Product Review: Evans Amplifier RE200
Reviewed by Pete Cavano
Published in Just Jazz Guitar

            I first heard and played through Evans Amps at the Chet Atkins convention a few years back, and was very impressed with their sound, portability and very high quality of overall construction.  Well, for a little over two years (and probably close to 300 gigs) I’ve been the proud owner of an AE100.  Randall S. Closson did a very thorough review of this amp in JJG #21, November 1999.
            I asked Scot Buffington if he wanted an “updated” review of the AE100, or if he had any new models in the works.  Enter the RE200, a 200 watt amp with at 10” speaker.  The RE stands for jazz guitar legend Ron Eschete, who’s input and “on the gig” experience have proved an invaluable sounding board for Scot’s amp designs.  I had the pleasure of chatting briefly with Ron, and he definitely likes this amp.
            Weighing in at approximately 32 pounds, with dimensions of 16 inches height, 14 inches width, 10 inches top depth and 11 inches bottom depth, you have a very portable little rig here.  One of the many cool features is Scot’s use of a retractable “amp handle” located on the bottom of the amp to angle the cabinet for better projection.
            One of the first things I noticed is the position of the controls.  Unlike the conventional twelve o’clock, start point the Evans starts at seven o’clock, and the control is well marked with white dots.  This takes a moment to get used to, but allows for making adjustments “on the fly” much easier.  This feature really pays off on the gig where the lighting conditions are not always the best.  We will run over the control panel as you face the amp from left to right.

Master:  This is also the on/off switch, and is used to set the output gain to the pre-amp.

Scruff:  Also using an on/off switch, this control adds a very subtle “tube like” warmth. (I really like dialing in a setting of about three when using my Kirk Sand electric classical guitars).

Reverb: (digital) This is where it gets to be fun.  Scot mentioned that this is a “hall” setting, and besides having a very musical sound it’s also extremely versatile.  The “tail” or how long the reverb sustains, is just right.  If you want a slightly lusher sound for ballads, no problem.  On up tempo tunes, your notes won’t all mash together.

Bass:  Ron Eschete did suggest the closed back design to make bass notes better defined.

Depth:  This is another very useful feature.  As most of us have figured out by now, bass and treble settings are usually not an issue.  The midrange frequencies, however have always been a real problem for all guitarists.  Using the depth, you can dial in just the right amount of richness without the mud.  (I should note that both the depth and expand have been converted to adjustable knobs, as opposed to toggle switches on earlier models).

Body:  Used to set the desired amount of midrange and darkness.  This is a multi-function control that increases low midrange tones while rolling off high frequencies.

Expand:  Think of this as the “cut through the mix” adjustment.  This feature boosts the highs and the lows.

Treble:  You are on your own (be kind).

Volume:  Sets the input level to the pre-amp.

Input 1:  Slightly hotter input.

Input 2:  For normal use.

Back Panel:  The back panel features include an effects send & return, both XLR low Z and ¼” hi line out, extension speaker and headphone jacks, a line reverse switch and fuse.

            At a little over twelve feet, the power cord can easily reach most remote outlets, and rolls up nicely in the back of the pre-amp.  While all this sounds like a lot of technical information the amp comes with a very helpful chart of sample settings that make dialing in your sound very easy.
            Okay, enough technical talk; let’s head to the gig.  For the RE200’s maiden voyage, I used a combo platter consisting of a two-inch Sand nylon electric and my trusty old “56” Tele.  I’ve had this house gig for a few years, and usually use my AE100 with an EV/PA speaker as an extension cab.  Well, the RE200 sounded fine by itself (plus one less speaker to carry).  Later that night, I sat in with some friends who have a very hip R+B/Jazz combo.
            To say that the RE200 is the best amp I’ve ever used in any band setting would be an understatement.  So much clean headroom, plus the incredible tone and dynamics.
            The Eminence Deltalite speaker is a real gem.  A perfect blend of efficiency and musicality.  Now, for those of you curious as to how full can a single ten inch speaker sound?  Last night after teaching, I went to a “jam night” with some very good players, and they don’t shy away from volume.  The guitarist to my right even had a 4 x 12 Marshal cab.  The Evans had so much more bottom and such better tone that he may as well have plugged into a “pig-nose.”  In a nutshell, the power is there if you need it and then some.
            Depending upon your performing schedule, Evans offers two covers for the amps.  The first is a standard slip cover made out of same material as the amp covering, and the second is made by Tuki.  The Tuki is a very nicely padded cover (highly recommended).  Both have the Evans logo proudly displayed.  In closing, I hope I’ve been able to convey my enthusiasm for this product.  And Julia and Scot Buffington are great folks to deal with.  The Evans RE200 this is the one we’ve been waiting for.

Guitars used for testing & performing:
Kirk Sand 2” & 3” nylon electrics;
McKerrihan Keenan deluxe archtop (Seymour Duncan jazz pickup)
Gibson ES-350-T (Benedetto pickup)
Taylor Grand Auditorium (maple spruce with EMG ACS sound hole pickup)
Fender Telecaster (Seymour Duncan jazz pickup, neck position)