As you might expect from the specs (fixed biased 6L6s, no negative feedback, paper bobbin layer wound output transformer, etc.), the Roseland can certainly deliver vintage tweed tones, but it can do so much more as well. You can dial in a mid-scooped tone like a Super Reverb, a chimey jangle like an AC30, or a crunchy, grinding tone like a Plexi.
The acoustic response of this amp is something special too. It cuts through amazingly well on stage but never sounds shrill or piercing – it remains thick and full like a saxophone. In spite of its powerful stage presence, it sounds fantastic in a home environment too – full and rich, with intense clarity but never sounding overly bright, even at very low volume.
I should also mention the master volume circuit. It’s incredibly transparent and really makes the Roseland so much more versatile and usable. It preserves the harmonic balance and the dynamic response a lot better than a conventional master volume circuit, so the tone and feel remain consistent down to bedroom volume. At the same time, it preserves the presence and immediacy of the sound better than a power attenuator does, so in my opinion it’s the ultimate tool for transparently reducing volume to any level.