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MIDI is used for switching the channels and toggling the effects loop and you need to purchase an extra module. This plugs into a space on the rear panel where H&K have crammed in a few more goodies. There's a balanced line out which is speaker-emulated using the famous 'Red Box' circuit, a half power option, pre-out/power-in jacks, and a very well specified effects loop which can be used in series or parallel, with instruments or line level devices. There's also a comprehensive speaker outlet section.

The included stageboard is connected through a standard locking 'D' connector – it's a really solid and good looking affair with recessed LEDs to let you know where you are. This particular stageboard sample did have a couple of sharp corners that could cause a nasty cut though, so check before you buy.

Sounds

With the front panel aglow, and a pair of 4 x 12s hooked up, it's time to sample the Triamp's most important ingredients: its sounds.

Amp 1, channel A, is bright and dynamic; very Twin Reverb in character with a sweet top-end. Channel B has a rich warm distortion ideal for playing blues or crunchy chords; very AC30, again very dynamic. Using this preamp's 'tight' function switches things to a more contemporary feel and it really tames the low end, which tended to be a little too boomy in 'loose mode, giving more of an open-back combo response.

Amp 2 is for all things classic rock, with channel A offering a warmer mid-range, and Channel B pushing out a gritty and very aggressive Brit-inspired lead which really sings at full tilt – our favourite for lead work.

Amp 3 is for more contemporary sounds: massive high gain and huge bottom end in both crunch and lead versions, with a Rectifier-style harmonic depth that sends those 'off-the-pick' pinched harmonics squealing from every point on the string.

The Triamp has been powered by 6L6s and EL34s in the past. We've tried both and much prefer the Mark II's 6L6 warmth, it's far more versatile and tonally more complex than the EL34 version. Putting lots of master volumes on an amp tends to compromise power output; however, the Triamp is still plenty loud, even if it doesn't quite shake the walls in the same way a Marshall can. For smaller gigs we'd recommend using the half power option that lets you wind up the volume controls and get a good tone at easier listening levels.

The Red Box emulated line-out is a very useful addition, and works well straight into a desk for live or recording purposes. We were very impressed with the realism of this circuit, which didn't need any further EQ tweaks to provide a believable cabinet tone. Like the rest of the Triamp, it's also blessed with low background noise levels, so a noise-gate shouldn't be needed.

The Triamp's effects loop is one of the most versatile and transparent we've ever heard. We tried a selection of rack processors and stompboxes and were impressed at how easy it was to get the levels sorted for the best possible results.

The Triamp us a very powerful tool, packed with great tone and useable features that any player will find invaluable. It's put together with the finesse of a BMW and the strength of a Panzer tank, and it's a very worthy flagship for H&K's valve range.

The only fly in the ointment for us is that steel spring carry handle covered in PVC; it's certainly strong enough, but somehow doesn't look quite right – we'd prefer something a little more restrained.

For some time now the Triamp has been one of the amp world's best-kept secrets. It's been used on many high-profile tours by some of the world's top players, and that's hardly surprising when you see one of these beauties close up and plug into one. Granted it's not cheap, but this is the valve amp H&K pin their reputation to, and for the money it's a seriously good buy.