We tested the Cheeky D's electric tones with a Strat, a Custom Shop Nocaster, a PRS McCarty, as well as a Takamine EAN20C. There's also a balanced XLR DI output with a variable level control, ground lift switch and optional speaker sim. There's a pair of send/returns for the parallel effects loop, two insert jacks (using standard tip send/ring receive wiring, pre and post-EQ) and the aforementioned aux input, which can be used for your mp3 player or an unbalanced mic. The rear panel is home to a comprehensive patch bay, including a fixed line-level output as well as separate jacks for headphones and a tuner. Finally, there's an aux in level control and a global master volume. Next up is the Cheeky D's effects section, which consists of a four-position rotary switch with two reverbs, chorus and delay, with a level control to govern the balance between effect and dry signal. Channel 1 also features a self-explanatory dark/bright switch and there's also an overall mute switch. The shared EQ consists of a regular set of bass mid and treble knobs with a button called colour, which scoops out a little bit of the midrange and boosts the high end. There's a distortion feature with a level control and an on/off switch that works on both channels, and a separate Channel 2 volume control. If you have one instrument plugged into Channel 1, it can be footswitched between both channels however, you can also have two instruments plugged in simultaneously, in which case the footswitch acts as an A/B changer.īoth channels have gain controls with attendant clip indicators, used when setting up the amp for optimum signal levels. Channel 1 is solid state Channel 2 is valve. We have two input channels, fed by separate jack sockets. Most AER amps feature fairly complex control arrangements that require a good read of the manual and the Cheeky D is no exception. There are three large high quality circuit boards that hold the preamp, rear panel and power supply electronics, including the single 12AX7 preamplifier valve, which looks a little incongruous surrounded by hundreds of sub-miniature surface-mount components.Īlthough surface-mount technology generally results in more robust products, it's more difficult to diagnose and service. The electronics are held on an 'L'-shaped steel chassis, which forms the top control panel and the large rear panel. Independant performance, battery power controlĪdj.This review model is the single 10-inch 200 watt version, which features AER's well-known twin-cone driver with a cambric surround - there's also a 240-watt model, which uses a regular Alnico magnet 12-inch guitar speaker. Line- or balanced microphone input stage with switchable Line input stage with pad (high/low attenuation)Ĭombined XLR/6.3 mm (1/4”) input jack socket as high-quality Prevents the batteries from being completely exhausted.Ħ.3 mm (1/4”) input jack socket as high impedance Based on the Compact 60, thus identical in sound, but with adapted technology you can play without the mains for three to four hours, the intelligent power control gives a warning and saves you from lack of power during performance. This is exactly what the Compact Mobile has been developed for. Musicians often asked us for a system for acoustic instruments that provides AER sound and quality everywhere … independent from the mains. Care & Maintenance Items and Other Accessories
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