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I also used it at a variety of different output levels, from whisper quiet to near maximum output (which is very loud, by the way). I ran its output into an eight-ohm, 2x12 cabinet loaded with Celestion V-type speakers, and I used a variety of dirt boxes as well as several delay, modulation, and reverb pedals. I have been happily using a different manufacturer's compact power amp in exactly this way for a few years now, so I was eager to plug in the Powerstage and see what it could do as a sort of blank sonic canvas for effects. Many modern solid-state amps make ideal platforms for players that get their sound primarily from pedals, modelers, or outboard preamps, and clearly this is what Seymour Duncan intended for the Powerstage line. The Powerstage 170 is handsome to behold, simple to operate, and gives the impression of extreme ruggedness. On the rear of the unit is a small, silent fan to keep it humming along at a safe operating temperature, as well as a removable three-prong power cord and a power switch. Atop its handsome brushed silver enclosure is a three-band equalizer and a single large master volume knob. It has a single quarter-inch mono instrument input, and a single quarter-inch cabinet output rated at between four and eight ohms. The Powerstage 170 is a sleek, no-nonsense 170-watt solid-state power amp that measures just a hair over five inches square, is a little over two-and-a-half inches tall, and weighs about two pounds. As evidence of this phenomenon, I provide the new Seymour Duncan PowerStage 170. For those among us who have ever dreamed of fitting their entire rig on a small pedalboard, I am here to say that the dream is officially real. This technology has made it possible to design and manufacture ultra-powerful, ultra-portable solid-state instrument amplifiers that are so compact as to be only slightly larger than the average stompbox enclosure. You see, modern class-D solid-state technologies have created a revolution in the amplification world, one that is presently poised to take over the pedalboards of guitar players everywhere. So zooming in on the differences is nitpicking to some extent, and the differences may not be enough justification to swap gear.I am delighted to announce that solid-state is officially cool again. Also, the PowerStage seems less sensitive, doesn't require finding "sweet spot".īear in mind that I've been using the Matrix for many years now, with great satisfaction. The Matrix sounded more boxy in comparison. For the reasons stated above: transparency, less congested/saturated lows and low mids.
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No ties, no endorsements etc.Ĭonclusion: confirmation that I do prefer the PowerStage over the Matrix GT1000FX.
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I bought the PowerStage before writing this. Side-note: I do think that Matrix has missed the boat here by discontinuing their GM50 module and not providing something that fits on a pedalboard or another kind of standalone box. Time will tell if it's as durable as the Matrix has proven to be. It's going to take the place of the Matrix (yeah, one less rack unit). The PowerStage has plenty of output level, more than I'd ever need, and is super handy to transport. So zooming in on differences is nitpicking to some extent, and the differences may not be enough justification to swap gear. Also, the PowerStage seems less sensitive, doesn't require finding a "sweet spot".īear in mind that I've been using the Matrix for many years now, with great satisfaction. So, being impatient as I am, I took my gear to a nearby studio and have been playing till my ears bled for the past 90 minutes, alternating between the 3 power amps.Ĭonclusion: confirmation that I do prefer the PowerStage over the Matrix GT1000FX. I was told that there's time nor room tomorrow for experimenting.