Australian Guitar Magazine reviews the MB STU AMP 1000.

Sept. 3, 2019, 3:46 p.m.

Here some excerpts from the review (words by Steve Henderson):

  • Markbass really hit it wit this tube-driven rock amp.
  • Hamm’s rock roots have brought a new tonal aesthetic to the Markbass line and, with it, a new approach to achieving that tone.
  • Tonally, the STU 1000 has range – unbelievable range... With seven tone controls spread across that range, the STU 1000 can zero in on just about any tonal shape that a player might imagine. Add to this the effect of the two preamp stages and there’s every chance that no two players will sound alike, no matter how similar in technique. 
  • Alternating between a 410 and a 115, the STU gave up pristine cleans via its solid state channel, with a sweet top end, a tight, clear bottom, and mids that had a chirpy bite that pokes through a mix. Winding in some tube warms up that midrange and takes the edge off the treble (in a good way). The more the tube was blended in, the more compressed the mids became – but not squeezed like a compressor effect, because the solid state circuit was still ever present. 
  • This preamp arrangement is a great way to produce big rock tones without the usual excess of volume. In fact, winding back the master volume has very little effect on the harmonic balance or the attack. Do that with an SVT, or similar, and all the punch and presence disappears. Not so with the STU: there’s ample tone wherever the master is set. 
  • The rear panel is also uncomplicated while providing contemporary features: effects loop, tuner out, assignable DI, and a pair of speakons. The simple front panel layout and unusual control set harken back to the ‘60s and ‘70s, when bass amps were functional rather than tricky. The STU’s simplicity of design is where its cleverness lies. 
  • The Markbass STU 1000 does what it does really well, and doesn’t try to make n appearence in every possible scenario. 
  • The STU 1000 is a pro-level power plant that doesn’t distract the player with bells and whistles, but allows him or her to concentrate on the music while the gear delivers great tone with oodles (absolutely a technical term) of volume. 




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