Crushers Salient Features: * Special Grade Steel is used for hammers/beaters and mesh for longer maintenance free life. * Special Heavy Duty rotor with hammers/beaters that turns light iron & steel scrap into small dense balls/pieces of 3-6" size, approximately totally dust & rust free. * Easy & continuous charging of scrap through conveyer or from fix platform upto the mouth of machine. * Output of Shredded/Crushed scrap may be taken on mesh provided in the civil foundation. * Heavy civil foundation has to be fabricated as per drawings. * The above data are indicative and not binding. Optional Features:(Against Charges) * Replaceable Beaters/Hammers/Mesh, can be kept as spares. * Feeding and output conveyor can be supplied. * Electric motor with matching starter can be supplied.
Operating principle PE jaw crusher uses motor as its power. Through the motor's wheels, the eccentric shaft is driven by the triangle belt and slot wheel to make the movable jaw plate move by a regulated track. Therefore, the materials in the crushing cavity composed of fixed jaw plate, movable jaw plate and side-lee board can be crushed and discharged through the discharging opening Jaw Crusher Features 1. simple structure, easy maintenance 2. stable performance 3. even final particles and high crushing ratio
crusher is a machine designed to reduce large rocks into smaller rocks, gravel, sand or rock dust. Crushers may be used to reduce the size, or change the form, of waste materials so they can be more easily disposed of or recycled, or to reduce the size of a solid mix of raw materials (as in rock ore), so that pieces of different composition can be differentiated. Crushing is the process of transferring a force amplified by mechanical advantage through a material made of molecules that bond together more strongly, and resist deformation more, than those in the material being crushed do. Crushing devices hold material between two parallel or tangent solid surfaces, and apply sufficient force to bring the surfaces together to generate enough energy within the material being crushed so that its molecules separate from (fracturing), or change alignment in relation to (deformation), each other. The earliest crushers were hand-held stones, where the weight of the stone provided a boost to muscle power, used against a stone anvil. Querns and mortars are types of these crushing devices.
Dehong jaw crusher series are based on years experience and technology development. The continuous improvement and refinement has made them the preferred jaw crusher for professionals and our customers. They can meet most crushing requirements in primary and secondary crushing, and the largest compression resistance of the material is 320mpa. This series are widely used in stone mining, metallurgical, construction, smelting, hydraulic and chemical industries, etc.
PF Series Impact Crusher is one kind of equipment to crushing the brittle material which compression strength no more than 350 Map, the advantage including high crushing ratio, uniform product grain and low over crushing, low energy consumption, high adjustment range of product grain size and optional crushing etc, which is mainly used in mine, metallurgy, cement, construction material, coal etc for secondary crushing and fine crushing the medium hardness material. Application: Metallurgy, construction material, mine, beneficiation and large block material crushing. Our advantages: 1. Large feeding port and high crushing cavity, suitable to crushing the material with high hardness and big grain size, and less powder. 2. The gap between impact plate and hammer plate is adjustable, so the discharging grain size can be effective control and the grain shape is well. 3. The hammer, impact plate and lining plate are made of new type abrasion-proof material with long working life and impact protection, wear protection. 4. Because of the function of three-stage crushing and plastic, so the crushing ratio is high, and the product shape is cube and can optional crushing. 5. The multi-function hydraulic station has many function of hydraulic discharge gap with high speed, impact plate stable vibration and the body open automatically. The PF series impact crusher is mainly compose of the rack, driving system, rotor, hammer and impact plate etc. The main feature including: 1.Rack: It composed by two parts of upper and lower with connection by bolt. All the parts contact the crushed material in the rack have set replaceable lining plate. 2. Driving System: The main shaft and rotor are driving by motor through belt then doing the high speed rotary motion. 3. Rotor: It adopts entire cast steel structure with high mass force, solid and durable, convenient to install the hammer. 4. Impact Plate: It is made from new type abrasion material and hanging freely inside the equipment. One end connect with the two sides of the rack through hanging shaft hinge, another end is bearing in the upper rack cone gasket through stay bolt which is adopt a sphere gasket, it can prevent the equipment damage by non-crushing material when crushing material. 5. Hammer: It is made from new type abrasion material and fixed on the rotor through wedge block
Low Consumption Mining Crusher Machine , Rock Jaw Crusher is crushing equipment which mainly be applied in metallurgy, mine, chemical industrial, cement, building, fireproofing materials and ceramics and other industries to process middle hardness mineral. It is mainly used in various soft and hard mineral whose compression strength is no more than 300MPa, and the size of the biggest lumpiness should not be bigger than that of technical specifications.
PF Impact crusher is the most advanced crushing machine combining domestic stone&sand industry specific situation, and it absorbs latest technology. It adopts advanced production technique and unique structure design, final product shape would be cube, max input size of material should be 500mm, compressive strength should be less than 350MPa, all kinds of coarse, medium, and fine size material(granite, limestone and concrete) could be processed. Impact crusher is widely applied in mining, railroad, highway, energy, cement, chemical, construction industries. Final size of material could be adjusted, double chamber and triple chamber types are available, unique structure adopt key-less connection, high chrome hammer, and special impact plate; crushing process is simplified, making it more energy-efficient; Cube final product shape,and adjustable discharge size.
Original Marshall caster and socket with a black wheel having 50mm diameter x 20mm width. Used on 1960A, 1960B and other cabinets. Package of one includes four mounting screws. Caster screws into black plastic socket base.
If you have a Marshall Speaker Cabinet that has four black plastic recepticals, these casters thread perfectly into the centre hole. Compared to the prices for casters on Amazon for casters these seem pretty expensive but when I received the order and saw Marshalll on each of the four bags it was worth it. Then when they thread into the hole it all becomes worth it.
I tried to get these casters at a local store. I had to back order them, first they said 2 weeks. After 2 weeks they said 30 to 90 days. I got them from you slightly cheaper and faster. People say the plastic sockets break easily and metal ones are better but you have to drill a wider hole. I didn't want to do that to a 30 y/o cab so if they break, I'll just replace them. Thank you AES, great service as usual.
Within the realm of tube-based guitar ampsand there are still a lot of us who play themthe most common how do I...? question posed still revolves around obtaining fat, juicy, cranked-up tone at reasonable volumes. Volume levels on stage seem to have declined steadily since the glory days when big full-stack amps ruled the world, and anyone who regularly plays small- to medium-sized clubs in particular will tell you how restrictive many venues are regarding room volume these days. Yet, we all still like to sound big, even if we're not pegging the needle on the decibel meter.
Plenty has been written about using smaller amps to reduce volume levels while still hitting the amp's "sweet spot" tone-wise, and there's some sense to that. But plenty of us just like the sound of our bigger 30-, 50-, and 100-watt amps. We'd rather stick to that amp, and that sound, and help it fit the room better, rather than change up our rig entirely. In other cases, we're already using smaller amps in the sub-20-watt, but those can still be too loud for some smaller clubs or to be satisfying for home or studio use.
Fortunately, we've had a solid five decades of clever engineers puzzling out excellent solutions to the problem of achieving cranked-amp tone at suitable volume levels, and there are more great ways of getting there today than ever before. Below, we'll check out seven of the most reliable means to the end.
It's important to acknowledge right up front that no amp will sound exactly the same at lower volumes as it does at higher, regardless of how transparent the volume-reduction technique used. This is for several reasons, and usually for a combination of reasons, but chief among them are these:
The strength with which the speakers are driven also contributes to any amp's overall sound, causing compression, the enhancement of certain frequencies (which displays any particular speaker's character), and speaker distortion in and of itself. If you reduce the power to the speaker (as master volume controls, output attenuators, and reampers do)even if the tone and distortion content remain the sameyou change that sound. Period.
The human ear perceives frequencies differently at different volume levels. Reduce the volume, and any amp will sound different to us, regardless of how much it "sounds like itself when loud" in terms of distortion content and frequency parameters.
As such, most players find that many of the volume-reduction solutions discussed here are excellent for knocking off enough decibels to make an amp that usually suits a 250-capacity venue sound good in a 100-capacity venue, for example, or for making their soundman and lead singer just that much happier on a large concert stage. But there are few, if any, that can really knock a 100-watt amp down to "bedroom volumes" with entirely satisfying results. That being said, many will still do the trick just fine for a little low-volume, late-night jam.
With all of that in mind, you'll find among these units discussed some truly outstanding ways to make your big amp viable again (or make any amp, small or large, function well in a small, constricted venue). For many players, one or the other of these solutions has proved a real game-changer in the volume wars.
Most guitarists will already be familiar with this one. It's perhaps the most obvious solution, and it has been with us the longest. A handful of inventive makers started putting master volume controls on their amps as early as the late '60s, but this simple knob really came into its own with the Mesa/Boogie Mark I amps of the early '70s, and then the Marshall Master Model ampsthe 2203 and 2204 headsof the mid-'70s. Soon, it was difficult to find a serious guitar amp that didn't have a master volume there at the end of the control panel.
Much as the name implies, a master volume control is a potentiometer (pot) placed later in the amp's circuit to rein in the overall output level, regardless of how you set the first volume control (which itself might be labeled "gain", "drive," or something similar). This allows the player to drive the preamp hard to achieve distortion from the tubes in that stage, while still reining in the volume created by the output stagewhich is what's ultimately sent to the speaker. The master volume isn't a "product" as such, of course, but a relatively simple network that any competent amp designer, manufacture, or repair person can cobble onto an existing circuit.
There are several different ways of achieving master volume controls, and some have earned more followers than others. Many early master-volume controls were placed in or at the end of the preamp, to rein in the signal after the first gain stage(s) or tone stage, as was done in some Mesa/Boogie designs, and Marshall designs such as the JCM800 2203 and 2204, and others of that ilk.
These can still sound great (and those names tell you they are associated with some classic amps), but many guitarists have come to prefer a configuration called the post-phase-inverter master volume (PPIMV for short), which places the pot (or often two ganged pots in one) after the phase-inverter. The phase-inverter is technically part of the output stage, so in this position the MV allows for more of the overall sound of the circuit before reining it in.
Thousands of players have been entirely happy with their master-volume controls for going on 50 years now, so they clearly do the trick just fine as far as many guitarists are concerned. Detractors will say, however, that the nature of this control means that even at their best they can only reduce what's happening in the circuit before the output tubes, and don't allow for bringing those big tubes' essential contribution to an amp's sound, or that of the output transformer.
For that reason, they do often seem to work best in amps that generate the majority of their signature tone in the preamp stages already. Also, using a master volume to achieve extremely low volume levelsbut with a heavily cranked-up overdriven sound from a maxed-out gain control in the preampcan often result in a fizzy, bees-in-a-tin-can tone.
The output attenuator first saw the light of day in a commercial sense in the '80s, and in the '00s and '10s this has become one of the more popular solutions to cranking up a big amp. Output attenuators most commonly take the form of a box (from the size of a brick, to about the size of a shoebox) that is connected between the amp's speaker output and the speaker or extension speaker cabinet, to reduce the power flowing from the former to the latter. Some amp makers have also added built-in attenuators to their amps in recent years.
Whatever its housing, an attenuator contains either resistive or reactive elements that "soak up" the amp's output power (something also known as a "load box") to reduce the level that is passed on to the speaker, usually by increments selectable by the player via notched switches or rotary dials.
Given the size of the components necessary to achieve this (which also can produce a lot of heat while absorbing your amp's wattage), these are heavier and more cumbersome solutions than the simple master volume. But many players prefer output attenuators because they move the level-clamping potential two stages further along in the amp: since the unit is plugged in between the amp's output and the speaker, it's also receiving (and reducing) the sound of the output tubes and the output transformer alike.
Prices of output attenuators vary widely, depending on the cost of components inside and the complexity of the design. Simple resistive units like the Weber Mass and Dr. Z Air Brake and Brakelite won't break the bank cost-wise and have satisfied plenty of discerning players.
More complex reactive units like the Rivera Rock Crusher or Universal Audio OX Box use elements that purport to interact with your amp the way an actual speaker does, and are more expensive as a result. (Note that these also contain a lot of other "quietly cranked" solutions within the same box, which will be covered again in the Speaker Emulators section below).
While they have proved one of the more satisfying products for many players, attenuators still have their detractors. Simple criticisms include that they can be big and heavy and require you to carry yet another thing to the gig. The more complex units can also be expensive. Sound-wise, many attenuatorshowever good they might bewill still leave your amp sounding a little fizzy and choked if used to extremes. And often, even when used only to notch off a few decibels, they can add some darkness and compression to your tone.
Like the attenuator, the reamper is connected between your amp's output and your speaker or cab and in that sense they can perform some of the same functions, although they are constructed quite differently. Newer to the game, relatively speaking, and fairly popular in recent years, the reamper is actually two (and sometimes more) solutions housed in one box, to the end of transparently clamping off your amp's full output power, and converting it into something lessand easily controllable. These are also relatively big and somewhat heavy devices, and they require AC power to function.
Think of a reamper as a load box (as contained in an attenuator) set to one fixed level of full attenuation, and a power amp contained in one unit. The device receives your amp's output and fully clamps it down in the load box, where it derives from it a line-level signal (much like an amp's DI output) which it sends along to its internal power amp. The power amp then sends a signal to the unit's speaker outputwith volume/level and tone controls for the user interfacewhich can be dialed in for a wide range of volume levels.
In addition to reducing an amp's natural volume level (which is often their primary purpose), most reampers can also increase it, being used, conversely, to make a small, low-powered amp louder, for example. Since they are converting a high-wattage speaker signal to a low-voltage line level signal, these units are also capable of including effects loops, which standard power attenuators cannot.
Released in 2012 and more recently updated in an updated V2 edition, the Bad Cat Unleash is a simple but effective reamper with the functions described above (achieved via a solid-state Class D power amp capable of a 100 watt output), along with two footswitchable output levels and an effects loop. A bigger, heavier, and a little more expensive optionbut one that has been extremely popular in recent yearsthe Fryette Power Station couples a quality reactive load with a 60-watt tube power amp, along with an effects loop and other useful functions such as a line in and DI out.
Since they derive their initial attenuation from an internal load box, reampers can get some of the same accusations as those leveled at passive output attenuators: fizzy overdrive tones when used at extremely low volumes and some sonic artifacts regarding compression and dynamics. Some players balk at the prices, others at the notion of using an external amplifier to control the volume of their primary amplifier (along with the heat and extra power consumption involved).
Although viable professional speaker emulators (also called "simulators" and "cab emulators") have been around since the late '80s, this category has really come into its own in just the past few years. Combining elements of the output attenuator and reamper discussed above, the speaker emulator clamps your amp's output, and injects it into an additional circuit that emulates the sound of a speaker cabinet to send to the house PA and stage monitors, or direct into a recording setup in the studio. The benefits are that you can get the sound of a classic speaker cabfrom small combo, to full stackwithout lugging the thing around, and that this can be reproduced at any desired volume, with consistent sonic results.
Although some speaker emulators are separate units unto themselves, most contain some form of internal load box which functions much as that in the reamper above. This load box receives your amp's full-power speaker output and taps it off to a line-level signal that feeds the speaker-emulation circuit. That's where things can be done very differently: Some units use an analog filter network to simulate the sound of a speaker cabinet, while others carry advanced digital emulations derived either from complex reactive modeling (much like that used in modeling-amp technology), or from impulse responses (IRs) created by recording actual speaker cabinets. Note that these devices require an external power amp and speaker (such as a PA system) to reproduce the speaker-emulated signal.
German company Palmer kicked off this category in 1989 with the PDI-03 Speaker Simulator, which offers very convincing analog emulations that countless pros have put to use. Smaller modern units like the Mesa Boogie Cab Clone and bigger, like the Rivera Rock Crusher (which also includes an output attenuator to send a reduced signal to a standard guitar cab) have used similar analog technology.
The Torpedo Studio and Torpedo Live from French company Two Notes include digital emulations based on IRs to reproduce the sounds of hundreds of classic speaker cabs, and they've been very popular with professionals for the past several years.
Newer to the category, but winning fans fast, Universal Audio's OX Box incorporates that company's acclaimed approach to studio software plugins to create reactive-modeling digital cab emulations, along with studio-quality compressors, delays, and reverbs, plus a six-step attenuator that can also be routed to your traditional "live" guitar cab.
The better speaker emulators are expensive (as in, more than $1,000 USD new), and most require the help of an external amplification system, so some players might feel they're only part of the solution.
Several engineers have designed roughly similar systems that provide an alternative master volume of sorts by regulating the internal voltages within a guitar amplifier to naturally "dial down" the overall output level. These are internal solutions that are either built into an amp to begin with or that can be added to an existing circuit by a qualified tech.
Voltage regulators (also called "power scaling," "master voltage," and "xxx") are achieved via a network of components within the amp's power supply, governed by a potentiometer that allows the player to reduce the DC voltages that feed the tubes. These components are responsible for how efficiently they operate and, therefore, how much they amplify the guitar signal that passes through them. Some such systems operate exclusively on the output stage, while others operate on the output and preamp stages alike. Fans of this solution uphold that it provides a natural-sounding way of reducing your volume level, since you aren't changing the gain and tone settings by some external means, only reducing the amount of amplification that the tubes deliver.
Perhaps the best-known version of the voltage-regulator circuit is that devised by Kevin O'Connor of Canadian company London Power, a system he dubs Power Scaling, and which involves adding a comprehensive internal voltage regulator to almost any existing tube amp circuit. Other popular types are those included as factory-standard equipment in the amps from several specific manufactures, such as Suhr, Mojave, 65 Amps, Morgan, and others.
While many such systems can indeed provide significant volume reduction while retaining a reasonably accurate rendition of your fully cranked tone, most do also introduce some artifacts, which are often felt as much as heard. These include added compression and a sort of "looseness" to the playing feel, and they are frequently heard, too, in a softer, spongier, less articulate sound from the amp. Also, the addition of any such system to an amp that doesn't already have it requires and invasive procedure to which some players might object.
This rather obvious solution has been with us for several decades, both as a manufactured product, and as a popular DIY project. The principle behind the iso cab (short for "isolation") is simple: Stick a speaker in an enclosed, soundproof box, put a microphone in there with it, and you can play as loud as you likewith no artificial attenuation between amp and speakerwhile governing your in-house volume levels precisely via the PA and monitor system or into your recording interface.
Amp maker Randall was an early proponent of the commercial iso cab, and they still have the Isolation 12 on the market. Jet City offers the very affordable Jetstream Iso U cabinet, and Rivera offers the very well-engineered Silent Sister. Amp maker Morgan also has an entrant to the market in the form of the Chameleon convertible isolation/extension cabinet. The principle behind all is roughly the same, although they differ according to the number and types of inputs and outputs provided, andmore cruciallyto the engineering that has gone into the effort to keep them sounding natural and in-the-room-like.
Detractors say that the mic'd-up sound of a speaker within an iso cab can often be compressed, dark, and overly boomy, because there isn't enough air space within to let the speaker react naturally, and for the soundwaves to travel naturally as they would in a larger room. That can certainly be the case with poorly (or indifferently) designed units, but makers of the more complex cabs have put a lot of thought and engineering into re-creating a room-like sonic space in a smaller environment. In addition, of course, many are heavy and cumbersome, but they might supplant a traditional extension cab, so it's often six of one, half a dozen of the other.
And the simplest way of reducing the eardrum-piercing sound of a loud guitar amp on stage? Block it with something, of course. Engineers have long created such baffles (often called "gobos") in the studio to help isolate one instrument from another, and the procedure has often been taken to the stage with the use of folding Plexiglas isolation shields, which help to rein in the direct projection of specific sound sources, without entirely cutting off the visual element of the instrument or amplifier in question.
Such shields are most commonly made from clear Plexiglas panelsgenerally at least three, of the required sizewhich are joined together with hinges. This configuration allows them to be self-standing in front of the amplifier when correctly angled and to be folded flat for easy transportation. In most situations, the amp or cab positioned behind the shield is mic'd and then re-amplified through the PA. Such shields are good for taming the directionality of an amp (to avoid that "taking the heads off the audience in the front row" phenomenon, for example) and will also somewhat reduce the overall perceived volume in front of the stage, but another of their primary use is for isolating amps and instruments on stage from bleeding into each other's mics, rather than purely for volume reduction.
ClearSonic is likely the best-known name in such products, and they make folding shields suitable to all sizes of guitar amplifiers, as well as drums, entire vocal isolation booths, and more. Control Acoustics offers some relatively affordable solutions, as do other companies from time to time, and guitarists have also made their own.
As in the "what they do" section above, these aren't purely volume-reduction devices, although they can help contribute to such solutions when used carefully, and without lofty expectations. They don't dramatically decrease the overall ambient stage volume (since the volume is still there, it is just being blocked and deflected), and they can sometimes create odd and undesirable reflected sounds from the amp-side of the shield.
Our spare parts get more from your hydrocone crusher because they do more. Using the rigorous fabrication techniques that we are known for, we have created replacement parts that make your crusher more dependable and productive.
You rely on your crusher to keep your plant operating, so dont accept anything but the best replacement parts for it. When a component fails in your crusher, we are here to immediately get you the parts you need.
Your hydrocone crusher operates to the level that its parts allow. When you take care of your equipment by replacing worn parts with the highest quality components, the equipment will take care of you. Many manufacturers limit the quality of their materials and the time they spend fabricating the parts to save money. Our philosophy is different. We accept the lower profit margins that come with quality materials and careful excellence in manufacturing because we want to earn your business.
Our parts do more than fit in the place of your original components. They outlast and outperform the parts they are replacing so that you get more product through your crusher than ever before. When you get longer between maintenance shutdowns, you can spend your time and money on the many other issues that demand your attention.
Whether your Allis-Chalmers or Svedala crusher is an old or new model, we have the replacement parts you need to make it work better than new. Because we understand how vital it is for you to get your equipment repaired and operating again, we keep most of our parts stocked and ready for shipment. When you need a component fast, you do not have to sacrifice quality. All of our parts are made with the same level of attention and precision, but we make them ahead of time so you do not have to wait for the flawless part you deserve.
We do not settle for industry standard parts when we can improve them. Re-designed EXCEL components improve the function and throughput of your equipment without requiring any modifications. Treat every part replacement like the investment that it is, and learn to expect a crusher that works better than new.
We do not leave you to navigate a list of parts on your own to figure out what you need. Our support team is here for you whether you need more information about our parts or are ready to buy one. We can help you with standard and rushed deliveries because most components are stocked and ready for immediate shipment.
We are ISO9001 certified, and we follow rigid foundry and manufacturing standards. No part is shipped until it matches the exact specifications you need. The extra time and attention this commitment takes are worth it because components that are made with the highest quality materials and the upmost precision work better and last longer. This is why we can say with confidence that our spare parts outperform the parts made by your equipment manufacturer.
FLSmidth provides sustainable productivity to the global mining and cement industries. We deliver market-leading engineering, equipment and service solutions that enable our customers to improve performance, drive down costs and reduce environmental impact. Our operations span the globe and we are close to 10,200 employees, present in more than 60 countries. In 2020, FLSmidth generated revenue of DKK 16.4 billion. MissionZero is our sustainability ambition towards zero emissions in mining and cement by 2030.
Practice amps typically come with 1-40 watts of power so youre not going to be using them on your next stadium tour. Theyre scaled back versions of the eardrum splitters were all used to and their light weight and compact size make them perfect for those long hours spent perfecting your craft.
When it comes to guitar amplifiers, few companies can boast the pedigree or line-up of Orange and their newest practice amp, the Orange Crush 35RT Combo, elbows a lot of the competition out of the way and immediately enters the discussion regarding the best practice amplifier on the market. Yes, its that good.
With a pair of footswitch-enabled solid state channels and a 4-stage preamp, the 35RT Combo delivers an incredible range of tones that will have you waxing nostalgic for all those classic rock guitar gods of yesteryear.
The clean channel is everything it should be; free of the slightest whiff of overdrive with plenty of headroom. While the dirty channel produces full bodied, aggressive overdrive crunch when cranked that will put some wind in your hair.
Atop the trademark orange Tolex-covered box youll find Oranges equally distinctive graphic icons for each control which includes a input for MP3 or CD and a CabSim headphone input jack for keeping the neighbors happy, along with the usual array of standard control features. (By the way that CabSim headphone jack emulates a 412 cabinet to an astonishing degree of accuracy.)
The digital reverb of the 35RT Combo sounds completely natural and is never overwhelmed by the various distortion settings and even though the effect/loop offerings consist solely of send/return jacks, its more than youll get from most practice amps.
The 35RT produces some of the most compelling sound youll hear from a 35 watt practice amp. Its an amp with a lot of personality that can play nice and clean or get as nasty as you want to be. Digital reverb is seamlessly integrated and never gets lost in audio mud and the construction, as youd imagine from Orange, is first rate.
If youre expecting more from a practice amplifier than what you will get in the 35RT you probably need to recalibrate your expectations to match the world the rest of us live in. This is an awesome little solid state amplifier that will provide you great expressive range and impressive sound quality. It doesnt look, feel or sound cheap and will fulfill all your practice needs whether youre just starting out or are looking for something to bring on the tour bus with you.
As mentioned earlier, the Orange Crush 35RT Combo has to be in the discussion when it comes to the best small practice amp on the market. Its pretty close to being a perfect amp if what youre after is something thats easily portable yet able to produce big, authoritative sound that covers the entire emotional range.
All in all, the Orange Crush 35RT Combo destroys any preconceived notions you may have been harboring about practice amps. Partially because its at the high end of the practice amp wattage scale, but mostly because of its responsiveness and ability to produce everything from those ultra-clean sounds right off a 1950s Sun recording to those dragging your soul through the gutter in the rain tones you were only able to previously create with a classic Marshall or some equivalent monster.
Theres no doubt that the Orange 35RT Combo will bring a live show feel to the rehearsal room while the CabSim headphone output delivers the same and more to your headset when you need to keep it down. From the masterfully conceived and integrated digital reverb to the chromatic tuner and its larger than most practice amps output, youll be nodding your head in silent approval after your first practice session with this, arguably one of the best compact amplifiers on the market today.