attack, and digging in harder to the strings
yielded a killer, harmonically rich blues lead.
Activating the Gain Boost on the footswitch only
made it fatter and more pleasing, which was
perfect for long, sustaining runs.
For more high-gain applications, channels 2
and 3 really brought the goods. Both channels
share a three-band EQ and have their own
exclusive Gain and Volume controls. Each also
has its own Pre-EQ control, like channel 1—but
these treat the tone very differently, offering
more than just added brightness. Bogner
designed these switches to voice the channels,
offering very perceptible changes to the tone
when activated. One of my favorite tones
coaxed from the second channel was with the
Pre-EQ at B1, EQ settings slightly off from
high noon, and the Gain set at 1 o’clock. Using
the Strat and the best Eric Johnson-copping
licks that I could muster, the Ecstasy pumped
out one of the best low-gain rock tones that
I’ve heard in a long time, complete with great
sensitivity and extraordinary attack.
The 20th Anniversary Ecstasy also has assignable
Presence controls that really do go a long way
in helping you dial in the tone that you’re after.
Before heading to the gain monster that was
channel 3, I gave the Plexi Mode a spin. Players
can assign this mode to either channel 2 or 3; it
drastically lowers the preamp gain to allow the
amp to imitate those great British amps from
the ‘60s. It was pretty startling to hear just how
well the Ecstasy did this in comparison to my
’ 67 and ’ 73 Marshall Super Bass heads. While
those amps have more inherent low end, a lot of
the same qualities were present in the Bogner:
smooth upper mids, warm highs and, like most
old Plexis, an even better sound when cranked
to high heaven. I played with this one channel
for hours before I even thought about the next
one. It would make a great amp all on its own.
Forging ahead, I switched over to channel 3 and
plugged in the Les Paul. This is the sound that
made Bogner famous. Imagine the best qualities
of British high-gain amplifiers melded into
one, monstrous sound. Channel 3 has massive
preamp gain on tap. It’s almost completely
saturated by the time the gain control hits 10
o’clock. With many high-gain amplifiers, a higher
setting would result in congestion and flabby
definition; while the Ecstasy can be susceptible
to this, careful dialing with the Master Volume
and a lower preamp gain setting can control it.
Just like the Shiva, the Ecstasy has Pre-EQ
switches for each of its three channels. With
the switch set at N (normal brightness) and
the tone controls set so that the treble and
bass were boosted slightly, a great high-gain
rock tone materialized almost effortlessly. With
the assignable Presence control added on,
the amp achieved an amazing, tight hard rock
sound, a’la Jerry Cantrell and Adam Jones.
Channel 3 was without doubt capable of
delivering some of the best heavy rock tones
that I’ve ever heard. But even with its massive
power and gain, this high-gain monster
doesn’t hide any mistakes. The Ecstasy is a
player’s amp, and has no time for sloppiness.
The front panel features of the Ecstasy are only
half of the equation. Starting off on the far left
side of the rear panel, the head includes an
effects loop (switchable between series and
parallel) with its own Mix and Master Volume
controls. Using these together allows the player
maximum control over the loop mix, preventing
any unwanted clipping. The panel also houses
three channel select buttons (in case you want to
leave the footswitch at home) and a line out jack
with level control. To the right of that is a more
curious option, a switch labeled “Old/New.”
you love British-voiced tone, and
you’re after an amp that can do
it all with its own flavor.
Buy If...
Skip If...
you need a simpler rig. While the
Ecstasy covers a lot of ground
quite well, some might be more
comfortable with a simple combo
and a pedal.
Rating...
5.0
ONTHEWeb
Click here to hear sound samples
of the amp in action at
premierguitar.com
Bogner Custom Amplification
MSRP $4425 (Head); $1199
(4x12 cabinet)
bogneramplification.com
PRODUCT REVIEW
This is a selector to switch between Pentode
and Triode modes. When the amp is in “New”
(pentode) mode, all four power tubes are
working on full power; when it’s in “Old” (triode)
mode, only three out of five elements in each
tube are running. Its effect is to smooths out the
frequencies, and it reminds me of a cathode-biased amp in terms of sound and playability.
The downside is that reduces power output,
so it limits headroom—watch your Volume and
Gain controls when the head is in this state.
Finally, the Ecstasy also sports a half-power
option with a switch that takes two of the power
tubes out of the circuit and knocks it down to 60
watts. For anybody who’s ever run their 100-watt
head with only two tubes and enjoyed the tone,
this is for you—though you will have to change
the impedance setting in this mode. Combined
with the Old/New switch, this option lets the
player tame the head to a respectable volume.
The Final Mojo
Both the 20th Anniversary Shiva and Ecstasy
amplifiers are visually and aurally stunning—
fitting tributes to the two decades of incredible
guitar tones that Reinhold Bogner has given
the music world. The Shiva’s smooth and
commanding gain channel coupled with one of
the best clean channels in the business makes
it a simple, highly usable and unique amplifier
for gigging and recording. The reverb sounds
phenomenal, and the Excursion knob is a great
tool for tuning the amp to the cabinet of your
choice. For those players who desire more
options at their fingertips, the Ecstasy, with its
three separate channels and myriad of usable
customization choices, is an incredible choice
with very few alternatives in its league. Each
channel has its own character and feels like a
separate amplifier altogether, and the assignable
Presence controls are very effective in helping
the player zero in on the tone in their head.
Each amp comes with an optional matching
cabinet, 2x12” or 4x12”, finished in the same
white tolex and salt-and-pepper grille cloth that
adorns the heads. The circuitry and materials
are essentially the same as the standard
offerings, both are loaded with Celestion
Vintage 30s, and both sound very impressive.
I think ultimately that’s what impresses me the
most about the both of these amps; while most
pieces of gear with a lot of tonal options can
intimidate a player, these just make me want to
play even more. These are tools that will inspire
players to create.
