Unknown Amps from the Past: The 100 watt Torque T1002GR

Torque T1002GR
	A UK-made 100 watter with all the trimmings. No models, but it’s still a looker…
The T1002GR combo possesses all the basic features a player requires from a contemporary amp, but for reasons we’ll get into, chances are that it’ll be dismissed out of hand without even being plugged in. It’s not as good as a Marshall. How can it be? Come closer dear boy… This is a wholly solid-state, 1 x 12″ combo with sleek modern lines, 21st century livery and, although the debate extolling the virtues of tubes against transistors will never die – let’s hope! – the benefits of the latter configuration should not be underestimated. The most musical facet of valves is dynamics; how the amp reacts to what you do, and the fact the tone improves with volume. So unless a solid-state amp features some sort of DM, it’s often perceived as inferior and thus not even worth considering by many folk. Not so. Pantera’s Dimebag Darrell – to name but one – could use any amp he wants to whip up his aural storm, but he opts for a wholly solid-state rig, something that mutated into the range of signature Warhead amps from Randall a few years back… think on! The T1002GR offers two channels, one for clean, and the other for more grubby tones. Each has its own three-way EQ and volume control, while dirty channel B also offers a pre-gain pot for controlling the drive, and a push-button hi/lo boost function. Master controls include a pot for the Accutronics spring reverb and a volume dial that enables you to keep the two channels balanced, and still adjust the overall output.There’s a mono effects loop, a line out and provision for using optional footswitches to change channels and select the reverb. And that’s about it: no external speaker output, not even a headphones socket. The super-sturdy metal grille will stop any boot that heads towards the Celestion speaker, but purists may suggest that it’ll have an adverse effect on the tone due to its deflective nature. Fortunately, and unlike the more familiar cloth grilles, the protector can easily be removed and subsequently replaced for studio duties. A small point, but an important one. Sounds As we’ve said, a solid-state amp’s overall characteristic remains similar whatever volume you set it at. Thus it’s possible to dial up sizzling drive at bedroom volumes; lucky considering that headphones aren’t an option. There’s no doubt that the T1002GR is more than poky enough for most live duties and channel A’s headroom – for clean tones, remember – is especially impressive. The basic tone here is full yet transparent and the amp reacts well to different guitars, enabling their intrinsic character to come through. For example, it would serve you semi-wielding jazzers just as well as it would a Tele-bending country boy – we can thank the efficient EQ for that. Crunchy channel B takes a little more time to get to grips with, but the hi/lo boost function certainly does more than simply heap gain on to your settings. It is footswitchable, and therefore serves as a useful solo boost, adding rasp in the higher registers that will help your eight bars up the dusty end to cut through. Of course, for cascading gain and detuned fun, this character is just the ticket. By simply turning the boosted gain all the way up and removing much mid while keeping the bass and treble up, there’s the classic scoop tone. What’s more, the excellent Celestion G12T handles everything with ease – the ESP LTD 7 and the Yamaha Drop 6 RGX reviewed last issue sound fab. In fact, with super clean tones and massive, controllable filth, it does modern punk and metal superbly. Verdict With an excellent wealth of tones available, a Celestion speaker and an Accutronics reverb, this amp has a very good specification. Add to this sturdy construction, straightforward controls and operation plus the impressive EQ, and you’re on to a winner.