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I did wind the mid bite down and cranked the volume and got som early Marshall ish tones, but overall, it is more tweed voiced and Marshall. The mid bite control sets the overall tonality of the lead channel, maxed out, it is very driven, but there are loads of different tones in it. Ideally I would like the power control to lower the overall volume more than it does. The Lead channel is a bit of a different beast, the power control does not seem to power the amp down as much, hence (as seen above), the power control is set to maximum with the channel set like this. I did scale down the power and crank the volume on this channel, it also sounded superb, think driven Peter Green (Stop Messin' Round), it nails the driven Fender tones. Think Peter Green (I loved Another Woman, or Worried Dream), with the Reverb and you got it. The Shanks sounds amazing through this channel. Very clean with all the Fender chime and shimmer that you would expect. On par with my guitar teachers vintage Fender Bandmaster (Brown Face head). With the power control of the Rhythm channel set like this (full power). Reading the manual, it states the amp is voiced half way between a Fender BF and a Fender Tweed, taking the best elements if both and available on the Rhythm channel of the TK. It has amazing reviews for its Fender BF tones.
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The TK won because it has two channels each with its own power control and the amp also has built in spring reverb (3 spring tank reverb), footswitch control for channels and reverb. The decision was based on the features of the amp, the other option was a 65amps. But I was craving some Fender tones (I'm a huge Peter Green fan), so after lots of looking, I opted for the Tone King Metropolitan.
#Tone king metropolitan for sale full size#
Reverb: Tube-Driven, Full Size 3-Spring Panįootswitch: Has LED Indicators controls chan sw & reverb
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Predictably, it's expensive, but the Imperial's flexibility, looks and build quality make it easier to justify.Yet another evolution of my tone quest. And the illusion of playing through a maxed-out amp at conversation volume is both inspiring and very useable. The ultra-low noise floor and frequency-compensated attenuator record superbly. The Tone King's lounge-friendly looks and attenuator make it perfect for the home, as well as live and studio work. It also produces excellent tremolo and great reverb, staying true to its 50s roots with an almost chamber-like decay. It's only rated at 20 watts, but the Imperial should handle smaller gigs with ease. The multi-layered, highly touch-sensitive overdrive is a product of preamp and power amp distortion, and the attenuator makes balancing volume and drive intuitive and easy. The lead channel's mid bite control sweetens the tweed-inspired voice or adds an aggressive edge, going from Royal Scam-era Carlton to Tres Hombres Gibbons in a single twist. "The ultra-low noise floor and frequency-compensated attenuator record superbly" The Imperial is influenced by classic Fender sounds, with a sparkling rhythm channel that boasts a full bass out of all proportion to the cab, combined with balanced mids and a wonderful, chiming treble. The amp has an exceptionally low noise floor, with no audible hum or hiss.
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Overall, it seems built to handle any amount of use and deliver great tone, night after night. There's also a high frequency compensation switch to balance out the treble at lower volumes. This can be set to operate on both channels or just the lead channel, so you can dial in the perfect blend of volume and distortion for lead and flip to the full headroom of the clean channel. Its secret weapon is on the rear panel, in the shape of a built-in Ironman II attenuator, which can switch down the amp's output in five steps. The Imperial is a non-master volume design: the lead channel has controls for volume, tone and mid bite the rhythm channel has volume, bass and treble controls, with speed and depth for the term effect and a reverb level knob.