The EQ section, which also features
bright- and mid-boost switches, is used for
both the clean and drive channels. The presence and reverb knobs are universal as well.
The only arguable quirk in the control set is
an odd naming-convention—the drive knob
adjusts the drive channel’s gain level, and
the lead master knob adjusts the channel’s
volume. Easy enough to get used to perhaps,
but enough to inspire a few double-takes
when plugging in the first time. The drive
channel also includes a voicing switch,
which provides a considerable low-frequency
boost.
Lush and Large
Strum a few open chords with the treble,
mid, and bass knobs set to the mid point,
and the 6L6s will respond with a lush and
large voice that sounds and feels more
akin to the air displacement from a 4x12.
The bass output is huge. But it’s just as
dramatic to hear how sharply the bass can
be rolled-off with an EQ adjustment. All
three EQ knobs, in fact, seemed to have a
wider-than-usual operable range. It makes
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it a little harder to dial in the desired setting
at first, especially if you’re used to say, the
feel of a vintage Fender circuit. But the payoff in flexibility is enormous.
Genuinely blackface-like clean tones
sounded great with a little digital reverb in
the mix. And with the fat, humbucker kick
from a Les Paul Studio’s bridge pickup, the
reverb-colored 6L6 clean tones took on a
sweet three-dimensionality. With careful use
of the bright switch and the presence knob,
I could give the Les Paul a little additional
bite that was almost never harsh and left
plenty of room for tones elsewhere in the
frequency spectrum. But if the clean tones
on the CD60 have a basic-Fender-like quality, they are typically, and predominately,
more modern and Mesa-like—with a
bouncy, elastic quality that was especially
responsive to dynamics and effects.
Cranking the volume showed off the
CD60’s vast headroom. I got a warm,
almost tweed-like breakup at the highest
volume ranges with the mid knob turned
up. And the breakup can also be controlled
well through pick attack, making the amp
