When I opened the box sent to me from Speedster Amplifiers in Gig Harbor, WA  (yes.....that's an appropriate city name to have your musical company located in), I thought for a moment that I had been transported to the Emerald City.   No, not Seattle, rather the famed mythical home of Oz.   The Class A "40" amp provided for this edition of the Steelbender Spotlight glistened with jewel-like splendor, reminiscent of a cut and polished emerald mounted in a setting of cream tolex.   Then it happened.....a visitor to my studio noticed the Speedster sitting in the lineup and promptly asked if John Deere was making amplifiers now .   "Hey, I love my John Deere lawnmower," I replied.   Actually, I really do (and I'm not referring to the amp).   Such is the nature of the Speedsters:  they have very striking cosmetic features reflecting an automotive motif which is carried throughout the entire product lineup.  As I've mentioned on numerous occasions, I believe that fairly or not,  we initially hear things with our eyes to a degree.  It's one reason I expressed an interest in further evaluation of the Speedsters back in our NAMM Notes from 2004.  They struck me as having an original and unified theme.   Yet, how did they sound?

Eric Collins, designer of the Speedster Class A "40",  goes to great lengths to emphasize that beauty is not only skin deep.  Bold cosmetic statements aside, the primary purpose of the amp is to provide working musicians with flexible and toneful sounds.  "I think our products are distinctive and beautiful," says Collins; "but the main thing I want people to know is that our first and foremost priority is to build tone machines."    I've talked to a number of folks with varying opinions on the styling and sonics of the Class A "40"; however, the one thing that is unanimous is that the amp generates discussion and curiosity upon initial encounters.

At the time of this writing, Speedster's product offerings consist of two amplifiers and two effects pedals, in addition to various accessories such as amp covers and normal corporate swag.  The 25-watt Deluxe is heavily influenced by the American voicings found in the venerable Fender Deluxe Reverb, though it is not a copy of that amp.  The Class A "40", as the name might indicate, aims for a more "British" tonal target (more on that in a bit) while putting out a maximum of 40 watts.  Speedster's pedal products include the Turbo Charger: an overdrive which owes some inspirational debt to the ubiquitous Ibanez Tube Screamers.  There's also an analog chorus box dubbed.....what else.... simply the "Analog Chorus".
 
 

The lowdown on the Class A "40" submitted for exploration is that it features a quartet of cathode-biased EL-84 power tubes in a single-channel format.  Power is switchable from 40 to 20 watts via a switch on the back of the amplifier head.  A speaker impedance level switch allowing for either 16 or 8 ohms usage is located on the back panel as well.   The 42 lb. head is paired with a baltic birch plywood 2 x 12 speaker cabinet of approximately equal weight.  The cab is loaded with Eminence Stonehenge Red Coats running at 16 ohms.  A special dual-voiced preamp control optimized for either single-coils or humbucker-equipped guitars resides on the front panel along with dials for preamp volume, bass, treble and a bypassable master volume.  Hi and Low inputs are provided, as are switches for standby and power on the front.

While the 25-watt Deluxe model is built using printed circuit board (PCB) components, the Class A "40" incorporates a hybrid PCB meets point-to-point handwired (PTP) construction process. Collins notes that he has yet to see any Speedster Amp failures attributable to either methods.   "For our PCB amps, we use heavy-gauge boards for stable and reliable long-term performance," he says.
 
 

Different views of the Speedster's high-quality chassis
 

The Speedster Class A "40" utilizes a hybrid blend of PCB and PTP construction techniques

Upon initial setup of the head and cabinet, the colorful styling elements were certainly dominant; but a refreshingly simple and legible control panel was evident.  Everything was laid out in a clear and ergonomically-friendly fashion.  This clarity was also apparent in the supplied 15-page owner's manual (of which four pages discussed the mundane, yet important, safety regulations a lot of us ignore).  Speaker connections and control operation were very straightforward.....the only references I needed to check were how Speedster intended the dual-voiced preamp control and the true bypass master volume to be used.

Here are some descriptions of the Class A "40's" features drawn from the included manual:
 
 

Front Panel Features

Hi/Low sensitivity inputs-  Use the "Hi" input for most situations when using traditional passive Single Coil and Humbucking pickups.  Use of the "Low" input may yield better results when using high output of active pickups.   The "Low" input should always be used when trying to achieve the cleanest tone possible, regardless of pickup type.

Dual Voiced Preamp-  In conjunction with the "Preamp" control knob, the Dual Voiced Preamp switch allows you to effectively focus the tonal "sweet spot" of the amplifier relative to the style of pickup in your guitar.  This exciting and unique feature is the first of its kind in the guitar amplification industry and it's one of the key ingredients to the amplifier's rich and flexible tone.
 

• SINGLE COIL MODE:  Perfect for ringing chords with swirling top-end chime.  Wide frequency response yields a tone that is harmonically thick, yet clear, with a punchy Bass and glassy high-treble response.  The available flavors range from Tight, Crisp and Clean to Smooth and Overdriven, all at the turn of the "Preamp control knob.
• HUMBUCKING MODE:  This is where the Class A "40" really shows its teeth.  Both extreme treble and bass have been attenuated to produce a more focused tone, while eliminating any tendency towards ice pick highs and/ or mushy low-end response.  What really makes this setting exceptional, however, is the mountain of added upper-midrange that produces a snarling, in-your-face attitude that will have you both surprised and satisfied.  It should be mentioned that the most aggressive breakup tone settings are actually with the "Preamp" control knob at or near its minimum.  Turning the control up and through its range will add more gain and yield a smoother, more vocal tone.  (The Humbucking mode is not intended to deliver much in the way of clean tone.  If a clean tone with Humbucker is required it can best be had by using the "Low" input in the Single Coil position.)

Active Tone Controls-  The Class A "40" features an active tone circuit designed for maximum flexibility with a minimum of gain loss.  The tone controls are voiced for a flat frequency response at "straight-up 12:00".  This is the natural sound of the amplifier.  It is recommended to begin with both Bass and Treble controls at 12:00 and add or subtract as needed.  Running both controls at their maximum will produce a pronounced midrange cut, while both controls in the minimum positions will give a decisive midrange boost.  The wide range of frequency shaping available may be more than you are used to with a typical vintage style tone circuit.  As you play the amplifier at higher "Preamp" control settings and/ or high volume, you may find it necessary to reduce the Bass and Treble settings as needed.

True Bypass Master Volume-  A real post-phase inverter Master Volume affecting ONLY the Power amp section of the amplifier.  This control has been designed to not turn the amplifier volume completely off at its minimum setting, instead, it will effectively bring the volume down to "bedroom" levels.  The volume knob turning response is very gradual and linear, with an industry first "True Bypass" electronic disconnect in the maximum position for non-master vintage amp lovers.  In this position the Master Volume is completely removed from the circuit leaving the "Preamp knob to function as the sole amplifier volume control.  Using the Master Volume control interactively with the "Preamp" knob will allow you to very effectively control the mix of Preamp vs. Power amp overdrive, as well as greatly varying the playing response and dynamic characteristics of the amplifier.  Experiment with the possible settings to find what works best for your application.

Pilot Lamp Indicator-  Illuminates when the Power switch has been placed in the on position.  Unscrew Jewel to replace with a #47 bulb, as needed.

Standby Switch-  Tubes are allowed to "warm up" in the off position.  Leave the Standby switch in the off position for at least 30 seconds when first powering up or when taking a break from playing to greatly extend tube life.  Position switch to the on position when you are ready  to play.

Precaution!  Never restrict airflow to the back of the amplifier.  The SPEEDSTER Class A "40" is intentionally biased "Hot" for maximum tone and power output.  All cathode biased "Class A" amplifiers actually draw more current idling with no signal than they do when being played.  Letting the Class A "40" idle for prolonged periods of time with no input signal will cause the amplifier to produce more heat than usual, therefore reducing tube life.  Use of the Standby Switch is highly advised when taking extended breaks from playing.  Doing so will definitely serve your tubes well and leave you wallet much happier.

Power Switch (ed. note:  DUH! )- Turns the amplifier on and off.

NOTE:  Before plugging in, set Power and Standby to off position.  Secure the speaker connection's to the Speaker Jack.  Failure to do so will result in damage to the output transformer.
 
 

Rear Panel Features

AC power receptacle-  Accepts power cord.  120V with Ground.

Fuse Holder-  Only replace with 2 1/2 Amp Fuse

40 watt/ 20 watt Variable Power-  Quickly choose to run either a pair or quartet of EL84s to adjust the volume to best accommodate your recording or live performance situation without compromising the tone, feel, or response of the amplifier.

Speaker outputs-  Two outputs are provided to allow the option to run either one or two speaker cabinets.

Output impedance switch-  Allows either an 8 or 16-ohm speaker load to be used.  Position switch in the 16-ohm position if using one Class A "40" 2 x 12" Speaker cabinet, as each cabinet is rated at 16-ohms.  Position switch in the 8-ohm position when using two 16-ohm cabinets.
 
 

Hand wired Class A Circuit

A Classic British style cathode-biased power amp is employed to operate mostly in a "Class A" mode.  This, along with having no negative feedback loop, allows the amplifier to deliver tonal purity and maximum clarity.  Additionally, a solid-state rectifier is utilized for 40-watt performance, tighter bass and more immediate response than would be otherwise possible.

Occasionally, you may notice an odd note following your playing at certain high "Preamp" or high volume settings, especially while using a Humbucker in the neck position.  This is called a "Ghost note" and is common to all Class A designs.  By simply switching to 20-Watt power mode, you may find that all or most of this phenomenon will disappear.
 
 

As mentioned earlier, the Speedster Class A "40" strives to create a British-style approach to tones.  What exactly does that mean though?  "British" amps are varied historically, from Marshalls to Voxes and many more relatively obscure brands.   Furthermore, a prototypical Vox amp such as an AC30 sounds quite different than, say, a Marshall JTM-45, etc.   Eric Collins addresses his concept of the British tone in the audio interview accompanying this article below.  To me, for some reason, I tend to think of a "glassier" and "treblier" sound as opposed to the "American" sounds one might associate with something like an old Fender tweed or blackface-style amp (though we know some blackface amps can break glass figuratively speaking at certain settings).  It's dangerous to draw broad-sweeping categorizations when searching for the truths of tone; but I think most people might know what I'm getting at here.  Matchless, for instance, though an American boutique icon in amp manufacturing, tends to fall more in the British-sounding camp.....which makes sense because in general terms, their original DC30 was very much inspired by the Vox AC-30.

While there is variety among amplifiers operating in "Class A"  (again, listen to the audio interview for Collins' discussion on the topic), I must admit that before I even turned the Class A "40" on for the first time, I expected to hear some of the glassy and penetrating aspects that I had previously encountered with some well-respected variants on the theme.  Sure enough, the first pronounced tonal characteristic that I noticed upon plugging into the amp with all controls set at about 12:00 was a bright and almost piano-like response.  There was plenty of shimmer and for lack of a better word, chime, in abundance.  The feel of the amp was very "fast" with little give and sag.    Class A operation refers to when an amp draws a consistent and maximum plate current constantly.....from idle to "full-on" power.  Again, it would be unfair to pigeonhole all amps with Class A formats as being alike; but I did find the Speedster to sit firmly in what I regard to be the "British Class A" camp with its clarity and upper frequency range emphasis.  That's not to say that the Class A "40" lacks warmth and soul.  The two-knob EQ controls were very effective and interactive with the preamp and overall volume settings.  In fact, I was very surprised by how much versatility the amp displayed.

Collins does not feel that the simplicity of the Class A "40's" layout compromises the potential for flexibility:

"Why does the SPEEDSTER Class A "40" have ONLY four knobs and one
switch?" That is a very good question, as it seems that much of the guitar
amplifier world has been led to believe that more is better! More of your dollars
supposedly buys you More Power, More Channels, More Features & More Knobs. "MORE,
MORE, MORE!"  But does that truly equal more versatility, more usability &
MORE TONE?

We are all looking for the greatest amp out there, the amp that will allow "our
personal tone" to shine through. Shimmering cleans -Aggressive rhythms -Distinctive
leads! We want that and all points in between. We want it all! Unfortunately, you
may have had the experience of plugging into the newest, latest & greatest 42
knob/ 23 switch "Wonder Amp" (the one that promises to be everything to
everybody), only to walk away disappointed and confused by no less than four channels
of stiff, boxy and thoroughly lifeless tone?

"How does something like that happen?" Consider that more circuit complexity
just might equal more signal degradation and less reliability. More power will probably
equal more bulk and less efficiency. More parts almost always equals more cost cutting
and definitely equates to more connections and more noise. Sometimes MORE truly
does equal less.

The irony is that it's actually not hard to design a great sounding guitar amp.
To maximize what is essential and eliminate what is trivial and unnecessary is the
very definition of purity. Purity of concept -Purity of purpose -Purity of tone!

By directly increasing the sensitivity and effect of each essential control knob
you can simplify the circuit and eliminate most of the signal losses that traditionally
must be made up through additional gain stages (which tend to compress the remaining
signal and add noise). You will now have a circuit that is extremely flexible and
dynamic, possessing greater frequency response, transparency, and sonic complexity.
You will have an amp that not only sounds and feels great, but will also cut though
in a live situation and sit beautifully in the mix of any recording. You will have
an instrument that is exceptionally lively and brings out the best in you.  You
will truly have a willing partner in tone. What MORE is there?

The good news is that there is a wider selection of great amplifiers on the market
today than at any time in history.  Most bring something unique to the party. The
next time you audition something new just try to keep an open mind and concentrate
on listening. Ignore the "so-and-so uses this amp" hype. Don't worry about
how many knobs and "features" are facing you on the front panel, as often
such an amp proves to be a fool's paradise. SHOP WITH YOUR EARS and not with your
eyes and you might be surprised by what you discover. "Your tone" is definitely
out there, if you haven't found it already. "
 

I agree that at this point in time, guitarists have access to a wider variety of quality amplifiers.  Some are blatant copies of models from yesteryear while others represent a genuine effort to construct something unique.  As Collins says, "Most bring something unique to the party."   For that very reason, and I would include the Speedster in this category, few amps can be everything to everyone.   However, the Class A "40" does indeed present a comprehensive range of sounds for the player.  When factored into the arsenal of amps that I currently own which are quite different spec-wise and sound-wise from the Speedster, I found that it did something very appealing and desirable.  During my time with the amp, I felt that the Class A "40's" clarity and purity of sound fit nicely into the context of other musical instruments in a typical band situation.  Would it be my be-all, end-all amp for everything in my guitar life?  Probably not; but that's not so much a commentary on the quality of the amp as it is a statement of my personal tastes and desire to use different gear for different applications.   If I want a true vintage Marshall tone, there are other amps on the market that do that thing more authentically in my opinion.  If I want a warm and spongy Fender-y clean tone, it's probably going to be something else entirely different for me.  Nevertheless, the Class A "40" can cover so much tonal ground that I feel I could take it to a gig or a session and have the foundation intact for doing almost any musical thing that could come my way.  In the context of my old standbys and their strong points, the crisp articulation and brilliance of the Speedster would be a useful rig for many attractive textures onstage or during recording.   In short, the amp feels good to play and it was pulling me in some new creative directions because it's so different than what I normally use.  That is what a solid piece of gear should ideally do.

I really like the concept of the bypass-able master volume and found it to be a terrific option for affecting the overall gain structure of the amp.  In fact, I wonder why we haven't seen this type of layout on more amplifiers because it really does give the best of both master and non-master volume worlds.
 

I'd like to thank Eric Collins for spending a lot of time on the phone during our interview and going into the details that some might not even think twice about ; but the information is there for those who wish to delve deeper into this fine product.  My time spent with the Class A "40" was not disappointing by any means.....it's an amplifier that is very useful and distinctive.  If you love the bell-like sustain and complexity of Class A EL84-powered amps, I think the Class A "40" is definitely something to consider because of its simplicity, versatility and unique visual statement.  On the whole, it's a well-built package with a lot of sonic verve!  Good job Speedster!

For more information on Speedster Amplifiers. visit the official website at: www.speedsteramps.com

or contact them at:

e-mail: contactus@speedsteramps.com
 

Speedster Amplifiers LLC
915 - 26th Ave. NW, Suite C4
Gig Harbor , WA 98335
Tel: 253-858-4826
Fax: 253-858-7697