TEST: Blackstar HT Club 50 MKII

 Sind wir mal ehrlich, wer hätte gedacht, dass die von ehemaligen Marshall Mitarbeitern gegründete und offiziell seit 2007 auf dem Markt erhältlichen Produkte der Firma Blackstar schon über eine Dekade auf dem Buckel haben. Gehört die in Northhampton ansässige Firma doch zu den ganz wenigen, welche nicht nur die ersten Jahre ihrer Firmengeschichte überlebt haben, sondern auch aufgrund der geradezu inflationären Endorsement Politik (die offizielle Website listet allein schon knapp 450 Gitarristen!) ihren Marktpräsens in den letzten Jahren massiv ausbauen konnten.

Das Konzept von britischer Entwicklung bei chinesischer Fertigung, kombiniert mit patentierten und interessanten Detaillösungen, scheint sehr gut zu funktionieren, was sich auch daran erkennen lässt, dass einige der ersten Verstärker-Releases der Firma bereits als 2. Generation veröffentlicht werden. So auch geschehen mit dem Blackstar HT Club MKII, der basierend auf der ersten Modellreihe, einiger Upgrades erfahren hat, welche ihn in Sachen Flexibilität deutlich erweitern.


Konzeption und Aufbau

Bei dem Blackstar HT Club MKII handelt es sich um ein zweikanaliges Vollröhren-Topteil, welches mit 2 ECC83 in der Vorstufe und 2 EL34 Leistungsröhren eine Leistung von 50 Watt an den Tag legt. Über einen frontseitigen Schalter kann die Leistung auf 5 Watt reduziert werden, aber immer daran denken, um die Lautstärke eines Verstärkers zu verdoppeln, muss man die Leistung verzehnfachen, d. h. die 5 Watt Schaltung halbiert gerade mal die Leistung des Verstärkers. Auch 5 Watt Vollröhre können noch einen Heidenlärm im Proberaum erzeugen.

Mit den Abmessungen (B x H x T): 79 x 23 x 38 cm und einem Gewicht von 18,7 Kilogramm darf das Topteil ruhig in die Liga „leicht“ und „handlich“ eingeordnet werden. Da freut sich der Rücken, allerdings müssen in Frage kommende Cases gegebenenfalls ausgepolstert werden.

Neben der Tatsache, dass der Head mit je 2 unterschiedlichen, mit einem Druckschalter (oder per mitgeliefertem Fussschalter) abrufbaren Voicings pro Kanal arbeitet, setzt Blackstar mit seiner ISF (Infinite Shape Feature) Schaltung erneut auf stufenloses Überblenden zwischen Klangfarben britischer oder amerikanischer Prägung. Bevor die Puristen sich jetzt die Haare büschelweise ausreißen, natürlich ist es unmöglich, komplette Konstruktionen britischer oder amerikanischer Protagonisten in all ihrer Komplexität durch einen simplen Blendregler umzusetzen, aber wir sprechen hier von Klangfarben, nicht von Meas Boogie und Marshall in antiseptischer Reinkultur.

Die Frontseite ist schnell abgehandelt. 2 Kanäle, Clean mit 2-Band, Overdrive mit 3-Band-Klangregelung, ein in der Färbung umschaltbarer Digitalhall nebst Regler, 2 Voicing Schalter, Kanalumschalter, Mastervolume, Netzschalter, Standby Schalter, Betriebs-LED, Inputbuchse, fertig! Die Rückseite gestaltet sich etwas anspruchsvoller. Neben 3 Speaker-Out (1x16 Ohm, 2x16 Ohm, 1x8 Ohm - ACHTUNG Mesa Boogie oder H&K Freunde etc. 2x8 Ohm geht nicht!) befinden sich noch 2 Footswitch (5-fach und 2-fach) Eingänge, ein Emulated Out als TRS und XLR mit umschaltbarer Charakteristik und ein serieller FX-Loop, schaltbar zwischen -10 dB (Boden-FX) und +4dB (19 Zoll und Konsortien).

Dazu noch ein USB Out um direkt in den Rechner spielen zu können. Die emulierten Lautsprecher Signale funktionieren auch im Standby Modus. Nach wie vor gilt, NIEMALS einen betriebsbereiten Vollröhren-Amp ohne angeschlossene Box betreiben. Merke: All-tube amp without load from a speaker means immediate death of the most expensive component of the amplifier, the output transformer!

As a conclusion, at first glance quite cute, but especially in the festival business of the second guard and lower, where unfortunately sometimes Hinz and Kunz can hang around even in sensitive areas, a real practical burner, the Kensington Castle. And if it only stops the thief for 1 minute, or if it produces so much noise that the criminal draws attention to himself, every amp that has passed the training amp level should actually have such a protective device!


sounds

First of all, we are not referring to the Emulated Speaker Out. It's a nice tool to quickly capture an idea, but once again you can't generate a serious sound.

First of all, the recording arrangement. To ensure better interaction with the guitar, none of my preferred guitars with EMG pickups were used, but rather a vintage Les Paul Custom. The signal went without any effects via a 6 meter Cordial Roadline cable into the Blackstar HT Club MKII into a Hughes & Kettner 412 Cabinet with Celestion Classic Lead Speakers. The signal was recorded with a Fame MS57, an SM57 copy, which generates a little more treble than the original and feeds the signal into a Mackie 32-8 console without any further filter processing.

In order to be able to judge the different pickups in the Clean Channel in direct comparison to the amp, I first played the licks via the neck pickup, then both pickups in parallel and finally via the bridge pickup, which you can recognize immediately with a little tonal experience anyway. Incidentally, all tone controls are set at 12 o'clock to achieve the most neutral color possible. Let's start with the first voicing, which according to the manufacturer should have an “American” character.



Anyone who expects the shine and shimmer of the Fender family will quickly be taught otherwise. There's another way to get really clean, but that's probably not what the manufacturer was aiming for. Although the gain control is only at 9 o'clock and the guitar's vintage pickups are anything but real impedance monsters, the first distortions appear when you play hard. The slightly snappy sound has even greater assertiveness, so everyone can make their own judgment here.

Anyone who is a little skeptical about the term “clean” in sound example 1 will frown even more at the “British” voicing. However, you should always keep in mind which “stable” the leading minds at Blackstar come from and anyone who has ever experienced how Marshall himself defines the word “clean” in his JCM 2000 series should approach the amp with different expectations .


Yes, it pinches quite well in the highs and is sometimes reminiscent of recordings from the sixties, where you were constantly in saturation due to the low power of the amps. In my opinion, a very authentic CCR sound that would go very well with “Fortunate Son”, for example.

Well, then let's make the most of the "clean" channel by maxing out the gain and switching between the two voicings.


Oh yes, that sounds like a great opportunity for any ambitious rock band. Voicing 1 once again allows the original American roots of Southern rock to blossom, cross-references to Molly Hatchet's first albums (for example "Whiskey Man", ATTENTION - not to be confused with the newly recorded garbage that the ragtag name abusers are delivering these days) come to life back then they still got their sound from the first Peavey amplifiers. Voicing 2, on the other hand, allows associations with the old British sound such as AC/DC from the early days. Of course everything depends on the guitar used and the touch.

Let's now turn to the overdrive channel, which, in addition to the two voicings Classic Overdrive with moderate power amplifier attenuation and Modern Overdrive with treble boost and little power amplifier attenuation, also has the patented ISF circuit, which allows the smooth crossfading between the "American" and the "British". “Sound should enable. Let's start with Voicing 1 and the crossfade from the US sound to the UK sound.


Oh, I would be careful with the names. If I had had to do a blind tasting, I would have ranked the US and UK just the other way around. The strong midrange bite in the first part of the sound file sounds significantly more British than the second part, which once again reveals how subjective describing music is. Frank Zappa quote: “Talking about music is like dancing about architecture.” For me these are two different varieties of a British sound, but see Zappa. On to the second voicing.


Here, too, I can't necessarily identify an American sound, which is either a rather soft timbre in the style of Mesa Boogie or a slightly scratchy touch of a Peavey 6505. However, the second part of the sound file here is much more towards the UK than the previous sound file, probably because it is a riff with a clearly British character, apart from the artificial harmonic pinch.

In summary, you should be prepared to have an amp with clear British tendencies, which also has some very nice retro US sounds in the clean channel. In general, I like the clean channel of the Blackstar HT Club MKII much more than the overdrive channel.

The overdrive channel tends to overcompress a bit, which can make the basic sound drift into something muddy. Not that the channel sounds bad, but it lacks the openness that you need for an assertive sound above a certain gain factor.

However, you should keep in mind that the amp ultimately has six different all-tube basic sounds, which means a lot of flexibility in this
Price range means. It should be clear to every economically minded person that with this design you have to make a few concessions in terms of the value of the individual sounds and you don't get a 6-channel high-end monster in the style of an H&K Triamp MK3.


Conclusion

With the Blackstar HT Club MKII you get a very flexible amp that covers a wide range of applications despite its small dimensions. 2 different channels with switchable voicings, in collaboration with the ISF circuit, enable a wide variety of sounds that can cover a wide range of rock music standards.

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Additional Informations:

Blackstar Amplification, established in Northampton, England in 2007, represents a notable case study in the field of electronic audio amplification, particularly within the guitar amplifier sector. Co-founded by Ian Robinson, Bruce Keir, Paul Hayhoe, and Richard Frost—professionals with prior experience at Marshall Amplification—Blackstar emerged from a strategic initiative to innovate beyond the prevailing market offerings in guitar amplification.

### Foundational Objectives and Technical Approach

Central to Blackstar's founding ethos was the objective to engineer amplifiers that transcended traditional limitations, thereby offering enhanced tonal versatility and adaptability across diverse musical genres. This was achieved through a meticulous R&D process, underpinned by a commitment to both qualitative craftsmanship and quantitative performance metrics.

### Initial Product Development Phases

The nascent phases of Blackstar's product development were characterized by intensive prototype engineering, conducted within a modest operational setup. A significant challenge during this period was the establishment of a competitive stance within a market dominated by well-entrenched brands. The resolution lay in the deployment of distinct technical innovations that could demonstrably fulfill unmet needs within the target demographic.

### The Artisan Series: A Paradigm of Hand-Wired Precision

The launch of the Artisan series marked Blackstar's initial foray into the market, showcasing hand-wired amplifiers that epitomized the company's dedication to superior craftsmanship. This product line not only served to validate Blackstar's innovative capabilities but also established its brand identity in terms of offering products with unparalleled tonal depth and flexibility.

### The HT Series and Proprietary ISF Technology

Furthering its innovation trajectory, Blackstar introduced the HT series, incorporating the patented Infinite Shape Feature (ISF). This technological innovation allowed for unprecedented tonal shaping, enabling users to seamlessly navigate between the tonal characteristics emblematic of American and British amplification systems. The ISF technology symbolizes Blackstar's strategic emphasis on providing end-users with a granular level of sound customization.

### Diversification and Technological Integration

In response to evolving market demands, Blackstar expanded its product portfolio to include digital modeling amplifiers (ID:Series) and compact amplification solutions (Fly 3 mini amp). These lines underscored the company's agility in integrating digital technologies with traditional amplifier design, enhancing functionality through features such as USB connectivity and embedded effects modules.

### Market Positioning through Artist Endorsements

Blackstar's strategic market positioning has been further reinforced through endorsements from a wide spectrum of artists, evidencing the brand's appeal across diverse musical genres. These endorsements not only serve as testimonials to the technical superiority and versatility of Blackstar products but also augment the brand's visibility and credibility within the professional music community.

### Navigating Industry Dynamics

The trajectory of Blackstar Amplification within the competitive landscape of guitar amplifiers is marked by a continuous engagement with both the challenges and opportunities presented by shifting industry dynamics. The company's enduring focus on technological innovation—attuned to the changing needs of the music production and performance sectors—signals its sustained commitment to excellence in audio amplification.

### Prospective Directions

Looking ahead, Blackstar Amplification is poised to continue its emphasis on research and development, targeting the integration of emergent technologies to further enhance the expressive capabilities of guitarists. This forward-looking perspective, anchored in a foundation of technical excellence and innovative design, positions Blackstar as a pivotal entity within the global amplification industry.

### Technical Summary

In summation, Blackstar Amplification's journey from a fledgling startup to a recognized name in guitar amplification is a testament to the efficacy of integrating advanced electronic engineering principles with a nuanced understanding of musicians' needs. The company's product development ethos, marked by an unwavering commitment to innovation, quality, and versatility, exemplifies a strategic approach to overcoming industry challenges and leveraging opportunities for growth and advancement in the field of audio technology.