It's the eighties (again), the decade that on the one hand brought rock music a plethora of sometimes borderline technical poser bands, guitar finishes with guaranteed blindness and the most uniform hair and outfit of all time, but on the other hand also a guitar solo in every song, the possibility of boundless fame with just one playback appearance on "Wetten dass" and the biggest record contract advances of all time along with gigantic profits for the same. Along with this once fertile ground of the entertainment industry, the market for modifications of all kinds exploded, especially when it came to one's own amp. Just this history would like to pack the Danish Redalschmiede Carl Martin in a pedal and has with the Carl Martin Panama a "British Hot Modded Overdrive" at the start.
"British Hot Modded"? What'n that'n?
We are once again in the depths of the typical rock and metal guitarist of the eighties, which somewhere between the burgeoning New Wave Of British Heavy Metal, the American Bay Area Gekloppe and the all-consuming Hair Metal (the favorite music of all women, ask your mother ...) wave towards the end of the decade trying to find his style. Although there are already one or the other multi-channel, say better 2-channel from the U.S., which can deliver more gain than usual, but the classic variant for rock and metal is still called Marshall 2203 or 2204 (master volume) plus pedal.
This comparatively simple setup, if handled well, still offers almost 4 sounds, i.e. Crunch 1 (preamp fully cranked up, master to taste), Clean (well, a saturated clean by turning down the volume knob), Lead (Crunch 1 plus overdrive / distortion pedal) and Crunch 2 (lead setup with volume knob turned down). All quite nice, but many of the pedals of the time had a strong "fuzz" character, the smooth, creamy thing you heard in Carlos Santana's solo tone just wouldn't settle. This was the birth of the so-called modders, of which there were, for example, Manfred Reckmeyer or Dirk Baldringer, a few real experts in the German-speaking world. Besides the addition of FX loops, possibly a second master volume or second channel, it was mainly the desire for more tube gain that drove the author of this article, among others, to the above-mentioned names.
If one had known, what one still gets some years later for an old Marshall in original condition, one would have renounced certainly one or other tinkering, however I must also say that still 3 of my Marshall Heads, which were partly only slightly modified at its time, or were rebuilt from scratch, perform a very good work in my studio. The final breakthrough was the legendary "Brown" sound of Eddie van Halen on the first VH disc, where a Variac industrial light dimmer took over the "modification" of a 68' Plexi and served as a very extravagant volume control.
This band is probably also responsible for the name of the Carl Martin pedal, as the title is considered one of the most successful of the band. Well then, does the Carl Martin Panama manage to pack a modified Marshall Head from the eighties in a pedal?
The construction of the Carl Martin Panama
The pedal, which is manufactured in China, is not a pedal from one of the countless mini series of other manufacturers in terms of size, but with the dimensions of 5.9 cm x 11.3 cm x 4.8 cm (WxDxH) can definitely be called very compact. However, the massive construction ensures a comparatively hefty weight and suggests a long service life. The pedal has four included stick-on rubber feet and without this attachment, it slides around very easily on any surface without motivation. Battery operation is also not provided for the pedal, from therefore you should directly think about a place on your pedalboard.
Pleasantly, the Carl Martin Panama has its connectors on the front of the housing, which accommodates most patch cord wiring on the pedalboard. In between sits the connector for the 9V power supply. Things get a little tight here and a power supply wlnkelstecker can only be routed away up or down, but with a straight plug there should be no problems. As with the Carl Martin Plexitone, the voltage is internally set high to 12 V, which guarantees better headroom and higher resolution of the signal. The power supply should deliver at least 65 mA, so with a standard 100 mA output you are on the safe side. The On / Off switch is designed in true bypass.
In addition to the standards such as Gain, Level and Tone, the Carl Martin Panama has a fourth, special control called "Damping" on the control surface. Anyone who has ever worked with a prof. engineer will know the problem. With increasing distortion, some amps tend to become a bit "boomy", i.e. their bass content increases, which at first makes the sound seem even more voluminous, but then the amp also tends to "choke", respectively the assertiveness in the band mix suffers massively and must be made up for with excessive volume. You can of course do this in the mix with an EQ, but it is better if the amp does not get into excessive "pumping" in the first place.
This is where the Damping control comes in, which takes the bass part back a bit with increasing clockwise rotation and makes the sound tighter. A very practical effect, as you will hear later in the practical part. This control also makes it possible to rein in the "jazz" aspect of the inherently somewhat bassier sounding semi-acoustic guitars, such as the 300 series from Gibson or similar, and to move them towards a real rock'n'roll guitar.
The Carl Martin Panama in practice
To send it right up front, the Carl Martin Panama, like the Plexitone, has very strong booster ambitions, i.e. the pedal pushes the amp really hard when needed. So it is advisable to be careful with the level control. 12 o'clock corresponds approximately to the in = out level, above that the output level is to be enjoyed with caution.
To appreciate the pedal in its entirety, it is recommended to use as old as possible vintage all-tube amp in the style of a Bassman, Plexi or VOX AC whatever, that is, amps that have a very good basic sound with little gain. In this case, the Carl Martin Panama sort of takes over the part that a modder took over in the eighties. So you can mod your amp without tinkering with it forever. To ensure the same, I took my old 77 Marshall Mod. 1987 with a Marshall 412 cabinet with Celestion Vintage 65 speaker from about 1982 and set it up so that it just doesn't go into saturation.
The first thing that stands out very positively is how incredibly well the pedal hangs on the guitar's volume control. It is actually possible to drive the sound only with the volume control back to almost completely clean and to control the gain factor completely with it. Furthermore, the pedal truly has a very high headroom, however, I would call the pedal more of a distortion than an overdrive pedal. The gain factor goes well beyond a pure overdrive and manages to move even completely clean amps to a powerful lead sound.
The sound of the Carl Martin Panama is really excellent, provided that you like a treble-emphasized sound. Although you can keep the treble quite well in check with the Tone control, the Carl Martin Panama finds its strengths in the assertiveness. Although the product name suggests it, for the original VH sound, the basic sound of the pedal is a bit too tight, the classic EVH sound is a bit softer in the approach, however, the pedal sounds indeed excellent and the excellent dynamics is indeed equal to the VH sound. Especially if you are looking for classic lead sounds, the Carl Martin Panama leaves a very good figure, for typical high gain Geboller recommend other pedals.
Conclusion
With the Carl Martin Panama, the Danish manufacturer has an excellent pedal in its ranks, which is based on the modder work of the eighties. The goal of making a vintage tube amp sound like after a visit to an amp tuner is achieved over long distances and leaves a very good impression in all areas.
Additional Informations:
- Carl Martin Pedals is a Danish-based company that has been producing high-quality guitar effects pedals since 1990. The company was founded by Carl Martin, a talented guitarist who was dissatisfied with the effects pedals available on the market at the time. He set out to design and create his own pedals, which quickly gained a reputation for their exceptional sound quality and durability.
Over the years, Carl Martin Pedals has become a leading name in the world of guitar effects pedals, thanks to their innovative designs and commitment to quality. The company's pedals are used by some of the world's most renowned guitarists, including Joe Bonamassa, Peter Frampton, and Steve Stevens, among others.
One of the things that sets Carl Martin Pedals apart from its competitors is the company's dedication to using only the highest-quality components in its pedals. Each pedal is hand-built using carefully selected components that are rigorously tested for quality and performance. This attention to detail ensures that every pedal that leaves the Carl Martin workshop is of the highest possible quality and will provide exceptional performance for years to come.
Another key feature of Carl Martin Pedals is the company's commitment to innovation. The company's pedals are constantly evolving, with new designs and features being introduced on a regular basis. This commitment to innovation has resulted in some of the most unique and groundbreaking effects pedals on the market today, such as the Octa-Switch MKIII and the Surf Trem.
Despite its success, Carl Martin Pedals remains a small, family-owned company that is committed to providing personalized service to its customers. The company's pedals are sold through a network of authorized dealers and distributors around the world, with each dealer providing expert advice and support to customers looking to purchase a Carl Martin pedal.
In conclusion, Carl Martin Pedals is a company that has earned a reputation for producing some of the best guitar effects pedals on the market today. With a commitment to quality, innovation, and personalized service, the company has established itself as a leader in the industry and a go-to choice for discerning guitarists around the world. If you're looking for a pedal that will.
- Van Halen's "Panama" is a classic rock anthem that has become a staple of the band's live shows and a favorite of rock fans around the world. The song, which was released on Van Halen's 1984 album, features the band's signature blend of hard rock, heavy metal, and pop sensibilities, along with Eddie Van Halen's iconic guitar riffs and David Lee Roth's charismatic vocals.
The song's lyrics are inspired by Roth's love of fast cars and the thrill of driving at high speeds. The opening lines of the song, "Jump in, let's go / Lay back, enjoy the show," set the tone for the high-energy ride that is "Panama." The chorus, which features Roth's soaring vocals and Eddie Van Halen's searing guitar riffs, is a celebration of the freedom and excitement of the open road.
One of the most memorable aspects of "Panama" is Eddie Van Halen's guitar solo, which is widely regarded as one of the greatest guitar solos of all time. The solo is a masterclass in rock guitar playing, with Eddie Van Halen effortlessly shifting between lightning-fast runs and soaring melodic lines. The solo also features Eddie Van Halen's signature "tapping" technique, which he popularized in the 1980s and has since become a standard technique in rock guitar playing.
Another notable feature of "Panama" is the song's driving rhythm section. Bassist Michael Anthony and drummer Alex Van Halen provide a relentless groove that propels the song forward and gives it its unmistakable energy. The band's tight musicianship and chemistry are on full display in "Panama," making it one of the band's most beloved and enduring songs.
In addition to its musical excellence, "Panama" has also had a lasting impact on popular culture. The song has been featured in numerous movies, TV shows, and video games, and has been covered by countless bands and musicians. Its enduring popularity is a testament to the song's timeless appeal and the enduring legacy of Van Halen as one of the greatest rock bands of all time.
In conclusion, "Panama" is a high-energy rock anthem that showcases Van Halen at the height of their powers. From its memorable guitar riffs and soaring vocals to its driving rhythm section and iconic guitar solo, the song is a masterclass in rock music and a testament to the enduring legacy of Van Halen. Whether you're a longtime fan or a newcomer to the world of rock music, "Panama" is a must-listen track that is sure to get your blood pumping and your heart racing.
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