Glenn’s Message: 9/10/15

The year was 2009, and I had just demoed a new Class D amp called the PUMA 1000 by TecAmp. I was immediately impressed at how natural and clear sounding my basses sounded when played thru these amps. Impressed enough to order two... one to play thru and a second “spare” that I would play thru when I “broke” the first one.

So the trials began. I took the PUMA's to every gig, and pushed it as hard as I could. Sometimes I should have been playing thru both 1000's, as the volume requirements would have deemed the use of 2 PUMA 1000’s appropriate. Still, I only used 1, and as I “abused” and pushed the amp to its limit, I learned that this amp was “virtually indestructible”. The PUMA 1000 of that era was powered by Powersoft amplifier modules, and there were some limitations that would later be resolved by TecAmp's switch to ICE Power amp modules.

The most significant realization was that here was a company that shared the same ideas of what was universally important to us bass players onstage, in a live gig situation, and in the context of playing on a track, or on a gig. 

Simply put, TecAmp understands exactly the qualities, features, and function that we bass players require.

The EQ controls worked better than any circuit that I'd previously used. True, there were more sophisticated EQ sections that had greater flexibility and adjustability, but none that had the kind of “ideal” EQ points/ range, notch width, effectiveness, and meaningful functionality when turning the respective EQ control up or down. As a matter of fact, as I recommended and put these in the hands of more and more players over a 6-year period, the statistics were somewhat astonishing.

My findings were that better than 95% of all players, whether electric bass guitar or upright, loved the results and functionality of these amps. And within the bass guitar group, there were players using “traditional” passive P and J style instruments, modern (MTD, ZON, Brubaker, etc.) instruments, and everything in between (Fodera, F-Bass, etc). What is so impressive to me, and to these players who have embraced TecAmp, is the relative transparency of the design... allowing a player to really “hear” their instrument, easily discern what their hands are doing on the strings, and allow them to more effortlessly express their musical ideas.

This transparency is balanced with an uncanny ability to easily and effectively dial in useable EQ shaping... whether to compensate for an acoustically problematic stage/ room, or to shape and color one's instrument to their preference.

Six months after my initial introduction to TecAmp, I experienced TecAmp's speaker cabinets. I started with the S-212, one of my favorite cabinets today. The punch, articulation, definition, sonic balance, and projection was noteworthy. I received many favorable comments from contemporaries about how even and defined my rig sounded. How punchy and solid... how it cut thru just right. I found myself being able to turn my volume down, but still being able to hear and feel myself with better definition and articulation than with the other cabinets I'd been using. To say the least, this was an “ear opening” experience.

In fact, as my trials of TecAmp’s different amps and cabinets progressed, it didn’t really seem to matter thru what TecAmp amp, or TecAmp speaker, or TecAmp amp/ speaker combination I played. Curiously, they all had the same level of performance, the same ease of use, they were all great sounding, and they “delivered”. They worked so well onstage. Each one is equally as impressive, easy to use, and offers so much of the “right” elements and function.

I can honestly say that TecAmp’s speaker cabinets were at first quite a stretch for me to embrace. I had been searching for linear frequency response from my speakers for over two decades. I had played pretty much every available speaker cabinet available. How could these seemingly “typical and common” speaker configurations even approach the “superior” performance of the “high performance” gear that I had been using? You know, different-sized transducers to reproduce their respective frequency band.

I was in for a shock, and an “awakening” that would shatter the long-held rules and shift forever the paradigm to which I had for so long clung.

Here are some of my recommended amp/ speaker cabinet pairings:

PUMA 900 w/ one or two S-212

PUMA 500/ XS-112

PUMA 1000 w/ one or two L-410, two S-212

Black Jag 900 w/ two L-410’s, Black Jag 900 w/ two S-212

My life's work has been dedicated to pushing the performance “envelope” of instruments, amplification, and related gear in the bass world. The idea that TecAmp level performance needed to be accessible to more bass players’, and to make it available to all players became somewhat of an obsession. I felt compelled to conceive a way to do this.

We began by transitioning manufacturing from Germany to the US. This would prove a milestone event and resulted in improved quality control, production and design modifications resulting in better reliability, and improved performance and value for the long haul as well as shorter lead times should your TecAmp require servicing.

Today, we are proud to offer superior performance, value, and our company's commitment to you... not just as our customer, but truly as a part of our TecAmp “Family.”

I say this because I have lived it, and in living it, I truly believe it:

When you invest in a TecAmp product, you get it all.

Glenn Kawamoto

TecAmpUSA-President