Bugera 6262-212 120-Watt 2 Channel Combo Amp

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The gain structure and tone character of the 6262 / 6262-212 are built on the same fundamentals as the 6260 but more midrange, making them perfect for 80's rock and metal. You also get full control of EQ, Presence and Reverb on both channels.A lot of amp manufacturers call their Treble/Mid/Bass knobs "tone" controls. We call ours EQ because we spent a lot of time making sure that they each have a unique character. Treble really screams; Mid puts you about six rows into the audience; Low can add more growl than an angry Kodiak bear.The Presence control is tailored to smooth out your tone or add enough bite to cut through any cymbal. It can bring new life to darker sounding instruments.Like several other BUGERA models, the 6262 and 6262-212 have a modern studio digital reverb. We did that intentionally to avoid unwanted rumble from "vintage" springs when you're on a heavily vibrating stage. We auditioned literally hundreds of 24-bit reverb patches and finally settled on a favorite that we like to use for both lead and rhythm playing. The result is way more versatile and usable.

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Description

The gain structure and tone character of the 6262 / 6262-212 are built on the same fundamentals as the 6260 but more midrange, making them perfect for 80's rock and metal. You also get full control of EQ, Presence and Reverb on both channels.A lot of amp manufacturers call their Treble/Mid/Bass knobs "tone" controls. We call ours EQ because we spent a lot of time making sure that they each have a unique character. Treble really screams; Mid puts you about six rows into the audience; Low can add more growl than an angry Kodiak bear.The Presence control is tailored to smooth out your tone or add enough bite to cut through any cymbal. It can bring new life to darker sounding instruments.Like several other BUGERA models, the 6262 and 6262-212 have a modern studio digital reverb. We did that intentionally to avoid unwanted rumble from "vintage" springs when you're on a heavily vibrating stage. We auditioned literally hundreds of 24-bit reverb patches and finally settled on a favorite that we like to use for both lead and rhythm playing. The result is way more versatile and usable.

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