amp with clean and two crunch channels or one with a clean channel and two high gain channels.
7 - Guitar
Sure, the guitar input jack.
Since both channels are extremely similar in basic sound, they share the bass, middle, and treble tone controls, but have independent gain controls for adjusting their respective distorting behavior.
The crunch channel's Pre Bass control has a decisive influence on the bass part in the preamp section and therefore behaves quite differently than bass in the EQ. Since the bass part of the preamp is heavily dependent on the position of the Gain control, Pre Bass is used to compensate for it. Little distortion - Pre bass up, a lot of distortion - Pre bass down. It is not used for the actual setting of the bass!
The high gain channel has an independent gain control and is adjusted with its volume control in volume to the crunch channel.
6 - Crunch - High Gain Link
This switch determines with its 3 positions whether the Traditional is an amp with clean, crunch and high gain channel, or an amp with clean and two crunch channels or one with a clean channel and two high gain channels.
7 - Guitar
Sure, the guitar input jack.
BACK
8 - Director 7-pin DIN Jack
Serves exclusively to connect the Director floorboard (noMIDI jack!).
9 - External Switching Jacks
10 - Pre-Amp Out
11 - (Back) Loop
12 - Output Power Controller
The Output Power control adjusts the overall volume of the amp (see Master Section -RhyVol and SoloVol).
Serves exclusively to connect the Director floorboard (no
9 - External Switching Jacks
With these switching jacks you can use a MIDI switcher in order to control Rhythm and Solo Volume, the Clean, Crunch and High Gain channels as well as the amp's FX loop. This feature allows the BrownArtist to be part of a big, MIDI-controlled (multi-amp) rig.
10 - Pre-Amp Out
Adjustable pre-amp signal (no speaker simulation) which isn't affected by volume control or FX loop. It is used best for driving other (power-) amps, effect devices, etc... You can also connect a speaker simulator with the pre-amp out jack for silent recording without speakers.
Caution: If you run the amp without any speakers connected, you must turn the Output Power control as well as RhyVol and SoloVol controls to position 0!
11 - (Back) Loop
This is the insert loop between pre-amp and power-amp, and it works both in parallel and in series (switch able). Loop is controllable via Director floorboard or External Switching jacks... Enjoy the 'Spill over' function! There are adjustable Send and Return levels, for matching 19'' rack gear levels (+4dB) and FX pedal levels (-10dB).
This FX loop is a true parallel loop. The pre-amp audio signal flows thru the loop circuit only if the loop is in serial mode and activated (or in case Director isn't connected). A disengaged loop always means parallel direct operation even if the Series/Parallel switch is in Series position!
12 - Output Power Controller
The Output Power control adjusts the overall volume of the amp (see Master Section -RhyVol and SoloVol).
The impedance selector must always be set to the total impedance of the speaker cab(s) connected to the parallel-wired speaker jacks.
Attention: Only use loudspeaker cable! Guitar cables can cause serious damage to the amp!
14 - Mains jacks, Mains fuses, HT fuse
The HT fuse protects the high voltage part of the amp against excessive current flow and thus against higher damage. The Traditional 100W models need a 1AT fuse, the 50W models a 0.5AT fuse
Mains Fuse (mains fuse / main fuse) must be 2AT for mains voltages 230V and 240V and 4AT for 100V and 120V. The T behind the A stands for slow (= SB = Slow Blow)
Attention: Only replace fuses with the value specified on the fuse holder!
Humbalance Control
- Not shown behind the grille -
With the Humbalance control, the Traditional is set to the lowest possible background noise (ground hum). This is best done by activating the crunch channel. The volume should be set slightly higher, so that the background noise is easy to hear. Now the Humbalance control is adjusted until the existing humming noises seem the quietest.
In order to avoid errors, nothing should be connected except a speaker box to the amp.
Bias Control
- Not shown behind the grille and (actually) only for technicians! -
with it the quiescent current of the power tubes is adjusted. The Traditional should be at least 10 min. warmed up. RhyVol and SoloVol to zero, Output Power full up. Now connect the negative lead of a millivoltmeter to the soldering eyelet next to the bias test socket and insert the positive lead into the socket, preferably with a banana plug, and now set to approx. 62mV.
Humbalance Control
- Not shown behind the grille -
With the Humbalance control, the Traditional is set to the lowest possible background noise (ground hum). This is best done by activating the crunch channel. The volume should be set slightly higher, so that the background noise is easy to hear. Now the Humbalance control is adjusted until the existing humming noises seem the quietest.
In order to avoid errors, nothing should be connected except a speaker box to the amp.
Bias Control
- Not shown behind the grille and (actually) only for technicians! -
with it the quiescent current of the power tubes is adjusted. The Traditional should be at least 10 min. warmed up. RhyVol and SoloVol to zero, Output Power full up. Now connect the negative lead of a millivoltmeter to the soldering eyelet next to the bias test socket and insert the positive lead into the socket, preferably with a banana plug, and now set to approx. 62mV.
The Schröter® Traditional Amps are basically available in any conceivable Tolex colors as desired!
Of course, the colors of the handle and the control knobs can also be selected according to your taste.
Price overview*
Traditional 50W Amp (including lifetime warranty**)-----------3.490,00 EUR
Traditional 100W Amp (including lifetime warranty**)---------3.790,00 EUR
Director Floorboard------------------------------------------------------480,00 EUR
Flightcase (made to measure in medium-heavy version)------------255,00 EUR
* incl. VAT, plus shipping costs (shipping only possible with flight case) -
The single production can result in longer waiting times. For a binding order 50% of the total price is required as a down payment.
** except wearing parts, tubes, damage caused by improper handling or force majeure, such as surge damage (lightning)