Category Archives: NAMM 2018

NAMM 2018 – Launch of the PRS Mark Tremonti MT 15 Lunchbox Amp and Cab

Lunchbox Hero

“We knew we wanted a low-wattage amp. The challenge was getting a lot of tone and features in a little box. We’re all blown away with how it turned out. It’s going to be great for someone to take it out of the box, set everything to noon, and have it sound great.”

– Mark Tremonti

The rumors it appears are true! NAMM 2018 see’s the launch of Mark Tremonti’s first ever signature amp.

With 6L6 power tubes under the bonnet (or hood if you are in the land of Namm), this is probably the biggest sounding 15 Watt amp you will ever hear.  All the gain you will ever need on the lead channel combined with a bright clean channel  that has a  beautiful chime. Top this off with a host of features including separate eq on both the clean and lead channels,  a master presence control, global effects loop, half power switch, external bias jacks, the list goes on and on………The aforementioned clean channel also has a boost to take you into classic crunch. This amp it would seem has you covered no matter what tone you are chasing.

It also changes colour (or color) when you change channels……..what more could you possibly ask for!?

Mark Tremonti is well known for creating some incredible and iconic lead and rhythm tones. Listen to the most recent Alter Bridge album “The Last Hero” and not only will you hear these iconic tones that I mentioned but you will also hear the prototype of this amplifier because a large portion of those tones on that album were recorded with the MT 15.

A matching 1×12 cab constructed from birch is available to go with the MT 15. Loaded with the revered Celestion Vintage 30, its open back design sounds huge and matches the head perfectly.

 

 

More from PRS below…….

The MT 15 is a commanding two channel amp with balanced aggression and articulation. Powered by 6L6 tubes, the MT 15 has a large, bold sound, so you can dig in heavy with rhythms but also get singing lead tones out of one amp. Whether recording, practicing, writing, or playing a small room, this amp has everything you need.

The MT 15’s design started with heavier players in mind, but in the end, it has a lot to o er players of all genres.
Like the PRS Archon amplifier, the MT 15 features five gain stages before the Master for full, lush distortion. The gain channel gets big, chunky tone with massive, tight low end, never losing its articulate note definition or great lead tone. The clean channel is bright and chimey, good with chords and finger style playing – whether with a pick or not. The clean channel also features a push/pull boost control that adds a little overdrive for old school crunch. No matter what tone you dial in, the MT 15 stays balanced across the spectrum with a sweet, smooth tone that won’t bite your head off

Additional features include an effects loop and bias adjusters that are accessible from the back panel for ease of servicing. Despite its 15 watts, the MT 15 sounds more like 50, so a half power switch that takes the MT to 7 watts is a welcome edition. Bottom line, the amount of features, the hugeness of the sound, and the raw horsepower of the circuit make the MT 15 an impressive lunchbox hero.

The MT 15 is Mark Tremonti’s first signature amplifier.

NAMM 18 – Presonus Expansions For The StudioLive Range

Presonus this year seem focused on building upon their popular range of studio live desks, with a number of new I/O expansion options to help flesh out your setup.

Presonus NSB 8.8
The Presonus NSB 8.8
Presonus NSB 16
Presonus NSB 16.8

Designed to work seamlessly with the Presonus StudioLive Series 3 mixers, these two stage boxes allow for easy routing of your audio over standard cat5 or cat6 cable, allowing for less signal degradation over long runs and eliminating large heavy snake runs around the venue. 

When setup alongside a Series 3 console, the stage boxes also allow you to remote control them straight from the desk or even from the dedicated touch control app. Featuring locking combo mic/line inputs, XMAX preamps and a pair of AVB connections to allow you daisy chain more units as required, meaning these boxes offer you the flexibility to route and patch your stage to accommodate pretty much any show.

StudioLive 24R Front
StudioLive 24R Front
StudioLive 24R Rear
StudioLive 24R Rear

Taking it up a level, the 24R and 32R are more stage box offerings that also function as sub-mixers as well, making ideal for doing secondary monitoring mixes on stage too. Once again you have the full remote mixing capability when hooked up to a series 3 studio live desk allowing you to fully control and customize your scenes and making it just as suitable for long-term shows and installs, as it is for going on tour.

Presonus Earmix
Presonus Earmix 16M

Lastly, we have the EarMix 16M which does away with the stage box functions, making it a hands-on and easy to control 16-way headphone submixer and amplifier. 

Each EarMix 16M accepts 16 mono channels of input via AVB networking and can network multiple units with a StudioLive Series III mixer. This allows you to setup up your own custom onstage mix in the headphones, and the line out options also allows you to feed this through to your foldback setup, for a fully custom monitoring arrangement.

Presonus EarMix 16M Rear
Presonus EarMix 16M Rear

Take a look at the whole Presonus range @ Scan

NAMM 18 – UA let the Arrow fly.

UA’s big announcement came a week before NAMM this year and is small, possibly one of their smallest yet perhaps, but all the better for it.

UA Arrow Top Down

The Arrow is a Thunderbolt 3 ready audio interface with an included core for handling UA plugins onboard. Fitted out with a conversion section derived from UA’s flagship Apollo interface range, as well as a headphone amp with a clean punchy output, makes this diminutive audio interface an astounding portable recording solution to go alongside any laptop.

UA Arrow Front

For the I/O we see an instrument input and headphone output on the front of the interface along with 2 more inputs and the main outputs around the rear.

UA Arrow Rear

The interface ships with the UA “Realtime Analog Classics” bundle, which offers a number of classic EQ’s, Compressors and guitar amp models and because the plugins are run on the UA, this allows for near-zero latency tracking through the interface with the effects applied and makes it just as ideal for live performances as it does for capturing your session. 

This looks to be the cheapest entry point into the UA ecosystem so far and the perfect device for leveraging your plugs when out of !the studio and on the road. If you’re already a user of those plugins and want to take them on a mobile adventure or perhaps just want to dip your knee into the pool, this could be the interface for you.

The UA Arrow – Available Now

UA Hardware @ Scan

NAMM 18 – The new T-Series speakers from ADAM Audio

With the surprise discontinuation of the ever popular Adam entry level “F-Series” late in 2017, we’ve heard the questions regarding what’s next a number of times now. Well, NAMM this year gives us the answer and simply put, it’s cheaper and better!

Pre-launch discussion has seen talk of these arriving at an even more accessible price point than their predecessors, whilst still offering the same legendary ribbon tweeter design in the form of the implemented U-ART solution. On top of that, its advised that also included is a newly designed polypropylene symmetrical-excursion woofer that extends bass to lower frequencies with less distortion than normally found in products around the price point.

Multiple technical innovations designed for ADAM’s flagship S Series and iconic AX Series have been included in this new lower-priced monitor range, including ADAM’s High-Frequency Propagation System (HPSTM) designed to offer a consistent horizontal and vertical dispersion across the frequency spectrum and promised DSP innovations for the crossover system.

Adam t7 front

Offering a 5″ woofer on the T5 model, along with a 7″ woofer on the T7  edition and offering a low-end extension of 45Hz and 39Hz, as well as the frequency response reaching up to 25kHz on both models, the specs on the page make them look like a solid upgrade when considered against the older F series specs.

Adam T7 Rear

Couple this with their almost stealth fighter black finish and angles to match on the front panel, they certainly also look the part with their classic Adam design features.

All that said, if they can hit the price points that they are seeking to meet, then we may see an unexpected shake-up at the low end of the speaker market this year, and these should certainly be the listening short list for anyone considering their first set of studio speakers.

Check out the full ADAM Audio range @ Scan