BrownArtist 3-Ch Head - Schröter Amplification Point to Point wired Amps Bavaria/Germany

Go to content

BrownArtist 3-Ch Head


Testbericht im Gitarre & Bass Fachmagazin, Augustausgabe 2011          SoundFiles!

Device Type
All-tube guitar amp head, 3-channels (two and a half) - Clean, Crunch, High Gain with serial / parallel switchable effect loop, completely made by hand in Germany, wired point to point
Class A / B 100W push-pull power amp

Power Amp Tubes 4 x EL34B-STR (Quartet, TAD)
Preamp tubes 3 x ECC83-Cz (TAD), 2 x 12AX7 Tung Sol

1.5 mm sheet steel surface-finished, front and back plate 1 mm natural anodized aluminum,
Pre-amp tubes with sheet metal caps shielded and secured against slipping, power tubes secured with clamps.

15-24 mm multiplex, cover imitation leather, metal caps nickel plated on all corners, ventilation and protective grille 1 mm nickel-plated steel, handle imitation leather metal-reinforced, rubber feet

Dimensions (WxHxD / mm)
720 x 285 (with feet and handle) x 260

ca. 21,3 kg

- Power cable
- Protective cover
- Flightcase medium heavy version (surcharge)
- Director floorboard with 7 meter connection cable screwed at both ends (surcharge)
Sound & characteristics of the Schröter® BrownArtist and the Schröter® Traditional 100W and 50W models

The tops Schröter BrownArtist and Schröter Traditional 100W are identical in their basic sounds!
They differ only by some switching functions and equipment, which make the BrownArtist even more flexible compared to the traditional models.
The 50W version of the Traditional again differs from the 100W version only by the lower power output.

Regardless of the Volume!
These high-end amps unfold their tone and a pleasant feeling even at room volume, because they are not technically set to overdrive or compression of the power tubes, as is the case with vintage and also with many modern amps. Instead, the RhyVol and SoloVol controls, in conjunction with the Output Power knob (and Halfpower switch on the BrownArtist) and Rise knob, provide control over the density and dynamics of their tone in every position.
They are never too strong for small clubs and never too weak for big stages!

Allround Talents
With their 3-channel concept Clean, Crunch and High Gain, the amps are basically all-round talents.
All three models are very clearly marked by a British character. Warm, smoky, rough, wiry, three-dimensional, high-glossy aptly describes their basic sounds. Standing wiry, dry and extremely lively, they appear in appearance, mud is alien to noble-minded amps!

Point to Point Wiring
The guitar signal "flows" from the input jack to the speaker outputs, practically through point-to-point wired circuitry, and comes into contact with nothing but resistors, capacitors, tubes, and metal in the form of leads and switch contacts, just like vintage amps the case is.
Neither in nor on (!) the Signal path semiconductor devices come in any form and therefore can not creep into their sound synonymous anything synthetic!

Short Signal Paths
In addition, the signal paths are basically kept short by the special concept of the effetcs loop (true parallel), the amps achieve a sensationally fast, direct response, which gives the impression that the sound would be there just before striking the strings.
Uncompromising Construction
Completely away fall by their elaborate construction by hand, the typical characteristics of most modern industrial multi-channel amps, which often i.a. in order to save on manufacturing costs, technically show a rather compromising structure and therefore like to suffer from lack of directness, slow reaction, a "carpet over it", flat tone, etc.

Feel what you play
The guitarist feels a very clear feedback on his input due to the pleasantly cushioning, vehement response to the string attack. Instead of stirring with the plectrum in the spongy, lazy swamp :-), you have the sound of these high-end amps always in your hand and can form it wonderful!

Purified Tone
Since there tone is ’purged’ in a special manner, there are no problems with unintentional feedbacks and therefore the Schröter® BrownArtist can handle complex chords at relatively high gain settings. Airy, transparent, sparkling and glistering (somehow kind of 3-dimensional), that’s how one sound cloud stands in front of the speaker cabinet while pedal-tones stay clean at any time – perfect for Jazz Rock, too!

Highly Dynamic
Especially the crunch channel is to be highlighted in dynamic discipline. It's so dynamic that you do not really need the channel switch for most situations. Because purely only by the string attack almost clean to heavy Crunch is possible, so tinkering with
the guitar's volume control is no longer necessary! (see sound files "Clean channel - Crunch channel with Gibson ES 345")

In conjunction with the Director floorboard, which also includes a true hardware bypass loop for effects between guitar and amp, and can automatically turn on / off the amp's effects loop of with the solo volume or manually, a small setup is just as easily realized as a big one, because the amps are additionally equiped with channel switch plugs for external control via midiswitcher ready.


1 - Mains / Stby switch, each with associated control lamp
By tilting the Mains switch down, the amplifier is switched on, ie supplied with mains voltage and the Mains indicator lights up. If the Stby indicator light is not (yet) lit, the amplifier is in Stby mode. This means that all operating voltages of the amplifier circuit are present, except for the high voltage of all tubes.
In this state, the amplifier should be at least 30 - 45 seconds after switching on!
If now also the switch Stby is tilted down, Stby shines and the BrownArtist is ready to play.

2 - Tight / Mild Switch
Position Tight parallels the normal operating status which is a full 100 watts (provided that Full/Half Power is in position 'Full'). In this position the BrownArtist gains a maximum of extremely fast and attack laden response while reproducing complex chords absolutely clean.
Mild makes for a smoother and warmer tone, so in 'Mild' position the BrownArtist sounds even more 'Brown'.

3 - Master Section with the Controls Rise, RhyVol and SoloVol
The Rise control is related to the Tight/Mild switch and shows a similar effect. The more you turn it up, the brighter, bassier and muscular the tone gets. Moreover this control (in combination with the Output Power control) is a profound tool in order to get the impression of a cranked up amp at low volume.
With RhyVol and SoloVol the BrownArtist provides two recallable (via Director floorboard or external switching) volume settings for all 3 channels.
When SoloVol is activated the corresponding LED is lit. Different volume settings have a drastic effect on the amp's compression characteristics. The overall amp volume is adjusted with the Output Power control located on the rear panel.
4 - Clean Channel
The Clean Channel is completely independent from the Crunch and High Gain channels. Its Gain control defines how clean or already a little crunchy the amp will react to your personal touch. There are controls for Bass, Middle, Treble and Volume...
The Define switch cleans up dull sounding neck pickups, especially with semi acoustic or arch top guitars.
The Shift switch shifts the mid-fidelity of the channel (up = 'London', down = 'Los Angeles').
Shine accents the hi-mid and treble range.

5 - Channel Switch
This is for switching the 3 channels (Clean, Crunch and High Gain) manually at the amplifier. The switching status is indicated by the channel LEDs CL, CR and HG. When using the Director floorboard or the external switching jacks, the Channel Switch has to be in the middle (Crunch) position.

6 - Crunch and High Gain Channel
Since both of them channels are pretty similar in basic sound they share Bass-, Middle- and Treble- controls, yet also offer independent Gain controls for adjusting the amount of overdrive.
The Crunch channel's Pre-Bass control has a drastic effect on the amount of bass within the pre-amp and differs from the normal Bass (tone-) control. Since the pre-amp's amount of bass highly depends on the position of the gain control, Pre-Bass produces the right balance. When using little distortion turn up the Pre-Bass control! With plenty of distortion it's recommended to turn Pre-Bass down! Pre-Bass is actually not a bass control but rather some kind of a 'Definition' control!
With its Volume control you can adjust the High Gain channel to the Crunch channel's volume. For more fine-tuning in bass and gain character there is a 3-way Drive switch. Middle position = normal; Down position lowers the amount of pre-amp bass; Up position increases the gain slightly which makes for more midrange and sustain.
7 - Silence
When pressing the Silence switch the Silence LED lights up and the BrownArtist is in silent mode! At the same time the Tuner Out jack located on the rear panel is activated. Good for silent tuning and changing guitars and cables without noise...

8 - Guitar
Sure, the guitar input jack.


9 - Tuner Out Jack
To connect to a tuner (see Silence)

10 - Director 7-pin DIN Jack
Serves exclusively to connect the Director floorboard (no MIDI jack!).

11 - External Switching Sockets
With these switching jacks you can use a MIDI switcher in order to control Rhythm and Solo Volume, the Clean, Crunch and High Gain channels as well as the amp's FX loop. This feature allows the BrownArtist to be part of a big, MIDI-controlled (multi-amp) rig.

12 - Pre-Amp Out
Adjustable pre-amp signal (no speaker simulation) which isn't affected by volume control or FX loop. It is used best for driving other (power-) amps, effect devices, etc... You can also connect a speaker simulator with the pre-amp out jack for silent recording without speakers.
Caution: If you run the amp without any speakers connected, you must turn the Output Power control as well as RhyVol and SoloVol controls to position 0!

13 - (Back) Loop
This is the insert loop between pre-amp and power-amp, and it works both in parallel and in series (switch able). Loop is controllable via Director floorboard or External Switching jacks... Enjoy the 'Spill over' function! There are adjustable Send and Return levels, for matching 19'' rack gear levels (+4dB, Send ca. 7-10 ) and FX pedal levels (-10dB,Send ca. 4-6).
This FX loop is a true parallel loop. The pre-amp audio signal flows thru the loop circuit only if the loop is in serial mode and activated (or in case Director isn't connected). A disengaged loop always means parallel direct operation even if the Series/Parallel switch is in Series position!
14 - Output Power Section
The Output Power knob controls the amp's overall volume (see Master Section - RhyVol and SoloVol).
When turning the Half/Full Power switch to Half position the 2 inside tubes are disengaged and the amp runs on half power. Thereby the Impedance switch should be turned to half the impedance of the connected speakers.
15 - Impedance Selector and Speaker Jacks
The position of the Impedance switch must match the total impedance at the parallel wired speaker jacks when running in full power (half power = half the impedance of the speakers). Caution: Use speaker cables only! Instrument cables may cause serious damage to the amp!

16 - Tube Fuses
This fuses ensure high reliability in stage operation. In case of output-tube failure either the fuse of the middle or outside tube pair will blow which will be indicated by the related LED. That's not a total breakdown of the amp but the BrownArtist will still run on half power with the other pair of tubes. As a result only the overall amp volume will be a little lower...

17 - Mains Jack, Mains Fuses, HT Fuse
The HT Fuse secures the amp's high-voltage power supply against current overflow and therefore against major damage.
Whatever voltage is selected the Voltage Selector located above the AC jack automatically switches to the matching (mains) fuse value. At 100V and 120V the 4 ampere fuse is active, at 230V and 240V the 2 ampere fuse is active.
Caution: Only use fuses with the specified value (shown at the fuse mount)!
Humbalance Control
- behind the grille -
With the Humbalance control, the BrownArtist is set to the lowest possible background noise (ground hum). This is best done by activating the crunch channel. The volume should be set slightly higher, so that the background noise is easy to hear. Now the Humbalance control is adjusted until the existing humming noises seem the quietest.
In order to avoid errors, nothing should be connected except a speaker box to the amp.

Bias Control
- behind the grille and only for technicians! -
The BrownArtist should be at least 10 min. warmed up. RhyVol and SoloVol to zero, Output Power full up, Half Power switch to Full and now remove the fuse for the inner tube pair. Insert one probe of a milliamperemeter into the fuse holder straight in, the other probe against the thread. Wait a few seconds and set to 62mA.
Screw the fuse in again. Now remove only the fuse for the outer tube pair and repeat the procedure in the same manner as described for the inner tube fuse.
In the most optimal case, you can read exactly the 62mA just set for the inner tube pair. However, experience shows that this is usually not the case, no matter which manufacturer or supplier the power tubes are from or how expensive they were. It is quite normal that you may now read 58mA or 66mA. In the first case, the 58mA is simply increased to 60mA, so that the other tube pair will now come to 64mA. In the second case, you reduce the 66mA to 64mA, so that the other pair comes to 60mA. The mean value for EL34 tubes is at least about 62mA for the BrownArtist (screen grid current is taken into account) and this should be approximated with both tube pairs.
The Schröter® BrownArtist is basically available in all conceivable Tolex colors as desired!

Of course, the colors of the handle and the control knobs can also be selected according to your taste.

Price overview*

BrownArtist (including lifetime warranty**)-----------------4.390,00 EUR
Director Floorboard----------------------------------------480,00 EUR
Flightcase (made to measure in medium-heavy version)-------255,00 EUR

* incl. VAT, plus shipping costs (shipping only possible with flight case) -
The single production can result in longer waiting times. For a binding order 50% of the total price is required as a down payment.

** except wearing parts, tubes, damage caused by improper handling or force majeure, such as surge damage (lightning)

Back to content