ça ressemble grave à la C-tech sonny boy, qui est un must en matière de simu d'ampli analogique.
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Basically, as I am sure you are aware, coaxing a consistent tone out of any tube amp has been and continues to be a struggle for guitar players. Some amps are good in the studio, but not so good live and visa versa. Some amps are great if they are cranked, but not so good at low volumes. It’s frustrating. With the price of a quality tube amp, it virtually impossible to own all the amps you would need to cover all the tones and situations you would want or encounter. Furthermore the maintenance factor and changes in tonal characteristics due to replacement speakers, bad tubes, filter caps, transformers, rectifiers and biasing make the "same" amps sound annoyingly different. It is this spider web of problems that lead to the development of the Sonny Boy pedal.
Sonny Boy is a solid-state pedal designed to consistently deliver tones produced by many of the classic blues amps. It is the result of a proprietary computer modeling technique that enabled the tonal signatures and profiles of specific tube amps to be interpreted and transposed into a solid-state circuit design. As such it provides the player with a reliable way to get a desirable tone in a situation were you tube amp may not be able to perform or is not practical to use.
In terms of its tonal architecture, the Sonny Boy pedal is primarily modeled after the Fender Tweed amps of the late 50’s, with particular emphasis on the 1959 Fender 4x10 Tweed Bassman. The early Fender amps featured Jensen Alinco 5 speakers and an open-back cabinet design. They had that distinictive piercing clean tone and tight bass response popular with all of the early blues guitar greats. Most of the settings on the Sonny Boy reflect this architecture, particularly Roadhouse, Texas Flood and Double Trouble.
Two other amps were also modeled: a 1965 Marshall JTM45 combo, and a 1965 Vox AC30 Top Boost. The circuitry and tonal characteristics of the Marshall JTM45 were very close to that of the Fender 4x10 Bassman. However, the JTM45 featured a closed back cabinet design and 12" Clestion speakers, which gave it the heaver tonal voicing and response that was popular with the more rock’n roll edge desired in the early 60’s. Later Marshall amps tended to popularize a brighter, crunchy sometimes buzzy overdrive tone, but the early JTM45’s featured a softer and smoother, more bluesy tonal signature. This was the amp used by Clapton in recording his Blues Breaker album, which in out opinion represents some of the best sounding lead guitar of all time. The 60’s button on the Sonny Boy is modeled to inject this early Marshall feel. You also get a bit of it in the Roadhouse setting.
The circuitry used in the spongy, open back 1965 Vox AC30 Top Boost amp, is found in many of today’s boutique amps. This amp was great for recording and low volume work. It is found on many recordings in the 60’s, including many of the Beatles records, and features a smooth tone, and distortion rich with overtones. The Boogie Chillun and Electric Mud setting on the Sonny Boy are closely modeled after this amp.
