Dean Farley reviews the Komet Amplification 50-Watt all-tube amplifier head.
This is the latest [and perhaps greatest] guitar amplification design from legendary “amp guru” Ken Fischer. In many respects, this new 50-watt monster represents a major evolution in modern amplifier design. True to its Trainwreck heritage, the Komet amp is one hundred percent “classic” Fischer — it has all of the usual trademarks found in his earlier Trainwreck models, but it also brings some brutally clever and ingenious new additions to the forefront. For starters, some things haven’t changed a bit here and will never change as far as Ken is concerned. The Komet, like all his purebred Trainwreck pedigree, is one of the most emotional, dramatic and frighteningly toneful single channel guitar amplifiers you’ll ever have a chance to “play with.” It is a complete and total sensory “experience” interacting with this amplifier! The Komet surely defies easy categorization and moreover, it will likely redefine the “modern boutique amplifier”, as we know it today.
The beautiful three-dimentional timbral “clouds” produced by this amplifier are absolutely spellbinding. Its sounds are very complex, its tones exceptional rich, full-bodied, FAT and downright heavenly. The low end bass response is easily that of a 100 watt amp [or higher] and the sheer command with which the Komet drives a good 4-12 cabinet will penetrate even the thickest skinned musician. All things considered, one must bare in mind that Fischer’s original goal here was to build an amp that could effortlessly navigate through many different musical styles equally [and brilliantly] well, as opposed to an amp that was a real killer for a more specialised musical genre [e. g. The Trainwreck Express models for a heavier, high-octane British sound]. That being said, the Komet will not disappoint in the tonal department either, as you can easily “voice” the amp to sound any way you wish for any gigging or studio situation. The Komet head accepts a wide variety of output tubes which can include 6L6s, 6550s, 6CA7s, EL-34s, KT-66s, KT-77s, KT-88s, 5881s, 7581As, AND the extremely coveted EL-37s, too.
Another important distinction found here worth noting; the Komet is the very first guitar amplifier that Ken has designed based around a 5AR4 tube rectifier in its circuit with EL-34s used as the stock output tubes. Biasing this beauty is a simple task and an absolute no-brainer for the non-technically minded. On the flip side of the coin, the Komet represents the ultimate amplifier for those who love to fiddle, it is truly the “tube tweaker’s” dream finally come true. The vast, available ranges of tones that can be coaxed from the Komet’s controls are [seemingly] nothing short of inexhaustible! When you figure in all of the “mix and matching” possibilities that your private stash of preamp tubes bring into the equation, it won’t take too long before the thought occurs to you that “Wow, the sky’s the limit ?!!”
Since we’re on the subject of biasing, the Komet has the most brilliant and clever biasing circuit I have ever seen in many a moon. This amp features a “bias lock” control that resembles a combination safe’s lock. This is a ten-turn potentiometer that has two individually numbered dials that lock into position with a small brake lever once you have found the proper bias adjustment for each tube type. Located on the amp’s back panel is the Komet’s “bias-point” feature that enables the player to place his/her digital multimeter’s probes into V1, ground, and/or V2. This feature makes tube changes and total re-biasing possible within seconds! Even the most inexperienced novice musician can now confidentally change tubes without any reservations or fears [provided he/she has a DMM handy that will read mV scales]. It just doesn’t get easier than this. If you wish to change tube sets [or tube types] you can mark the spots on the dials where the bias is correctly set for each duet [without having to use a meter at all]. If this isn’t enough, you can additionally use the bias-point feature to match [and test] any of your own tubes for all your other favorite amplifiers, too! Tired of having to haul your amplifiers to your local amp tech for those needed tune-ups? Owning a Komet is like having your very own “amp technician in a box” [free of charge no less]!
Sonically speaking, this 50 watt tone monster is a wickedly devised, highly explosive blend of Trainwreck, Marshall, Fender, Dumble and [of course] Vox. One could best describe the Komet like this; taking the best JTM-45 “Plexi” Marshall you’ve ever heard and combining it with the righteous Blackface Fender /Dumble type of clean tones, then stir in the sweetest chime and jangle of a Vox AC-30/AC-50 into the harmonic soup. Next, mix in those wonderfully “brown sounds” of early Van Halen. Got it? Now, this is where it gets really FUN, at a single flip of a switch, you’ll find yourself thrown into a parallel Universe where no commercially made amplifier has ever been before. The Komet’s “touch response” circuitry is just beyond any mere mortal amplification. On the amplifier’s back panel, you will find you have a selection between either the “gradual” or “FAST” settings. These two “speeds” dramatically alter the amp’s response to your own picking techniques and are sheer magic for matching what style of music you’re playing at any given moment. This touch response circuitry acts as a magnifier that multiplies any of the amplifier’s chosen settings by a factor of four. Pick the string softly, it reacts sweetly, attack the string with aggression and your instrument’s true characteristics will come bursting forth from the speakers with a sound and harmonic blast that will amaze the most eclectic and selective tone fanatic.
The build quality found in the Komet is without peer, the inside of the chassis is as clean as a hospital floor, the components are all rock solid and built to last longer than its user. All screws are stainless steel [including the back panel screws] and are virtually impossible to strip. They are designed to withstand even the toughest abuse scenarios. The back panel screws fit perfectly snug inside their own specially machined reverse threaded recepticals that are permanently imbedded into the wood. They’re in there for good, not held in place by the too commonly found wood screw arrangements usually seen in most of today’s mass produced and boutique amplifiers. While we’re commenting on superior build quality, just wait until you get the first fleeting glimpse of the Komet’s massive, industrial strength, brand of tube sockets. THESE take no prisoners! These are custom ceramic sockets replete with gold-plated pins and are presently the finest sounding type of socket used for high-powered guitar amplifiers today. Concerning their practical use, it’s nearly impossible to mangle or break a tube’s pins with these hefty brutes– there is only one way to insert the tubes, correctly or not at all. Just another brilliant touch that you’ll see happening with the Komet’s refined construction. For those of you who’ve had bad experiences with re-tubing your amplifier [especially those models with the old-style shield base tube sockets], you can breathe easy now, it’s a breeze!
Every single aspect of this amplifier has been very well thought out, its presentation is flawless, yet it is deceivingly simple to operate and get to know on an intimate level. In conclusion, it can honestly be said that the Komet 50-watt head is startling in every regard and is certainly a multi-faceted “musical chameleon” that has every color of the tonal spectrum well represented. Our ears [and fingers] tell us that this is one HELL of an amp to be reckoned with. Our advice would be to check this amp out as soon as you can! This may easily be, hands down, the most versatile and exciting amplifier design ever conceived in the last thirty years.
The base price of the Komet head is $2,995 US. Visit http://www.kometamps.com/ for more information.
(c) Dean L. Farley
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