Imagine being able to pack 5 of history's greatest sounding amplifiers into a package so small it fits in the pouch of your gig bag. Imagine a head so light you almost forgot it was there. Imagine a streamlined set up that only takes a few moments. Forget about the problems you are used to, like bad voltage or tiny stages. Plug it in and turn it up. Your friends stop snickering and their jaws begin to drop as a generous helping of Quilter wattage fills the room. Now they are asking where to get theirs. Welcome to a whole new world of practical and affordable tone.
One of the newest products from Quilter, the 101 Mini Head. With boutique-quality tones for recording, coupled with enough power to use on stage, the 101 Mini Head is the perfect amp head for the modern musician. The Quilter 101 Mini Head is a small size and streamlined 5-knob control panel that can serve as a backup for almost any stage amp.
The exclusive TRI-Q control blends three distinct voices, scoop, normal, and lead providing much more tone shaping than an ordinary "tone" control. The EFFECTS LOOP provides an idea place to connect "sweeteners" such as delay or chorus, adding their tone to the overall sound of the amp, including its overdrive. The Effects Send also provides a line out signal, and the HEADPHONE jack provides private listening as well as an alternate line-level output. DUAL SPEAKER JACKS on the back drive any normal speaker with a warm, musical response, and the amp is stable with no speaker connected.
Your back has been waiting for this since the first time you laid hands on a heavy amp. With the 101 Mini Head, you can have gloriously huge tone without lugging around bulky and temperamental heads.
Real world power that sounds even bigger than tube technology. Unlike last-generation solid state technologies, Quilter amplifiers have enormous internal headroom far above published rated power. This means you get extra voltage swing, huge transients and, more importantly, the feel and harmonic content you can't usually get without glowing bottles.
Turn the Master way down, or plug in your headphones and keep it totally quiet as you work on your music late into the evening. The 101 Mini Head is the perfect missing link between your effects and your speaker cab, and tucks in anywhere to make your DAW look even more beautiful.
TRI-Q: As indicated by the graphics on the face plate, this control travels smoothly between three basic EQ patters. These settings affect the relative strength of low, mid, and high notes prior to reaching the overdrive section and therefore, help control which notes reach the point of overdrive first.
- The Left end of this control engages a mid-range "scoop." This setting tends to clean up the sound by reducing the volume of notes in the middle of chords, which can add to clutter. This allows the sound to be dominated by low notes and chiming highs, which creates a big bright sound, excellent for rhythm support and clean "acoustic" voicing.
- The central zone is basically neutral, representing the true sound of your guitar. The mid-range is full bodied, which produces a lush, relaxed tone with more potential for overdrive.
- The upper range emphasizes middle and high tones, for a classic lead-guitar voicing. By reducing relative bass gain, low notes don't bottom out so easily, so plenty of overdrive can be used without chords becoming too muddy.
This five-way switch selects among five overall tonal personalities, applied before and after the overdrive section, thus effectively giving you five different combinations of amplifier power and underlying EQ curves. It's almost like having five amps in one!
- Full Q: This is the baseline sound of the amplifier, with no superimposed tone shaping. The overdrive distortion is inspired by vintage British amplifiers using EL-84 or EL-34 tubes, with a smooth controllable entry into mild breakup, which can then be pushed further into plenty of incisive sizzle and slashing lead notes. The output wattage at the point of breakup is printed around the master control, which allows the power to be kept within the speaker's rating
- Tweed: Tone shaping is added after the overdrive to mellow out the highs and create a smaller, chestier bass response, inspired by the tone of early open-back amplifiers.
- Jazz: Input gain is reduced, and the clipping threshold is increased, to produce more clean headroom, without any added EQ voicing. The relaxed neutral tone response will remind you of vintage amplifiers used by early jazz guitarists. There is still enough gain to get into overdrive, so if you go there, remember that the maximum power is increased to 100 watts, and adjust the Master accordingly to protect your speakers.
- Surf: An overall scoop is added to the preamp EQ, inspired by the tone of 60's era Fender blackface amps, and the peak output power is increased to 100 watts. The result is a big, clean, sound with lots of body and chime and less mid-range clutter. As always use the master as necessary to reproduce overdrive dynamics at any output volume level.
- Lead: the preamp's full gain is available for maximum overdrive. A bass-treble boost and mid-range cut is applied after the overdrive stage, for maximum incisiveness and penetration. This enhances the overdrive harmonics and produces musically louder tones without actually increasing the net power into the speaker.
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