OF THE MANY LIGHTWEIGHT AMPS, CABS, and combos that BASS PLAYER has reviewed, the Genz Benz Shuttle-series stands out for its particularly well-executed incorporation of myriad weight-reducing technologies. In my August ’08 review I praised the thoughtfully designed Shuttle quasi-combos, which paired the Shuttle 3.0 and 6.0 heads with neodymium cabs topped with an ingenious cradle that allowed the amps to be used on their own. The Shuttle 3.0 and 6.0 both featured preamps clearly descended from Genz Benz’s top-of-the-line GBE-series heads, but in a paired down form appropriate to the heads’ small footprint. Conversely, the new ShuttleMAX amps offer much of the GBE heads’ feature-set, including blendable tube/solid-state input stages and major EQ options, but deliver these bells-andwhistles in heads as remarkably light as the other Shuttle heads. Genz Benz also sent along its latest UBER-series cabs, which they think pair best with the ShuttleMAX head.
The ShuttleMAX is absolutely slathered with knobs. Despite this, Genz Benz’s clear graphics and intuitive layout helped miti- gate the potential confusion. The reason for all the knobs is the head’s dual-channel preamp design. Essentially, the ShuttleMAX features two independent parallel signal paths with identical tone sculpting, but different input stages: a solid-state FET CHANNEL and a 12AX7-aided TUBE CHANNEL. Each channel has input GAIN and VOLUME controls, which control sensitivity and signal level into the preamp, respectively. Each channel’s HIGH/LOW GAIN switches offer further input control, especially useful for those inclined to overload the TUBE channel for extra grit. Both channels are blendable via the MIX CHAN button.
Out back, the ShuttleMAX offers as much flexibility as it does up front. There are three effect loops, a MASTER that applies to both preamp channels and independent loops for each channel. Coupled with the included footswitch, the independent loops are a cool idea; you could have different effects on each channel, with appropriate EQ, and access them with a quick foot stomp. In addition, there’s a DIRECT OUT, TUNER OUT, AUX IN, and HEADPHONE jack.
The ShuttleMAX had nice interior construction with ample ventilation courtesy a low-noise fan and side vents. One notable interior feature that may not be immediately obvious is the dual power supplies. The ShuttleMAX is truly like two amps in one, at least in the power section. Each 600-watt Class D amplifier is fed via its own switchmode power supply (SMPS). Quick recap: SMPS are what make heads like the ShuttleMAX light; their high-frequency power switching eliminates the need for a bulky and heavy power transformer. As with most SMPS, the ShuttleMAX offers instant voltage adjustment for international playing courtesy rear-panel switches (one for each power supply).
DAS UBER
The Genz Benz UB-series cabs seemed to fall into their product line between the ultra lowweight NEOX-series cabs and much heavier, ceramic-speaker-equipped XB2 cabs. The cabs were well made, with 13-ply birch/poplar cabinetry, excellent bracing, and major porting, courtesy Genz Benz’s “Smooth Tone” design with radiuses each internal surface of the port to produce less turbulence in outgoing air, and thus, according to Genz Benz, “smoother and cleaner low-frequency punch.” The cabinets utilize an 18dB/octave crossover, brawny 100-watt L-pad for adjusting the compression tweeter, and an airtight crossover/jack plate. The large cabinets were relatively light for their configuration and I dug the huge handles, but I wasn’t a big fan of the tilt-back wheel scheme. While they’re probably quieter and less of an initial hassle than pop-in casters, they made moving the cabs a slightly more awkward affair.
Both cabinets performed well throughout testing, with the 4x10 being the more balanced and poised of the two. The 2x12, conversely, added a special bit of midrange flavor and seemed to throw further and cut more into a room. The tweeters were well behaved and coherently voiced with the rest of the cabinet. Both cabinets were impressive, although they are definitely priced on the high end of the segment’s spectrum.
SOUND
Paired with both the UB-series cabs and those from other manufacturers, playing the ShuttleMAX 12.0 was an immediately familiar experience. I spent a lot of time with the Shuttle-series amps when they were originally here for testing, and on a fundamental level, the ShuttleMAX sounded much like its stablemates. That meant razor-sharp and arid response with quick lows, responsive and mildly textured mids, and a slicing top. Overall the Shuttle stuff is quick and propulsive, not slow, sludgy, and slathered in gooeyness. Obviously, the ShuttleMAX differs from the other Shuttle heads in its extensive EQ. The two bands of semi-parametric mids were potent, particularly when I blended the two channels. In fact, this experience revealed one danger of the powerful ShuttleMAX preamp— with double an already robust preamp, I had to take care to choose complementary filtering when blending the two channels. I’ve long been a fan of Genz Benz’s GLOBAL SIGNAL SHAPE filters, which in the Shuttle- MAX include adjustability over the amount of low- and high-end boost and midrange scoop. The flexible TUBE channel was wonderfully adept at going from mellow-to-bellow as I dialed in extra gain. Another note, however: with three volume-determining knobs per channel, getting your head around the ShuttleMAX’s gain staging is an important step toward maximizing tone.
The ShuttleMAX also differs from its lower-powered cousins in its massive volume capabilities. This is only evident when each of its independent speaker outputs is connected to 4Ω cabs, like the UB-series 2x12 and 4x10 I tested. With this configuration, the burly lows and bumped-up mids of the 12’s were well matched to the 4x10’s more balanced top-to-bottom response, yielding a burnished tone that seemed to welcome prolonged high-volume slap, pick, and aggressive fingerstyle.
Considering the original Shuttle-series amps had little to fault, and that the Shuttle- MAX 12.0 does all those amps did plus more, the new top dog is a winner. While it’s distinctly sharp, quick, and responsive personality may not suit the Ampeg B-15-style lovers of beautifully slow bumpiness, its flexibility and serious volume potential should satisfy most everyone else.
GENZ BENZ SHUT T LEMAX 12.0, GB 410T-UB, & GB 212T-UB
STREET ShuttleMAX 12.0, $1,100; GB 410T-UB, $1,160; GB 212T-UB, $1,040
PROS Exceptionally versatile; loud; thoughtful design
CONS None
Contact www.genzbenz.com (480) 941-0705
T ECH SPECS
ShuttleMAX 12.0INPUT IMPEDANCE 500kΩ
TONE CONTROLS LOW: ±15dB @ 80Hz (shelving); LOW MID: ±15dB @ 150Hz–2kHz (semi-parametric); HIGH MID: ±15dB @ 300Hz–3.5kHz (semi-parametric) HIGH: ±15dB @ 3.5kHz (shelving)
SIGNAL SHAPE L.F. BOOST: peaking gain @ 35–65Hz, up to +7dB; MID SCOOP: cut centered @ 600Hz; H.F. ATTACK: peaking gain @ 2.5kHz–16kHz, up to +7dB
DI OUTPUT XLR with LINE/MIC level selection, PRE/POST EQ switch, and ground lift
POWER AMP TOPOLOGY Class D
POWER SUPPLY Switch-mode
POWER OUTPUT Dual power amp, maximum 600 watts @ 4? per side
WEIGHT 6.75 lbs
GB 410T-UB & GB 212T-UBCABINET TYPE GB 410T, 4x10 + tweeter; GB 212T, 2x12 + tweeter
FREQUENCY RESPONSE GB 410T, 45Hz–18kHz; GB 212T, 42Hz–18kHz
SENSITIVITY GB 410T, 103dB; GB 212T, 102DB
SPEAKER MANUFACTURER Custom-designed Eminence neodymium drivers
WEIGHT GB 410T, 72 lbs; GB 212T, 63 lbs
MADE IN ShuttleMAX, Taiwan; designed and QC’d in U.S.A.; UBER, U.S.A.
WARRANTY 3 years transferable