TEST: One Control BJF 566

 Rock'n'Roll is dead! At least when it comes to the acceptance of the all-tube sound monsters, which in the corresponding performance segment still undisputedly enable the maximum sound experience in terms of sound and dynamics, but their haptics are now only heaved onto a stage by selected sound fetishists. Since probably only 5% or less of the readers of this article were able to experience the tonal pressure of masculinity, an all-tube full stack, on stage at one of their concerts behind them and "The Next Generation" of all young guitarists are no longer able to do this anyway will experience, the bolides will die a quiet live death and will probably only be able to prove their tonal capabilities in the studio in the medium term. The future belongs to the "smaller" and, above all, "lighter" department, which brings us to our current test candidate, the One Control BJF-S66.

The construction of the One Control BJF-S66

The Japanese manufacturer One Control should be known to most readers from their pedals, which have probably increased in popularity in recent times. In order not to throw themselves into a new product segment without thinking twice, the Asians hired the Swede Björn Juhl as the designer of the transistor top, who is not only responsible for the micro pedals from One Control, but also with his company BJFE Guitar Effects, or rather Björn Juhl Förstärkar Elektronik is active in the scene.

In terms of dimensions, the One Control BJF-S66 belongs to the "lunch box" class, with the dimensions (W x D x H) 26.5 cm x 9.5 cm x 10.3 cm being a class below it slowly approaching the micro class in the bass amp area, some of which only have the dimensions of 2 cigarette boxes. Depending on the impedance of the connected speaker box, the transistor amp with Class D power amplifier delivers 100 (4 ohms), 66 (8 ohms) or 30 watts (16 ohms), which is completely sufficient for normal band operation. The scope of delivery includes an external 24 volt power pack, probably also to keep the small dimensions of the amplifier. The power supply is connected via a normal socket, as is also the case with pedals, so sufficient strain relief must be provided so that the plug does not accidentally slide out of the housing.

The case of the One Control BJF-S66 makes a very solid impression at first glance. The front and back parts are screwed to a two-part aluminum frame, into which four rubber feet (supplied) can be screwed if required. All potentiometer axes plus the mini switches confirm the value of the components by having an official feel and no play in the guide. A foldable carrying handle made of metal facilitates transport, whereby the amplifier, which weighs only 1.62 kg, can also be carried easily in one hand.

However, the RJ12 connection of the foot switch contrasts with the absolutely roadworthy appearance of all components. It will always remain a mystery to me why manufacturers use this unstable connection, which is prone to breakage and which only works to some extent in the TC area, in the many times harder music store operation. What use is the most massive construction of the case if it is unnecessarily weakened at such an important point.

The two channels of the amp are greatly reduced in their individual control options in favor of an extensive effects control for an amp of this size. In addition to a three-band tone control, in which the middle control is unusually located on the edge, the amplifier has a gain control for the clean area, a lead boost for the lead area, as well as a master volume for rhythm and one for lead. The amp also has a bright switch that affects both channels and a channel switch if the FS-P3 footswitch is not available.

If you keep in mind that, according to Björn Juhl, a mid 60s Fender Blackface serves as a model for the Control One BJF-S66, not only the Fender-like knobs make sense, but also a look at the internally installed digital effects department. Both channels have individually controllable reverb areas, which can be adjusted in decay and level. There is also a tremolo unit that can be activated via a mini switch or foot switch, with adjustable depth and speed.

The back of the One Control BJF-S66

Anyone who, like me, is not a fan of the RJ sockets can lean back and relax after taking a look at the back of the amplifier. Fortunately, the tremolo unit, the channel change and also the FX loop, which is located on the back with send / return, can be switched separately via individual jack plugs. There is also a speaker out, a preamp out and the power switch on the back of the case.


The foot switch FS-P3

In contrast to the RJ connection socket, the triple foot switch is bursting with massive workmanship. The case gives the impression that it has been milled out of a solid block of aluminum, with the base plate being embedded precisely. Four stick-on pads are included for a better grip on smooth surfaces. The channel selection, the tremolo unit and the FX loop are switched.


One Control OC-EM112C Guitar Box

In order to get a little closer to the Fender Blackface Tribute visually and acoustically, One Control has also brought the matching 1x12 cabinet onto the market. Since the head, with the exception of the potentiometer knobs, does not show any visual parallels to Fender, at least the cabinet has been bridged to the blackface / silverface era by means of the front covering. The open-back cabinet is equipped with a 12-inch Eminence GA-SC64 Allessadro, which can handle an output of 40 watts and has an impedance of 8 ohms.

40 watts at 8 ohms? Wait a minute, what were the performance specifications of the head? 66 watts at 8 ohms? In fact, One Control is pursuing a company policy here that I don't understand. Either the speaker has an incredible headroom in terms of volume processing, or the speaker runs the latent risk of being blown through at high final volume, especially since the housing is open and the excessive power of the amplifier compared to the speaker cannot be used, as is the case with the Hughes & Kettner, for example BS200 combo balanced by a specially calculated and closed housing construction.

In practice

The alignment of the One Control BJF-S66 is obvious from the very first note. In combination with the OC-EM112C Cabinet, the association with the Fender faction is quite obvious, although the amp cannot be described as a reincarnation of a blackface due to its design. Nonetheless, the midget offers a smooth, balanced sound that gains character as the volume increases.

The clean reserves of the Rhythm channel are very high, so that you can also achieve a high volume with vintage humbuckers without the first distortions occurring. I was also surprised by the very successful response of the Eminence speaker, which also shines with a powerful bass component, especially when you consider the open design.

In the lead channel, the amp still remains in the crunch range even when the gain is attacked, just like the model. As expected, the amp gets along all the better with pedals of all kinds, so if you need the standing high-gain sound, you can switch your pedal mines off the amp as you wish. The sound always remains transparent and calm. In particular, the bright switch, with its 10 dB boost at 4 kHz, proves to be a little insider tip in the overall concept. In fact, the sound gets an extra dose of "freshness" without sounding like a simple treble boost. Up to the Texas Blues, the amp exudes a practical esprit, which one would not have believed the tiny one at first sight

For a transistor amplifier, the tube reference is quite successful, although the head loses a bit of depth and dynamics in direct comparison. But there is said transportability of the extra class.

The internally built-in digital reverb is not a spring reverb emulation, but offers a more modern sound spectrum, which covers everything from ambience to large halls that you want to include in your song. Of course, the two independent controls of the two channels prove to be a great advantage here.


Conclusion

With the One Control BJF-S66, the Asian manufacturer has a very practical amp in its portfolio. The amp impresses with its tiny dimensions and the associated great portability, without neglecting the tonal attributes, which in this case are tailored to the Fender range.

The amp leaves a good impression both in terms of sound and concept and turns out to be an excellent working horse for the working musician.


Additional Informations:

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