Gelf Electronics first came to the attention of the hardware world around 15 years ago, when Ken Flegg began work on very high-tech mixers, handmade for those who could afford them. Elton John and Deep Purple were just two of the recipients of these mighty desks - which, incidentally, are still going strong (the mixers, that is...). Last year the company decided to diversify, and, using Ken's knowledge of valves and pro electronics as a basis, they began to manufacture an unusual range of backline combos. Gelf use a valve pre-amp to generate those rough and raunchy noises we know and love, the signals from which are then put through a high-quality MOSFET power amp. This cross-pollination of hardware means that the valves are left to do the job they like; i.e., getting distorted and overdriven, while the power amp delivers those signals cleanly, almost silently, and very powerfully!

The very latest addition to the series they've been producing (now covering seven models) is the Gelf Studio 85. This started life as an update of their T1000 2x12" split channel 100w combo, but slowly evolved into a specially designed 2x10" amp for DI work, either straight into a PA desk or direct to a multitrack recorder. The DI out is either balanced XLR or jack, and the MOSFET power amp stage ensures that the cleanness achieved by DI lines is also mirrored by the response from the speakers. And they are LOUD!! As this is almost the flagship of the range, it's reviewed along with some details of the rest of its illustrious family. With prices ranging from only £99 for a neat little valve combo, up to £600 for their top option models, the Gelf range is certainly one to be reckoned with, and, for a change, they have a very different sound to the other valve amps available.

Of spartan and rather workmanlike looks, the Gelf Studio 85 is an amp that has been designed from the inside out - that is to say the makers have concentrated on the internal electronics and their sound, rather than flashy cosmetics. So let's start with the very simple layout of the controls.

Running from left to right, there are two inputs, both with their own volume controls. These two are the heart of the Gelf backline philosophy, one being the clean channel and one having the capacity to overdrive the valve circuit. Switching between them is done from the footpedal, which we'll come to later. Next is the Eq section, with the usual treble, middle and bass controls. The surprise is that they ACTUALLY WORK! I know sarcasm is the lowest form of wit, but I also believe that amplifiers fitted with controls that alter the sound not one jot are the lowest form of electrical engineering. The Master Volume and Master Presence come next, the former being the only rotary pot that should be fitted with a health warning!

Next up is the Reverb control, which alters the amount of information passing through the Hammond reverb unit sited in the bottom of the ply cabinet (most alter just the overall reverb). LED indicators for reverb on/off and overdrive on/off status and an illuminated rocker power switch complete the picture. And so to sound.

First, a short explanation. The two inputs control the two channels, levels being set at the pre-amp stage, and the footswitch is used to bring them in. The reverb won't operate with the overdrive on, simply because, Gelf feel, it isn't needed. If you do need reverb for your lead sound, then do it at the desk stage - the overdriven sound will simply saturate the springs in the reverb, leaving a messy, washy effect. Points here for design, then.

Having set the desired pre-amp and master out, the option then is to reverb or not. But if you can bring yourself to live without it I'll be surprised, for the reverb sound is excellent. The valves offer a touch of warmth to the overall sound, the MOSFET delivers that clean and clear to the speakers, while the reverb can be edged in to the desired levels. It makes bog-standard old acoustics sound like prize vintage Dreadnoughts, and made me look twice at my trusty old SG!

The capacity to induce just a spot of overdrive, and the versatility of the Eq section, means that you can generate a wide range of different sounds: for example, very jazzy F-hole noises, or Richard Thompsonesque acoustic and electric sounds, and so on. The great thing is that you can wind the clean sounds up to very loud proportions, with no attendant rise in distortion. Thanks to the MOSFET, it starts clean and stays clean.

For what we are about to review, may the Lord supply us with earplugs... One aspect of the overdrive is that it pushes the total output much higher than the clean channel, so care has to be taken to keep the master volume in check if both channels are going to be used. The distortion is induced by the pre-amp volume once the overdrive has been switched in. This routes the signal through a specially designed gain and tone circuit, allowing definition of the sound to remain stable. Valve shriek, a common problem when playing lead guitar through overdriven tubes, is quite absent, and consequently, when the overdrive reaches saturation (effectively and literally 'fuzz guitar', the tone remains stable. The presence control is very effective here too, and the sustain is phenomenal.

The range of tone is such that the amp is also able to recreate quite faithfully other valve sounds. Hence the Marshall-like grit and raunch, so that Gary Moore impressions are the order of the day. Add to that excellent Angus, a lovely Ritchie Blackmore (with a Strat noise from the SG?!), and an ear-shattering Fripp.

For reasons of personal taste. I'd say that the Gelf sound is more suited to humbuckers than single coil pickups. The blitzola of the Marshall stack is one arm of the Gelf's versatility, but I got a touch better mayhem with the Gibson than with a Strat or Tele. But then Gelf also do custom orders, and the final tone option on the larger models is up to the customer concerned.

THE GELF RANGE - AN OVERVIEW

The Studio 85 is the 'studio version' of the Studio Sidewinder (RRP £438.50) which is fitted with two 12" Celestion Sidewinder speakers and has a slightly larger casing. This is better suited to live work, where the projection from the Sidewinders comes into its own. There is also a smaller 1x12" combo at £265. These are the two top of the range designs, but with the small combo market in mind (a strange world these days), Gelf have gone for an interesting line in 10w hybrid combos at £99 for both lead and bass versions. Both of these smaller models are basically scaled-down versions of their larger relations. Distribution has now started on these around the UK, so they should be in music shops nationwide about now.

Gelf Studio 85 Combo - RRP £383.32 Inc. VAT

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