In all, the Belair has a clean, well-conceived and well-executed vintage look, from the brown control panel with blond chicken-head knobs to the matching brown strap handle and grillecloth, it all adds up to a very cool vibe. Controls are straightforward, Volume, Bass, Mid, and Treble on the clean channel Soak (gain), Volume, Bass, Mid, and Treble on the overdrive channel. There’s also a front-mounted channel selector toggle, master reverb, and a rear-mounted Presence control that affects both channels. The rear panel also has dual 1?4″ effects loop jacks for an external effects unit, power and standby switches, speaker output jacks with an impedance selector, a 1/4″ line out jack, and the footswitch jack.
Macvim screenshots plus#
One notable plus is Carvin’s use of large 1″ rocker switches for the power and standby. These are a lot easier to locate and manipulate than the typical rear-mounted toggle switches. To test the Belair, we used a Carvin Bolt guitar with three Carvin single-coil pickups, and a humbucker-loaded Washburn HB35 semi-hollow. With the HB35 plugged into the clean channel, we got a full, round tone with plenty of tight lows, smooth mids, and crisp highs. All three tone controls, as well as the Presence control, had a smooth response that never got harsh, brittle, or nasally, and the amp’s lows stayed tight, even with the bass control turned way up. As we turned up the volume on the clean channel (to about mid-way) midrange got nice and punchy, with excellent pick attack and just a hint of overdrive, producing a big, fat, open sound that stayed tight and focused. The punchiness of the clean channel sounded equally good with the single-coils in the Bolt – thumpy lows, shimmering highs, and a pleasant, clean midrange the never got “knocky-sounding.” We found it near impossible to get the amp’s clean channel to sound mushy or lose note separation, with either guitar in any pickup combination. The Overdrive channel on the Belair features a Soak control that allowed us to overdrive the preamp, for crunchy distortion at lower volumes. Having independent tone and volume controls allows a player to set the overdrive channel for a full-on distortion sound or solo boost with a bit more drive. Although this amp won’t replace a 4×12 half-stack, it is capable of producing plenty of gain. Rather, it shines more when the EL84s are pushed hard. It can get a little mushy when the Soak is turned up and the volume turned down with humbuckers. For this amp, there just isn’t a better match than the Celestion Vintage 30s. The exact method depends on your terminal emulator.Their superarticulate midrange reproduction and ability to handle the low-end really adds to the Belair’s excellent tone. Therefore, we are forced to assign the Solarized non-standard values to colors 0 through 15 of our terminal emulator if we want to see the actual Solarized colors instead of poor approximations. Most terminal nowadays are capable of displaying 256 colors but none of the colors used in the Solarized palette can be found in the semi-standard Xterm palette. TUIįlattened’s only requirement is the same as Solarized: that you change your terminal emulator’s so-called “ASCII” colors to the ones used by Solarized.
You don’t need to do anything for these colorschemes to work in GVim or MacVim.
Unlike Solarized itself, these Vim colorschemes are guaranteed to give consistent results in most environments without littering your beautiful vimrc with useless crap or paging through hundreds of StackOverflow questions to make sense of a needlessly convoluted setup.
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