TEST: Sound City Master One Hunderd

 Yes, they still exist! After years of the common league of amp manufacturers primarily focus on the transfer of classic all-tube sounds in the smallest and lightest possible alternatives to the fat all-tube head, the astonishment was great, when I heaved the Sound City Master One Hundred in my studio. The packaging was like its contents, big, heavy, clunky, unwieldy, and contained everything the bulk of amp smiths try to avoid these days. Just unpacking it in itself required an appropriate amount of effort. I like the amp already ;-)

The British Sound Invasion

Sound City? Never heard of it! In fact, you must have left at least 60 behind to still remember this name. Also I have not personally held this amp label in my youth, however, I was always told by the next higher generation of a "Marshall For Pedestrians", which one "could take in a pinch". The company Sound City could not have been described more unqualifiedly, since it was one of the first representatives of the classic British rock sound, together with the companies Marshall, Vox and Hiwatt, at a time when the island was seen as THE navel of the world in terms of music.

In particular, the name Hiwatt is very strongly associated with the trademark Sound City, as founder Dave Reeves celebrated his big breakthrough with Hiwatt a few years later after the introduction of Sound City in the early / mid-sixties. Allegedly, the Sound City amps were easier to import to continental Europe, so that especially in Germany, the name was sometimes more present than the superfather Marshall. Scene greats like Pete Townsend, Marc Bolan and Jimi Hendrix were seen with the Sound City fullstacks, but in the end the commercial skill of Jim Marshall was probably the decisive factor for his omnipresence, which (still) continues to this day.

After Reeves had much more success with "Built-As-A-Tank" Hiwatt models than with Sound City, probably also due to several attitude characteristics, the brand disappeared from the scene for more than 40 years and survived only in the memories of today's grandfathers. Only in 2017, the brand was revived under the leadership of Neil Ostberg and amplifier jack-of-all-trades Steven Fryette, who is already with VHT and his current Fryette amps just in the high-gain area on everyone's lips, and strikes soundwise a diametrically different path than what you're used to from Fryette.

The concept of the Sound City Master One Hundred

Whoever sets out to reanimate a more or less legendary name always faces the same problems. On the one hand, the components of the time are only available in modified form, if at all, and on the other hand, sound and volume tastes have truly changed completely in over four decades. In addition, one fights with many competitors in terms of price, which have been able to gain some advantage in recent years through Asian manufacturing or at least a much stronger trademark.

Aware of this, Fryette relies on a combination of vintage feel, combined with its wealth of experience in terms of sound culture. However, this also means that the current Sound City Master One Hundred is likely to differ significantly from its forefathers in terms of sound, but not without waving the appropriate vintage flag. Let's be surprised.

The construction

The Sound City Master One Hundred is one of those amps that both bandmates and FOH mixers feel a mixture of weak knees and worry about the eternal volume discussion. If the guitar mate doesn't immediately get a load resistor out of his transport box, every experienced musician knows what's in store for a 100 watt all-tube head at the first power chord. A beaming face on the part of the guitarist and desperate shaking of the head on the part of everyone else present, seasoned with the words "it has to be like that, otherwise it won't sound". In the choice of tubes, Fryette has also departed from the usual pattern. For the generally lower gain demand of the amp, except for the phase inverter tube (12AT7A) in the preamp, the 12AX7A is used, which is designed to be less "hot" than the mass phenomenon 12AX7. In the output stage 4 pieces EL34 of the company Mullard are used, which enjoys a very good reputation straight in the boutique range.

Fortunately, the Sound City Master One Hundred is a master volume amp, where you can reduce the final volume while maintaining the same preamp distortion, and yes, the power amp saturation is actually within limits with this amp, as the later practical part will confirm. Interesting with this amp is indeed the combination of different elements, which one has divided for example at Marshall on different types. Sound City, for example, has opted for a combination of the vintage-style 4-input patch panel, which is usually only known from non-Master models. The famous patch cable for mixing the two input sensitivities plus the treble alignment is included.

Otherwise, the classic three-band tone control plus presence control, a blue LED and the standby / power switch pair prevail the classic vintage feeling, which is supported by the general appearance. Stylistically matching tolex, plastic binding and a massive carrying handle, everything as you would expect. Of course, this also applies to the rear panel, where only a somewhat unusual-looking, but very sensible impedance selection risks a second look. For the classic vintage layout, a single 16 Ohm output is offered. For fullstack operation (Mercy Us God ...) each 2 outputs which are switchable between 8 and 4 ohms. So any combination of single or 2 identical cabinets should be possible. Otherwise, there is a line out for daisy chain operation to another amplifier (Grace Us God ...) or the feed to a speaker simulation.

With a weight of 20 kg and the dimensions (HxWxD) 29 cm x 65 cm x 26 cm, the Sound City Master One Hundred is even relatively handy for its performance class, but this does not hide the general feel of an all-tube head.


The Sound City Master One Hundred in practice

Well then, what do we expect from an old-school bolide whose layout and sonic approach has been shifted back almost 5 decades? To say it in advance, you get what you see, that is, the amp sounds exactly as you expect it and at the highest level. But everything in order.

It should be clear to everyone that the Sound City Master One Hundred is not a high-gain amp. If you need a distortion beyond a decent lead in the style of a 2203 or 2204 from Marshall, please switch your favorite overdrive or distortion pedal in front of the amp. The amp works like almost all other colleagues of the guard Alltube Crunch Head quite excellent with additional pedals. So far, so good.

However, what pushes the amp right up into the elite of the Crunch league is the basic sound of the amp. Despite the very good vintage flair, both in the humbucker, as well as in the single coil area, the amp has a very unique sound, where you can recognize the signature of Steven Fryette in every stroke. The slightly throaty sound, always with concise high mids, revives the great hits of the sixties and seventies and effortlessly manages to hit the notch between Marshall on the one hand and Hiwatt on the other.

In addition, the amp hangs almost exemplary on the volume control of the guitar and allows even with the volume turned down wonderfully dynamic clean sounds, which can be seamlessly blended into fat crunch riffs. An amp created for the most classic of all sound approaches, in the form of clean and crunch sounds via volume control and an additional pedal for the lead sounds. Just great.

Yes, the amp is big, heavy, bulky and thanks to American manufacturing with about 2,300 € also quite expensive, but it embodies visually and tonally what has made rock'n'roll great. Lucky the one who still has the balls to play such an amp live!

Conclusion

With the Sound City Master One Hundred, an old trademark has been revived under the aegis of Steven Fryette. With new wine in old bottles, the VHT veteran manages to reanimate a Crunch brand of the upper class and create an alternative worth hearing to the big British names of Crunch.

Anyone who has the opportunity to experience a 100 watt all-tube amp in its entirety should definitely test this amp, if only to briefly experience what rock music once meant and why all guitar heroes are either dead or over 70 years old.

Additional informations:

- Sound City Amplifiers: A Legacy of British Sound

Sound City Amplifiers is a renowned British amplifier company known for its high-quality products and iconic sound. The company was founded in the 1960s in England, and it quickly gained a reputation as a manufacturer of premium amplifiers that produced a distinctively British sound. The Sound City brand has been used by many legendary artists, including The Beatles, The Who, and Pink Floyd, among others.

History of Sound City Amplifiers

Sound City Amplifiers was founded in 1967 by sound engineer and designer, Dave Reeves. Reeves had previously worked for Hiwatt Amplifiers, where he gained valuable experience in amplifier design and construction. He started Sound City Amplifiers with the aim of creating an amplifier that could deliver the kind of sound he had always dreamed of.
Reeves was a perfectionist, and he spent a lot of time experimenting with different components and circuit designs to create the perfect amplifier. He eventually settled on a design that featured four EL34 power tubes and a unique preamp circuit that gave the amplifier its distinctively British sound. The result was the Sound City 120, which quickly became a hit with musicians looking for a high-quality amplifier with a unique sound.

Over the years, Sound City Amplifiers continued to produce high-quality amplifiers that were renowned for their power, clarity, and tone. The company's products were used by many legendary artists, including The Beatles, The Who, Pink Floyd, and many others.
However, despite the popularity of its products, Sound City Amplifiers struggled to compete with larger companies such as Marshall and Fender, which had more extensive marketing and distribution networks. The company eventually went bankrupt in the 1980s, and its assets were sold off to other companies.

Legacy of Sound City Amplifiers

Despite the company's bankruptcy, the Sound City brand continued to be associated with high-quality amplifiers and British sound. The Sound City name was used by other companies to produce amplifiers that tried to replicate the original Sound City sound. However, many musicians believe that nothing can match the sound of the original Sound City amplifiers produced by Dave Reeves in the 1960s and 1970s.

Today, vintage Sound City amplifiers are highly sought after by musicians and collectors who appreciate their unique sound and historical significance. They are often used by musicians looking to recreate the sounds of the British rock bands of the 1960s and 1970s.
In recent years, the Sound City brand has been revived by a company called Sound City Amplification. This new company is dedicated to producing high-quality amplifiers that stay true to the original Sound City sound. The company produces a range of amplifiers, including the SC30 and SC40, which are designed to replicate the sound and feel of the original Sound City 120.

Conclusion

Sound City Amplifiers is a company that has had a significant impact on the music industry. The company's high-quality amplifiers and unique sound have influenced generations of musicians and continue to be appreciated today. While the original company may no longer exist, the Sound City name lives on through vintage amplifiers and a new generation of products that seek to capture the essence of the original Sound City sound.


- All About Tube Amplifiers:

The Warm and Vintage Sound of Full-Valve Amplifiers
Tube amplifiers, also known as valve amplifiers or "tube amps," have been a staple in the world of music since the early 20th century. These amplifiers are known for their warm and vintage sound, and they are popular with musicians and audiophiles alike. In this article, we'll take a closer look at tube amplifiers, including their history, how they work, and why they are still popular today.
History of Tube Amplifiers.

Tube amplifiers were first developed in the early 20th century, and they quickly became popular in radio broadcasting and public address systems. They were also used in early guitar amplifiers, and they played a key role in the development of electric guitar music in the 1940s and 1950s.
In the 1960s, tube amplifiers reached their peak of popularity, as they were used by many iconic guitarists, including Jimi Hendrix, Eric Clapton, and Jimmy Page. However, in the 1970s, solid-state amplifiers became more popular due to their smaller size, lower cost, and higher power output. As a result, tube amplifiers fell out of favor for a time.

In recent years, however, tube amplifiers have experienced a resurgence in popularity, as musicians and audiophiles have rediscovered their warm and vintage sound. Today, tube amplifiers are used in a wide range of music genres, including rock, blues, jazz, and more.
How Tube Amplifiers Work.

At their core, tube amplifiers are relatively simple devices. They consist of a power supply, a preamp, and a power amplifier. The power supply provides the high voltage needed to power the tubes, while the preamp amplifies the incoming signal from the instrument or audio source. The power amplifier then amplifies the signal further, and sends it to the speakers.
The key to the warm and vintage sound of tube amplifiers is the use of vacuum tubes, also known as valves. These tubes are made of glass or metal, and they contain electrodes that are heated by a filament. When the filament heats up, it causes the electrons inside the tube to move around, which creates an electrical signal. This signal is then amplified by the tubes, which add a unique character to the sound that is often described as warm, rich, and organic.

Advantages and Disadvantages of Tube Amplifiers

One of the main advantages of tube amplifiers is their warm and vintage sound, which is difficult to replicate with solid-state amplifiers. Tube amplifiers are also known for their smooth distortion, which is highly valued by guitarists who want to add a gritty edge to their sound.
However, tube amplifiers also have some disadvantages. They are generally more expensive than solid-state amplifiers, and they require more maintenance. The tubes need to be replaced periodically, and the amplifiers themselves can be quite heavy and bulky. They also tend to be less efficient than solid-state amplifiers, which means they may not be suitable for high-volume gigs.

Conclusion

In summary, tube amplifiers are an important part of the history of music and audio technology. They are known for their warm and vintage sound, and they are popular with musicians and audiophiles who value the unique character of tube amplifiers. While they may be more expensive and require more maintenance than solid-state amplifiers, the warm and organic sound of tube amplifiers makes them a popular choice for many music lovers.