Harley Benton AC PRO 60

Firstly, just to clarify my "status" as a guitarist, if there is such a thing. I've been playing guitar - acoustic and electric - for over 30 years. Sheezus, I'm old. Anyway... Suffice to say I've played through a gamut of different amps and PA systems over the years and currently own a Marshall AS50D acoustic amplifier (I used to own an AS100D) and a Yamaha Stagepas 500 PA and I bought this little amp for my son to get him gigging.

Well, what can I say. Impressed is not the word. Well, it is, but if you could incorporate impressed and surprised into one word, that would be the word - imprised?

The tone is not really like the AS50D - in some ways it's a better tone, in different ways not. For example, it has a mid on the guitar input which the AS50D does not so you can alter the tone quite a lot there even if you have an EQ on your acoustic. Also, the AS50D just has one reverb setting while this has 2 plus a delay and a chorus. The AS50D wins on the chorus stakes though as it has a dedicated chorus function, however it's handy having a delay - I actually prefer delay over reverb if given the choice of one or the other - although the delay on the amp is not adjustable in any way other than level, it's useful all the same.

Those differences aside, if comparing them side by side I'd say that the Marshall has more of a spectrum to the sound, but the Harley Benton is somehow "clearer", more of a focused sound, especially when finger picking. In isolation they are both excellent and there's not a whole lot between them if you EQ them to sound similar and when in isolation you'd be happy with either.

I've had both the AS50D and the AC Pro 60 on a Thomann amp stand (which is also excellent) cranked up with a guitar and Shure SM58 plugged in and seated within 1.5 metres of the amp and feedback is minimal - in fact it's a lot worst on the Marshall - to the point where they have a "feedback elimination" control, but it's not needed on the Harley Benton at all!

Cranked up they are both clear and distortion free - providing you're careful to turn down the bass at high volume levels of course. I'd be totally happy gigging with this amp with no problems at all, and if my Marshall gave up the ghost I wouldn't hesitate in replacing it with one of these. All you need for a small acoustic pub gig.

Incidentally, I'm pretty sure that this is identical to the Tanglewood T6 amplifier. Certainly looks it, and that's had rave reviews, except this is a third of the price!

Highly recommended. Grab yourself a bargain.

I've been researching an acoustic amplifier for at least two months before deciding to buy this one and I'm happy I spent that amount of time, because otherwise I would have unnecessarily spend a lot of money. The landscape for these products is surprisingly crowded and you kinda need to do your homework.

This amplifier is the "Goldilock" of acoustic amplifiers, meaning it has the best balance between features and price.

So, this is what you get for just about $200:

- almost everything you would want in terms of connectivity. Output connectors to tuner, phones, line out (separated from phones) DI out balanced and, ta daa: footswitch connection and effect loop. If you're just starting out you may not need a footswitch and effect loop right now, but adding these later on would come at a cost, so it's really nice to know you have them packed in. In terms of input connectivity, you get 6.3mm jacks for line in and micorphone, a mp3 small jack and a line in. Second 6.3mm input is balanced.

- you get a decent effect range built in: hall, plate, chorus and reverb, which can be balanced across channels, so for instance you will have the chorus only for mic, if you want, while keeping the guitar channel clean. For more complex stuff, you always have the effect send and receive connectors on the back and you can choose whatever you want.

- 45W at 8 ohms, which is more than enough for rehearsal (I never played at more than 30% volume in my small apartment, to be honest) and I suppose it will be just enough for a real life gig, in a coffee shop or a small venue.

- some small extra perks, like the contour function and the high / low clip on the acoustic line.

The construction feels very sturdy, the sound is clean and it has a lot of volume to it. The only drawback (if I want to be picky, that is) is the handle, which takes a little bit of handling care (not too much space between the strap and the body), but you will get used to it.

All in all, I think this is the best choice you have for beginner / medium level players, on a budget, without compromising quality, or future developments of your guitarist journey.

This is exactly what I was looing for! I had been dithering for ages about buying the right acoustic amp for me and had bounced from the expensive fender/roland/laney offerings to the generics at a more manageable price. In the end I took a chance on the Ac Pro 60 and I am so glad. It is light, compact and packed with features that are comparable to many of the big name equivalents - but the sound is its main attractive quality and there is huge scope within the controls to get it exactly where you want it. I bought this amp to do justice to a martin dc-15mE and sweet divine I can't put it down now! Whether I play through an effects set up or just through the amp- I can achieve great sound that I am really happy with. When I pushed "order" the first time I really wondered if I was settling for less- but now I would happily order another of these in the future.
I should point out that a small button was missing from one of the control switches- but thomann dealt with this immediately.
The 4 stars instead of 5 is due to the lack of control over the delay settings- but this might not bother someone else.