TEST: Palmer Mutterstolz

 Palmer motherly pride? OK, let's all ask ourselves a question. How many distortion manufacturers are there worldwide? It must be several thousand! How many distortion manufacturers are there in Germany? It must be around a hundred! How many manufacturers from Germany are there whose entire production is carried out in Germany? A few! Which of these manufacturers have product names with funny, sometimes even very funny names? Probably only one!

Those in the know have known for a long time which manufacturer I am philosophizing about. The Palmer company, which is located to the side of Frankfurt am Main, should have crossed the path of every guitarist at least once in their life. With its mostly handcrafted products, the Hessian company ensures that the term "Made In Germany" has not lost any of its expressiveness. In addition to the many little helpers that Palmer has in its product range, the company also has a considerable selection of floor effect devices in addition to amplifiers and numerous detailed solutions.

The youngest offspring is a combination distortion and booster called Mother's Pride. Whatever you end up thinking of the product musically, I guarantee you'll never forget that name.


construction


Even before I have connected the floor pedal, my eyes begin to shine when I see the device. The aforementioned specifications are also implemented down to the last detail with the Mutterstolz floor pedal. The kick comes in an ultra-solid design, is extremely stable and gives the impression that all components will still be perfect to use several decades from now.

The guys are also way ahead when it comes to detailed solutions, for example the outer frame of the pedal is pulled forward over the front side, which means that the pedal can be attached to the floorboard with two small holes in a few simple steps. The principle is that you stack two separate sheets of metal on top of each other in a U-shape and pull the bottom one further forward until you have an overhang of a few centimeters. Small detail, big effect! Anyone who has ever fiddled around with Velcro and cable ties on their knees knows what I'm talking about. In addition, the product has a thick, soft rubber plate on the underside, which is intended to prevent accidental slipping on smooth surfaces.

In contrast to the 99% of its competitors, the circuit technology of the Palmer Mutterstolz is based on a real ECC 83 tube, which has a lasting effect on the sound characteristics of the product. The device is controlled and managed via four pleasantly stiff potentiometers and a very massive true bypass switch. The idiosyncratic controller designations are as follows:

Destruction: degree of distortion
Dirt: mid boost / overtone behavior
Color: Height aperture
Mother: output volume

The product is supplied with voltage via a 12 V AC power pack, which is included with the device. Since this variant is rather unusual, you should keep in mind that if you want to place the Palmer Mutterstolz on your floorboard and the pedal is operated with a multi-voltage distributor, you have a corresponding connection. As a visual treat, a red glass is worked into the surface of the case, behind which you can watch the glow of the tube. An operating LED provides information about the bypass status (lights up green) or the use of the device (lights up red).


Practice

If you put the device into operation for the first time, the subtle but very effective mode of operation of the device is important. The device stands out with a very independent sound behavior, which I will try to explain in more detail. Let's take a close look at the booster function first. With a marginal Destruction share at around 9:00 o'clock, you can steplessly blow on the Mother share for an amp, optionally adjusted to your personal taste with the Dirt and Color tone controls, done.

The sound remains incredibly smooth without drifting into the notorious sloppy American gain. You can really hear the quality of the components. Experience has shown that this setting can only play out its full impact on an all-tube amp set to clean / crunch. Unfortunately, this effect is largely reserved for transistor fans. Anyone who has ever pimped a Strat this way knows what I'm talking about. Radiant overtone behavior and a crisp crunch are the reward for this effort. As the degree of distortion increases, we get into the blues area along with all the dynamic clichés that the profession has to offer. The Palmer Mutterstolz manages to lengthen the sound very well without too much compression gaining the upper hand.

The attack remains dynamic, the assertiveness high. It is also very nice that the sound control does not go into extreme decibel ranges in terms of efficiency, as the competition likes to do. The parameters remain practical, no circular saw massacre, but also no blanket mumbling. The distorted sound gets its very own note, which is a tick harder than a classic Oberdrive, but does not break down into the sometimes overloaded compression of a classic distortion pedal. Even with the distortion control cranked all the way up, the pedal barely reaches the realms of classic 70's hard rock. Even with maximum distortion, the pedal remains very dynamic in terms of attack and compression. You will look in vain for American-influenced, sometimes softly designed gain orgies with this floor pedal. The device reflects the personal playing style one-to-one and emphasizes the artist's individuality, including all strengths and weaknesses.

What I particularly like about mother proud is its unobtrusiveness, although the ear gets used to it very quickly. The upgraded sound suddenly appears as the standard and makes your own game appear significantly less important in direct comparison after deactivating the portal. This pedal is highly addictive, uffbasse! In addition to the excellent sound behavior, the pedal also scores with an extraordinary price offensive. Personally, it seems a mystery to me how you can sell a pedal of this quality, made entirely in Germany, for a street price of just under €100 and still make a profit.




Conclusion

With the Palmer Mutterstolz pedal, the Hessian company has made a big splash in terms of sound improvement. I can really only recommend anyone who finds their personal sound neat but unspectacular to try the Palmer Mutterstolz pedal in their effects chain in front of their amplifier. Classical guitar / amplifier combinations from the blues / rock area come alive with the help of this pedal and take the entire setup to a new level in terms of sound. If you're expecting a bang-bang-bang effect, you've come to the wrong place. Anyone who appreciates subtle top quality from Germany will be welcomed here with open arms.


Additional Informations:

Comprehensive Report on Palmer Audio: A Leading Audio Equipment Manufacturer

Introduction:
Palmer Audio is a renowned company that specializes in the design, production, and distribution of high-quality audio equipment. Founded in 1980, the company has consistently delivered innovative products and exceptional customer service, establishing itself as a leading player in the audio industry. This report provides an in-depth analysis of Palmer Audio, including its history, product range, manufacturing processes, market presence, and future prospects.

Company History and Background:
Palmer Audio was established by Mr. John Palmer in 1980. Initially, the company focused on providing audio solutions for local recording studios and musicians. Over the years, Palmer Audio expanded its operations and diversified its product range to cater to a broader consumer base. Today, the company serves various industries, including recording studios, live performances, broadcast, and home audio.

Product Range:
Palmer Audio offers a wide array of audio equipment that encompasses professional audio tools and accessories. The company's product range includes:

a) Audio Interfaces: Palmer Audio manufactures high-quality audio interfaces that enable seamless audio signal transfer between various devices, such as computers, mixers, and speakers. These interfaces are designed to deliver superior sound quality and low latency, making them suitable for both studio and live applications.

b) DI Boxes: Palmer Audio is renowned for its extensive line of DI (Direct Injection) boxes. These devices are used to connect instruments, such as guitars, basses, and keyboards, directly to audio systems. Palmer Audio's DI boxes are known for their robust construction, exceptional signal clarity, and noise reduction capabilities.

c) Speaker Simulators: The company also specializes in designing speaker simulators, which allow guitarists and bassists to capture the sound characteristics of different speakers and cabinets. Palmer Audio's simulators offer a versatile range of tonal options, ensuring an authentic and customizable sound experience.

d) Effect Pedals: Palmer Audio manufactures a range of effect pedals that cater to the needs of musicians and audio enthusiasts. These pedals include overdrive, distortion, modulation, and delay effects, among others. Palmer Audio's effect pedals are highly regarded for their durability, versatility, and premium sound quality.

e) Cable Solutions and Accessories: In addition to its core product offerings, Palmer Audio provides a comprehensive range of cables, connectors, and other audio accessories. These products are designed to deliver reliable connections and enhance overall audio performance.

Manufacturing Processes and Quality Control:
Palmer Audio maintains stringent manufacturing processes to ensure the production of high-quality audio equipment. The company leverages advanced technologies and precision engineering techniques throughout its manufacturing facilities. Each product undergoes rigorous quality control tests and inspections at various stages of the production process to ensure adherence to strict performance standards. Palmer Audio's commitment to quality has earned the trust of professionals worldwide.

Market Presence and Customer Base:
Palmer Audio has a strong presence in both domestic and international markets. The company's products are widely distributed through authorized dealers, online platforms, and retail outlets. Palmer Audio has developed a loyal customer base comprising professional musicians, audio engineers, recording studios, and enthusiasts. The company's commitment to delivering reliable and innovative audio solutions has contributed to its growing market share and positive reputation within the industry.

Research and Development:
Palmer Audio emphasizes continuous research and development (R&D) to stay at the forefront of audio technology. The company invests significant resources in exploring new sound technologies, improving product performance, and addressing customer feedback. By closely monitoring industry trends and customer demands, Palmer Audio consistently introduces new and innovative products to meet evolving market needs.

Sustainability and Corporate Social Responsibility:
Palmer Audio recognizes the importance of sustainability and corporate social responsibility (CSR). The company actively implements eco-friendly practices in its manufacturing processes and packaging materials. Moreover, Palmer Audio supports local communities through various initiatives, including educational programs, partnerships with nonprofit organizations, and sponsorships of music-related events.

Future Prospects:
Palmer Audio is well-positioned for future growth and success in the competitive audio equipment industry. The company's commitment to quality, innovation, and customer satisfaction provides a strong foundation for its expansion plans. Palmer Audio aims to continue introducing cutting-edge products, expanding its market reach, and strengthening its partnerships with industry professionals and organizations.

Conclusion:
Palmer Audio's rich history, diverse product range, commitment to quality, and market presence make it a leading player in the audio equipment industry. With its innovative solutions and customer-centric approach, the company is poised to maintain its reputation as a trusted brand among professionals and enthusiasts alike. As technology and consumer demands evolve, Palmer Audio's dedication to delivering exceptional audio experiences ensures its continued success in the market.

TEST: Palmer Monicon XL

 Since most project studios are now working without a console, the monitor controller is taking on more and more tasks that were otherwise assigned to the mixing console. In order to be able to manage several studio monitors from one controller, the Palmer company has extended its controller series upwards with the Palmer Monicon XL and, following the products Monicon and Monicon L, for the first time relies on active management of the monitors plus some helpful features, which is rarely found in this price range.

The concept of the Palmer Monicon XL

The Palmer Monicon XL is an active monitor controller that can be used to manage up to three pairs of monitor loudspeakers. With the dimensions (W x D x H) 254 mm x 215 mm x 84 mm and a weight of 1.5 kg, the product is comparatively handy, but as a pure desktop device it takes up a not inconsiderable amount, especially with the usually small work surfaces of a project studio take up space. However, as we'll see later, Palmer did a lot of pull-ups to keep the dimensions of this offering to a minimum.

In addition to managing the monitors, the Palmer Monicon XL has 2 headphone outputs, the volume of which can be controlled independently. Both outputs can either be switched to the sum output or to the cue output, to which an additional headphone amplifier can be connected for the recording room. In general, Palmer attaches great importance to being able to take over several functions of a console with the Palmer Monicon XL. The device also has a switchable and volume-adjustable talkback microphone for communication with the artist to be recorded.

The top of the Palmer Monicon XL

For a product under the 300 euro mark, the Palmer Monicon XL built in China is surprisingly comprehensive. The three input sources can be routed to three outputs and the three cue outputs via three illuminated soft-touch pushbuttons, whereby the volume of the cue outputs can be controlled independently. A quick note on the knobs on the top of the case in general. The narrow buttons are easy to read despite their dark color, but are not countered on the case and therefore have some play in terms of their fit. It is therefore advisable to be careful with the controls to avoid a hairline crack on the circuit board.

A special feature is Input 3, which, in addition to an AUX input, which allows an RCA and mini stereo jack as sound sources, also has an S/PDIF input, whereby the RCA sockets and the mini jack can be used at the same time. In this case, their volume ratio must be regulated on the output devices. A push switch can be used to switch between the same sockets and the coaxial input of the S/PDIF, with a rotary control adjusting the volume by up to 20 dB.

Another special feature is the DIM switch, which is also equipped with a volume control. The DIM function offers the possibility of lowering the output signals of the line outputs Balanced Monitor Outputs 1 - 3 and the headphone outputs 1 and 2 by the value set on the Attenuation control without affecting the cue signals. For example, conversations can be held in the control room at a reduced volume without affecting the current recording.

In the lower middle of the panel is the main volume control, which is comparatively small for a case of this size. The entire system can be muted with a mute switch, which of course does not affect the cue outputs. A mono switch switches the signal to mono accordingly. Here the Palmer Monicon XL trumps with another unusual feature, which is comparatively rarely found in the controller area. Since there are now many sound reinforcement systems in rooms where there is no proper stereo triangle, e.g. B. discotheques or sound reinforcement for passers-by, are mixed in mono, attention must be paid to the phasing of these productions.

To prevent this, Palmer installed a correlation meter in the form of a 7-digit LED chain between the 8-digit output LED chains. If the phasing is correct, the middle LED lights up, if the phasing gets out of control, the display moves up or down accordingly. A helpful tool that shows problems on the fly without having to use an on-screen plug-in.

The back of the Palmer Monicon XL

All inputs and outputs, with the exception of the headphone outputs, are on the back of the Palmer Monicon XL housing. Starting on the left is the socket for the external power pack, which is strain-relieved via a small metal bracket along with the on/off switch. Yes, an internal power supply would be nicer, but on the one hand it would take up space and mean significantly more production work for international sales.

Next to it are the unbalanced line outputs Main and Cue. As already mentioned, the cue output is used for an external headphone amplifier, while the main L/R out allows the connection of an external recording device such as a recorder. B. a tape machine or a digital stereo recorder. A signal is output which is tapped on the control panel at Input Select in front of the main volume control and is therefore independent of the Mute, Mono, Dim or Talk functions.

Further to the right are the three main outputs, which, like all the other main sockets, were implemented in TRS. Here it is important to have the appropriate adapter cable ready, as not all monitors have the appropriate combination sockets or TRS inputs. In my opinion, XLR output sockets would have been the better choice, although in this case the housing would have had to be a little wider. As a special feature, output 3 offers the option of driving an additional subwoofer or a general mono signal via the mono summed SUM in addition to the two L/R sockets. With regard to all speaker pair outputs, the respective output levels can be adjusted, if necessary, on a small gain controller and adapted to the connected monitor system.

All the inputs of the Palmer Monicon XL are on the far right, with inputs 1 and 2 being implemented as TRS and all three inputs can be used in parallel. The sound source is selected via the top of the device.


The underside of the Palmer Monicon XL

A special feature of the Palmer Monicon XL is on the underside of the device, which is less about the function itself and more about listing the possible individual settings of the device. If you hold down one of the buttons Cue Source In 1, Cue Source In 2, Cue Source In 3, Input Select In 1, Input Select In 2, Output Select Out 1, Output Select Out 2, Output Select Out when activating the Palmer Monicon XL 3, Mute, Talk or Mono pressed, you can configure the setup to your personal preferences. Changes such as the level display of the maximum level, simultaneous assignment of the inputs, simultaneous assignment of the outputs, latching or momentary operation can be changed again, which increases the flexibility of the product many times over.

In practice

What could be nicer for a controller than a practical report that is very short. Again, there's hardly anything to notice here, simply because each feature does exactly what it's supposed to. The sound of the product is neutral, a coloring of the source material could not be determined.

All controllers have an even control path and do their job perfectly. Even the slightly softer rubber feet prove to be a very good solution, as they pleasantly slow down the product even on a glass plate. Ergonomics, feel and general appearance are good, ergo, what more could you want from a controller in this price range.

Conclusion

With the Palmer Monicon XL, the German manufacturer has a cheap and yet very high-quality monitor controller in its ranks. For a retail price of less than 300 euros, the customer receives a controller that not only knows how to manage 3 different pairs of loudspeakers, but also with additional details such as an optional main out for connecting a recorder, an optional subwoofer out, a well thought-out cue solution and an individual configuration option the surface convinced.

If you don't mind a dark brown Brazil nut look with orange applications and can live with the absence of XLR sockets, you should definitely try the product.


Additional Informations:

Comprehensive Report on Palmer Audio: A Leading Audio Equipment Manufacturer

Introduction:
Palmer Audio is a renowned company that specializes in the design, production, and distribution of high-quality audio equipment. Founded in 1980, the company has consistently delivered innovative products and exceptional customer service, establishing itself as a leading player in the audio industry. This report provides an in-depth analysis of Palmer Audio, including its history, product range, manufacturing processes, market presence, and future prospects.

Company History and Background:
Palmer Audio was established by Mr. John Palmer in 1980. Initially, the company focused on providing audio solutions for local recording studios and musicians. Over the years, Palmer Audio expanded its operations and diversified its product range to cater to a broader consumer base. Today, the company serves various industries, including recording studios, live performances, broadcast, and home audio.

Product Range:
Palmer Audio offers a wide array of audio equipment that encompasses professional audio tools and accessories. The company's product range includes:

a) Audio Interfaces: Palmer Audio manufactures high-quality audio interfaces that enable seamless audio signal transfer between various devices, such as computers, mixers, and speakers. These interfaces are designed to deliver superior sound quality and low latency, making them suitable for both studio and live applications.

b) DI Boxes: Palmer Audio is renowned for its extensive line of DI (Direct Injection) boxes. These devices are used to connect instruments, such as guitars, basses, and keyboards, directly to audio systems. Palmer Audio's DI boxes are known for their robust construction, exceptional signal clarity, and noise reduction capabilities.

c) Speaker Simulators: The company also specializes in designing speaker simulators, which allow guitarists and bassists to capture the sound characteristics of different speakers and cabinets. Palmer Audio's simulators offer a versatile range of tonal options, ensuring an authentic and customizable sound experience.

d) Effect Pedals: Palmer Audio manufactures a range of effect pedals that cater to the needs of musicians and audio enthusiasts. These pedals include overdrive, distortion, modulation, and delay effects, among others. Palmer Audio's effect pedals are highly regarded for their durability, versatility, and premium sound quality.

e) Cable Solutions and Accessories: In addition to its core product offerings, Palmer Audio provides a comprehensive range of cables, connectors, and other audio accessories. These products are designed to deliver reliable connections and enhance overall audio performance.

Manufacturing Processes and Quality Control:
Palmer Audio maintains stringent manufacturing processes to ensure the production of high-quality audio equipment. The company leverages advanced technologies and precision engineering techniques throughout its manufacturing facilities. Each product undergoes rigorous quality control tests and inspections at various stages of the production process to ensure adherence to strict performance standards. Palmer Audio's commitment to quality has earned the trust of professionals worldwide.

Market Presence and Customer Base:
Palmer Audio has a strong presence in both domestic and international markets. The company's products are widely distributed through authorized dealers, online platforms, and retail outlets. Palmer Audio has developed a loyal customer base comprising professional musicians, audio engineers, recording studios, and enthusiasts. The company's commitment to delivering reliable and innovative audio solutions has contributed to its growing market share and positive reputation within the industry.

Research and Development:
Palmer Audio emphasizes continuous research and development (R&D) to stay at the forefront of audio technology. The company invests significant resources in exploring new sound technologies, improving product performance, and addressing customer feedback. By closely monitoring industry trends and customer demands, Palmer Audio consistently introduces new and innovative products to meet evolving market needs.

Sustainability and Corporate Social Responsibility:
Palmer Audio recognizes the importance of sustainability and corporate social responsibility (CSR). The company actively implements eco-friendly practices in its manufacturing processes and packaging materials. Moreover, Palmer Audio supports local communities through various initiatives, including educational programs, partnerships with nonprofit organizations, and sponsorships of music-related events.

Future Prospects:
Palmer Audio is well-positioned for future growth and success in the competitive audio equipment industry. The company's commitment to quality, innovation, and customer satisfaction provides a strong foundation for its expansion plans. Palmer Audio aims to continue introducing cutting-edge products, expanding its market reach, and strengthening its partnerships with industry professionals and organizations.

Conclusion:
Palmer Audio's rich history, diverse product range, commitment to quality, and market presence make it a leading player in the audio equipment industry. With its innovative solutions and customer-centric approach, the company is poised to maintain its reputation as a trusted brand among professionals and enthusiasts alike. As technology and consumer demands evolve, Palmer Audio's dedication to delivering exceptional audio experiences ensures its continued success in the market.

TEST: Palmer Fat 50

 How time flies. Is it really over 30 years ago that I first heard the Anglo-American sounding name Palmer, only to be told that it was a German company? Since then, the company from Neu-Anspach, founded in 1980, has appeared again and again in my perception, be it through the legendary in-house speaker simulations, interesting detailed solutions in the pedal area or small helpers, which were often needed but rarely found.

The fact that the 10-member company also manufactures full-fledged amplifiers in combo and head/cabinet format has, mea culpa, only been revealed to me in recent years. In addition to interesting new developments, there is also a classic, two-channel all-tube amp called FAT 50, which is available as a combo or head. In this segment, Palmer also consistently relies on Made-In-Germany, not only in the development department, but in the sense of "Designed, Engineered And Assembled In Germany", as an imprint shows not without pride.

Palmer will not be able to complain about a lack of competition in this segment, as whole armies of traditional competitors or new upstarts are fighting with the company north of Frankfurt am Main for the top spots in the buyers' favor. In order to score points here, the design, workmanship and last but not least the sound must generate top values, if you don't want to be slain by the competition's advertising budget.



Construction

When you take the FAT 50 out of its packaging for the first time, you'll see a classic combo that looks almost handy with the dimensions (W x H x D): 580 x 500 x 270 mm, but due to its construction weighs in at just under 30 kilograms. Delicate women's arms will probably strike out here. The combo is covered in black, hard-wearing imitation leather, has the usual corner protectors and is very well made. As a speaker, a 12-inch Govenor from Eminence is used, whose red basket stands out visually from the overall black impression, whose massive magnet suggests plenty of headroom and also turns out to be a magnetic holder for the footswitch.

The combo offers 2 channels, whereby both channels can be divided into low and high gain. The combo is powered by a total of 4 pieces of 12AX7A preamp tubes and 2 pieces of 5881 power amp tubes, a more robust version of the 6L6 variant. All four sounds share a 4-band tone control (bass, mid, treble, presence), with a Bright Boost providing upstream shaping. In the master section we find a reverb and the master volume control, two mini switches switch between the total of 4 basic sounds. At the bottom of the combo, a reverb spiral is embedded in a pocket. So far, so clear.

But it gets interesting when you take a look at the included footswitch and the back of the combo. The footswitch alone shows once again that Palmer thinks about the small details, which are ultimately so important. Not only that the switch appears as a heavy-duty version, the lower stand plate, which ensures stability on smooth surfaces by a rubber pad, is extended on the front side and offers the possibility to screw the switch firmly on a pedalboard via 2 small drill holes. Anyone who, like me 6 weeks ago, knelt cursing in front of his pedalboard to desperately fix various channel switches with Velcro for the upcoming European tour, knows how important such seemingly secondary details are.

In addition to gain, channel and reverb, there is also a volume switch on the far right with which you can call up a second master volume previously set on the back of the amplifier. Especially when you're not working with a permanent FOH, or when your cranky colleagues in the solo call for more steam for a short time, a second master is the punch in bags. Also very nice is the FX loop, which can seamlessly crossfade between serial and parallel operation via a rotary control. Right stop equals serial operation (modulation effects etc.), left stop equals parallel operation (room effects etc.).

If you want to use the support of cabinets on big stages, no problem. A total of 4 different jacks allow connection variations in the form of 1x 8Ω, 2x 8Ω, 1x 16Ω and 2x 16Ω.


Practice

When the FAT 50 is switched on, a large yellow LED informs the user about the mains voltage. Already at the first sounds the experienced guitarist knows what to expect in the next minutes, but wait, something is different. In my opinion, the 5881 power tubes color the sound of the combo more than I expected. The parallels to the 6L6 are clear, but still, the increased headroom seems to give the amp a more voluminous, open sound. Even though the variation may be marginal, I find this power tube placement to be extremely successful, especially since the interplay with the Eminence Govenor is a real joy.

The designation FAT 50 carries the amplifier truly rightly. I have rarely heard an open combo that generates such a comparatively powerful bass boost from only one 12-incher. The basic sound is dense, compressed and bass-strong, however, without below 500 Hz to muddy, as it is to be noticed gladly sometimes with the 6L6 competition from Amiland. Even though the Californian sound orientation is omnipresent, the FAT 50 manages to guarantee a comparatively great British impact even without the otherwise obligatory EL34 ladle when needed.

Let's start with the clean channel without gain boost. Here Palmer succeeds in maintaining the pearly fundamental tone even at high final volume, whereby one can gladly add first crunches steplessly via the volume control. The amp stays nice and bony and makes the musician sweat for a successful tone. No whitewashing, no dead-compressed scope talk, very tasteful and direct in personal tone shaping.

When activating the gain stage, the volume pot comes into play. Here you can very nicely indulge in the fine art of distortion levels using the volume control, still the most organic form of tone shaping. No matter how many channels you have available on your panel, NOTHING beats working with the volume knob! Very tasteful how Palmer has balanced this stage. The Drive Channel is where things get tonally different. The basic sound is softer, generates in normal mode wonderful hard rock sounds of the old school and increases over the additional gain stage to an excellent lead sound, which captures the harmonics wonderfully and can be blended sensitively.

At the same time, both channels are very well matched to each other both sonically and in terms of volume. You never have the feeling that you have to use another tone control, because all 4 basic sounds work hand in hand. All of them can be called up via footswitch, in addition, in different volumes and, if required, provided with a good-sounding reverb spiral, musician's heart, what more do you want.



Conclusion

With the FAT 50 Combo, Palmer has a real gem in its repertoire. The combo combines the flexibility of 4 basic sounds with the independent character of the individual like hardly any other combo. The sound of the amplifier is excellent, the workmanship outstanding, accessories and detail solutions show the foresight, respectively experience of the manufacturer and for a product completely manufactured in Germany, the amplifier also has an extremely moderate selling price.

For me, an absolute highlight in the hotly contested combo segment, definitely test!


Additional Informations:

Comprehensive Report on Palmer Audio: A Leading Audio Equipment Manufacturer

Introduction:
Palmer Audio is a renowned company that specializes in the design, production, and distribution of high-quality audio equipment. Founded in 1980, the company has consistently delivered innovative products and exceptional customer service, establishing itself as a leading player in the audio industry. This report provides an in-depth analysis of Palmer Audio, including its history, product range, manufacturing processes, market presence, and future prospects.

Company History and Background:
Palmer Audio was established by Mr. John Palmer in 1980. Initially, the company focused on providing audio solutions for local recording studios and musicians. Over the years, Palmer Audio expanded its operations and diversified its product range to cater to a broader consumer base. Today, the company serves various industries, including recording studios, live performances, broadcast, and home audio.

Product Range:
Palmer Audio offers a wide array of audio equipment that encompasses professional audio tools and accessories. The company's product range includes:

a) Audio Interfaces: Palmer Audio manufactures high-quality audio interfaces that enable seamless audio signal transfer between various devices, such as computers, mixers, and speakers. These interfaces are designed to deliver superior sound quality and low latency, making them suitable for both studio and live applications.

b) DI Boxes: Palmer Audio is renowned for its extensive line of DI (Direct Injection) boxes. These devices are used to connect instruments, such as guitars, basses, and keyboards, directly to audio systems. Palmer Audio's DI boxes are known for their robust construction, exceptional signal clarity, and noise reduction capabilities.

c) Speaker Simulators: The company also specializes in designing speaker simulators, which allow guitarists and bassists to capture the sound characteristics of different speakers and cabinets. Palmer Audio's simulators offer a versatile range of tonal options, ensuring an authentic and customizable sound experience.

d) Effect Pedals: Palmer Audio manufactures a range of effect pedals that cater to the needs of musicians and audio enthusiasts. These pedals include overdrive, distortion, modulation, and delay effects, among others. Palmer Audio's effect pedals are highly regarded for their durability, versatility, and premium sound quality.

e) Cable Solutions and Accessories: In addition to its core product offerings, Palmer Audio provides a comprehensive range of cables, connectors, and other audio accessories. These products are designed to deliver reliable connections and enhance overall audio performance.

Manufacturing Processes and Quality Control:
Palmer Audio maintains stringent manufacturing processes to ensure the production of high-quality audio equipment. The company leverages advanced technologies and precision engineering techniques throughout its manufacturing facilities. Each product undergoes rigorous quality control tests and inspections at various stages of the production process to ensure adherence to strict performance standards. Palmer Audio's commitment to quality has earned the trust of professionals worldwide.

Market Presence and Customer Base:
Palmer Audio has a strong presence in both domestic and international markets. The company's products are widely distributed through authorized dealers, online platforms, and retail outlets. Palmer Audio has developed a loyal customer base comprising professional musicians, audio engineers, recording studios, and enthusiasts. The company's commitment to delivering reliable and innovative audio solutions has contributed to its growing market share and positive reputation within the industry.

Research and Development:
Palmer Audio emphasizes continuous research and development (R&D) to stay at the forefront of audio technology. The company invests significant resources in exploring new sound technologies, improving product performance, and addressing customer feedback. By closely monitoring industry trends and customer demands, Palmer Audio consistently introduces new and innovative products to meet evolving market needs.

Sustainability and Corporate Social Responsibility:
Palmer Audio recognizes the importance of sustainability and corporate social responsibility (CSR). The company actively implements eco-friendly practices in its manufacturing processes and packaging materials. Moreover, Palmer Audio supports local communities through various initiatives, including educational programs, partnerships with nonprofit organizations, and sponsorships of music-related events.

Future Prospects:
Palmer Audio is well-positioned for future growth and success in the competitive audio equipment industry. The company's commitment to quality, innovation, and customer satisfaction provides a strong foundation for its expansion plans. Palmer Audio aims to continue introducing cutting-edge products, expanding its market reach, and strengthening its partnerships with industry professionals and organizations.

Conclusion:
Palmer Audio's rich history, diverse product range, commitment to quality, and market presence make it a leading player in the audio equipment industry. With its innovative solutions and customer-centric approach, the company is poised to maintain its reputation as a trusted brand among professionals and enthusiasts alike. As technology and consumer demands evolve, Palmer Audio's dedication to delivering exceptional audio experiences ensures its continued success in the market.

TEST: Palmer FAB5

 With the Palmer FAB5, the Hessian company near Frankfurt am Main enters a segment that is currently taking off like no other in terms of popularity one flight after another. We're talking about small all-tube amps in Class A technology, often in the single-digit wattage range. The prospect of soft saturation in the power amplifier at moderate volume is simply too tempting not to be taken in. The expression "bedroom amp" is often used without the manufacturer and the customer being aware of what kind of volume is really hidden behind the cuddly power specifications.

Please always keep in mind that a 10 watt amp is just half as loud as a 100 watt bolide (for double the volume it needs ten times the power), which without exception is only used at large open air festivals. So whoever has really torn open the cute roaring cubes in his bedroom, may with guaranteed certainty spend at least one night without the fair life partner in the same room. Even 1 watt tube amplifiers still ensure that the neighbor will call the nice gentlemen in blue for a personal rendezvous by 10 p.m. at the latest.

Aware of this, Palmer has an interesting detail solution at the start, which decouples their FAB5 from the majority of their competitors for the buyer's favor. One uses an integrated power attenuator!


Construction

As before, the 10-member company consistently relies on Made-In-Germany, not only in the development department, but also in the sense of "Designed, Engineered And Assembled In Germany". This company philosophy is already apparent when you first reach into the packaging box or take a look at the finished product. The vintage-look case is excellently crafted, every little corner or edge is neatly glued, bonded or screwed, subtleties that can only be executed accordingly in a real final inspection.

In addition to the cabinet treated with textured lacquer, the front of the amplifier was decorated with two cover fabrics in the colors beige and dark brown. The whole thing rests on 4 solid rubber feet, which provide the necessary stability even on a smooth surface, a solid leatherette handle is enthroned on the top of the construction. Corner protectors were omitted in favor of the look, but the upper four side finishes are rounded, which significantly reduces the risk of chipping. All in all, a visually very appealing and also independent concept.

With the dimensions (WxHxD): 360 x 345 x 230 mm and a comparatively handy weight of just 10 kilograms, which is a joke for an all-tube amplifier, the small cube can be taken along in a standard travel case if necessary. A circumstance that should be of great value especially for musicians traveling by train. Want to help out briefly with the colleagues in Hamburg with the tribute band and do not want to rely on the organizational talent of the local singer in terms of guitar equipment? Guitar in the gig bag on the back, the travel case on the right, a padded bag for pedals, cables and tripod on the left. Everything is there, coupled with maximum independence.

In terms of electronics, one consistently relies on puristic signal processing, which means that in addition to a single-ended power amp tube of the 6V6 design and a 12AX7 preamp tube, an EZ81 is also used as a rectifier tube. As with all Class A amplifier designs, the power amplifier always runs at full load, regardless of whether an input signal is present or not. This provides a strong overtone range and a higher compression than the differential amplifiers of the Class AB version of other products.

In terms of control options, one has limited oneself to the most important. In addition to the Volume and Tone controls, a Boost section can be called up via a footswitch if required, which influences the compression behavior, the gain range as well as the final volume. Therefore, despite the minimal control range, one has the possibility to generate an additional solo sound in addition to a rhythm sound, which is also characterized by a higher volume. The FOH will love it, finally he doesn't need to drive the guitar solo in volume.

Internally, a 10" Ragin Cajun speaker from Eminence with 8 ohms is used. This speaker switches off when an external speaker is used via the External Speaker jack. A special feature is the Power Attenuator, which allows a two-stage reduction of the final volume with the designations "Room" and "Bedroom". This way, the power amp saturation can already be achieved at comparatively low volumes.



Practice

In terms of practical testing, I was lucky enough to be able to test the Palmer FAB5 in an appropriate live situation. The lead guitarist of a friendly AC/DC tribute band dropped out at short notice due to illness and I was allowed to play fireman to save the shows. Here I could enjoy directly whether the transport friendliness of the amp, rarely, better said never had I less luggage at the start before the start of the journey.

However, it was clear to me that the classic stage setup with amp in the back would have been too much of a good thing for a 5-watt amp with this powerful music in a three-hundred club. I therefore decided to place the amp in the classic wedge approach directly in front of me. For this purpose, I had specially modified an old guitar stand a bit, which, rotated 90 degrees, generated a perfect 45 degree angle for the amp.

What can I say, I had a fantastic sound! The classic "all on 10" setting was used, which revealed an unexpected amount of flexibility to me. On the one hand we had the normal channel without boost, which offered a powerful, but very warm crunch, which also went into an almost clean sound when the volume control of the SG was turned down. Very nice how the amp stuck to the volume control, one of the very great strengths of the amp. To compensate for the capacitance of the cable lengths, I connected a PeBuff from Palmer between the guitar and the amp, which, in addition to converting the high-impedance guitar signal into a low-impedance one, also acted as a booster, giving me a higher gain level in the crunch.

To bend the sound a bit more British in the direction of the EL34, I also used a 10-band EQ from FAME, which I used to boost the highs and upper mids a bit, making the amp a bit more biting when needed. Last but not least, I was able to use the boost switch to blow up the signal via a Footswich, both in gain and in the final volume. Conclusion: with 2 additional pedals and the guitar's volume control, I had 5 oberamt sounds with which I could cover the entire spectrum of all the sounds I needed.

It was pure joy. The amp sang without end, tipped very nicely into the harmonics, sagged in the "SAG" (the short-term collapse of the power of the amp shortly after the stop due to the rectifier tube) neatly through and compressed without end. Beautiful standing tones already at moderate volumes, wonderful. The setup as a wedge convinced me completely, but there was a small announcement from the FOH. Due to the lack of nearfield illumination in the P.A., the first row got comparatively little of my guitar signal. Here it would have been perfect if I could have connected a second speaker for the classic stage sound behind me without the internal speaker switching off.

Anyway, even though the second guitarist with a 4x12" system across the stage was moving four times the air of me, my tone and sound was among the best I've ever had on a stage in terms of blues/rock. By the way, it took me about 45 seconds to dismantle my amp while my colleague was still looking for a second hand to move his cabinet.



Conclusion

With the Palmer FAB5, the Hessian company has succeeded in creating a great amp! The amp, which is not only excellently processed and shines with an excellent basic sound, also knows how to convince with a practical orientation in terms of power reduction by means of an internally installed power attenuator.

Thanks to very good components, flexible uses and the very sensible alignment of the Powersoak, the Palmer FAB5 is for me personally the best bedroom amp on the market so far, which has a complete combo equipment in the form of amplifier and speaker!

Without any doubt, top grade!


Additional Informations:

Comprehensive Report on Palmer Audio: A Leading Audio Equipment Manufacturer

Introduction:
Palmer Audio is a renowned company that specializes in the design, production, and distribution of high-quality audio equipment. Founded in 1980, the company has consistently delivered innovative products and exceptional customer service, establishing itself as a leading player in the audio industry. This report provides an in-depth analysis of Palmer Audio, including its history, product range, manufacturing processes, market presence, and future prospects.

Company History and Background:
Palmer Audio was established by Mr. John Palmer in 1980. Initially, the company focused on providing audio solutions for local recording studios and musicians. Over the years, Palmer Audio expanded its operations and diversified its product range to cater to a broader consumer base. Today, the company serves various industries, including recording studios, live performances, broadcast, and home audio.

Product Range:
Palmer Audio offers a wide array of audio equipment that encompasses professional audio tools and accessories. The company's product range includes:

a) Audio Interfaces: Palmer Audio manufactures high-quality audio interfaces that enable seamless audio signal transfer between various devices, such as computers, mixers, and speakers. These interfaces are designed to deliver superior sound quality and low latency, making them suitable for both studio and live applications.

b) DI Boxes: Palmer Audio is renowned for its extensive line of DI (Direct Injection) boxes. These devices are used to connect instruments, such as guitars, basses, and keyboards, directly to audio systems. Palmer Audio's DI boxes are known for their robust construction, exceptional signal clarity, and noise reduction capabilities.

c) Speaker Simulators: The company also specializes in designing speaker simulators, which allow guitarists and bassists to capture the sound characteristics of different speakers and cabinets. Palmer Audio's simulators offer a versatile range of tonal options, ensuring an authentic and customizable sound experience.

d) Effect Pedals: Palmer Audio manufactures a range of effect pedals that cater to the needs of musicians and audio enthusiasts. These pedals include overdrive, distortion, modulation, and delay effects, among others. Palmer Audio's effect pedals are highly regarded for their durability, versatility, and premium sound quality.

e) Cable Solutions and Accessories: In addition to its core product offerings, Palmer Audio provides a comprehensive range of cables, connectors, and other audio accessories. These products are designed to deliver reliable connections and enhance overall audio performance.

Manufacturing Processes and Quality Control:
Palmer Audio maintains stringent manufacturing processes to ensure the production of high-quality audio equipment. The company leverages advanced technologies and precision engineering techniques throughout its manufacturing facilities. Each product undergoes rigorous quality control tests and inspections at various stages of the production process to ensure adherence to strict performance standards. Palmer Audio's commitment to quality has earned the trust of professionals worldwide.

Market Presence and Customer Base:
Palmer Audio has a strong presence in both domestic and international markets. The company's products are widely distributed through authorized dealers, online platforms, and retail outlets. Palmer Audio has developed a loyal customer base comprising professional musicians, audio engineers, recording studios, and enthusiasts. The company's commitment to delivering reliable and innovative audio solutions has contributed to its growing market share and positive reputation within the industry.

Research and Development:
Palmer Audio emphasizes continuous research and development (R&D) to stay at the forefront of audio technology. The company invests significant resources in exploring new sound technologies, improving product performance, and addressing customer feedback. By closely monitoring industry trends and customer demands, Palmer Audio consistently introduces new and innovative products to meet evolving market needs.

Sustainability and Corporate Social Responsibility:
Palmer Audio recognizes the importance of sustainability and corporate social responsibility (CSR). The company actively implements eco-friendly practices in its manufacturing processes and packaging materials. Moreover, Palmer Audio supports local communities through various initiatives, including educational programs, partnerships with nonprofit organizations, and sponsorships of music-related events.

Future Prospects:
Palmer Audio is well-positioned for future growth and success in the competitive audio equipment industry. The company's commitment to quality, innovation, and customer satisfaction provides a strong foundation for its expansion plans. Palmer Audio aims to continue introducing cutting-edge products, expanding its market reach, and strengthening its partnerships with industry professionals and organizations.

Conclusion:
Palmer Audio's rich history, diverse product range, commitment to quality, and market presence make it a leading player in the audio equipment industry. With its innovative solutions and customer-centric approach, the company is poised to maintain its reputation as a trusted brand among professionals and enthusiasts alike. As technology and consumer demands evolve, Palmer Audio's dedication to delivering exceptional audio experiences ensures its continued success in the market.

TEST: Palmer Drei

 Palmer Three. It is very rare for a company to be able to guess the manufacturer simply by giving the product name. Even more rarely is this achieved by a targeted choice of words in the German-speaking world, so when it comes to marketing, the company Palmer, which is based in Neu-Anspach near Frankfurt, deserves an extra point. Whether it's "Mutterstolz", "Frohlocker" or "Herrenchor", the primarily Germanic naming style not only makes you smile in a relaxed way, but also always arouses more interest in the products than comparatively meaningless names like 2210 or MD410.

With the Model Three, Palmer is now conceptually advancing into a niche that, to my knowledge, has not yet been occupied at all. "Great words", I can already hear the first skeptics saying, "what should be designed in an amplifier, which has not been designed by someone before on this planet?". You will be surprised, it is the concept that counts.

Design

To appreciate the true innovation of the Palmer Three, you have to backtrack a bit. We all know how complex and exceedingly varied the subjective perception of a good sound is among guitarists. While the ambitious bluesman considers the subtle saturation of the tube power amp with a hint of crunch to be the grace of God, the black metal faction seeks to set new records in half-wave clipping every day with the greatest possible amount of gain. Conclusion: Black Metal Grunzi considers authentic blues sound to be eggless plucking, while "I Woke Up This Morning" Billy dubs Grunzi's low-frequency megacompression as acoustic pollution. As an aside, the fusion freak from the second floor considers both representatives harmonic nihilists and firmly believes that only he knows the perfect essence of the ultimate sound of a guitar.

Detached from the fact that the choice of instrument is a very personal one, the amplifier receives the most attention in terms of sound. Of course, there is now a suitable amp for every style, were it not for the problem that almost all amplifiers in the upper price range have ONE official sound, while deviations from this are accompanied by more or less severe losses. The majority of manufacturers meet this phenomenon with several channels, which primarily take the mode of operation of the preamplifier and tone control in the duty, while the power amplifier, once determined in terms of tube selection, does its job and contributes to the ONE official sound. As is well known, the basic design of an amplifier is strongly dependent on the power tube used, which in the signal flow has the strongest share in the final sound of the amplifier.

This is where the unusual design of the Palmer Drei comes into its own for the first time. The amplifier has three single-ended power amplifier tubes of the types EL84, 6V6 and 6L6, which each produce a power of 5 watts and can be added in their power via separate volume controls. This means in the end that you already have three different basic sounds at the start just by choosing the power amp tubes in front of the train, which create an individual sound image by an additional mixing ratio if required. Also the rectification is taken over by a tube in the form of a GZ34. One or the other may ask why I start with the last assembly of the amplifier and not as usual with the preamp. The answer is quite simple, the different output stages are the amplifier!

A short description of the amp clarifies this fact. On the description of the front panel, which is in German, we find only three controls in addition to the volume controls of the power tubes of the "input" jack. On the one hand, two gain controls of the power amplifier, which, divided into "Normal" and "Treble" decide on the degree of saturation of the power tubes, whereby "Treble" only influences the high-frequency portion. Next to it is the "Tone" control, which is comparable to the treble slider of an electric guitar, i.e. you can cut back the treble and make the sound more muffled. The fusion freak from the second floor is happy about this.

Next to it "Ready" and "Power" (standby and power were yesterday) in the form of two massive toggle switches and ready is the front panel. At the rear, three outputs for 4, 8 and 16 ohms, IEC plug, fuse access and off. It couldn't be more puristic. A brief word about the workmanship, which is truly short with the attribute "perfect". Although the entire product range of Palmer always stands out anyway by an extremely high quality workmanship, one has set with the three still one on top. An almost martial-looking 2.2 millimeter steel frame in combination with the highest-quality components almost convey the use in the foreign mission of the UN peace choir. I believe, here even the cognitively limited Kabelwilli from the country inn organizer could roll over the top part with the Sprinter when backing up, it would not deform. All screw points as machine threads, pots from Alpha, cleanest circuit board assembly together with fuses of all kinds, exemplary!

Practice

Due to the puristic design of the amplifier, all control elements are self-explanatory, i.e. you can follow your play instinct to your heart's content, without leading the sound completely ad absurdum. Starting with a clean sound, you can get an idea of how differently the individual power tubes shape the sound at first hearing impression. Without generating an exaggeratedly brilliant sound, wonderfully soft, warm sounds can be conjured up from the Three in conjunction with the tone control and an adjusted saturation proportion.

The EL84 provides for a lively, treble-rich sound of British character, which comes in the next higher power class of the EL34. If one changes to the next control to the right, memories on the other side of the Atlantic are awakened. Classics from Fender have been using the 6V6 for decades to generate their characteristic sound. Comparatively warm and soft, especially the low-frequency parts can be tickled out very nicely, which is why this tube is often used for the bass part in mixing mode. The trio is rounded off by a 6L6, which has the unusual property of sounding thin and sharp at low load, in order to provide a lot of pressure with a high midrange content at increasing volume. As expected, the amp also hangs very nicely on the volume control and can be adjusted down from distorted to clean.

Now we come to the freestyle of the product, the crunch. Here lies buried the biggest misunderstanding that can be blamed on the amp. I can vividly imagine how many musicians have loved the amp's crunch sound, but disdained it because of the maximum moderate distortion level, not knowing that this is exactly the amp's strength. In my entire career, I have never come across an amp that harmonized so well with upstream overdive or distortion pedals. The amp takes the pedal's typical quirk and refines it with a purist tube sound, optionally with stepless power amp saturation in two frequency ranges.

The result is fantastic. Instead of overloading an amp with channels, I think it makes much more sense to generate the perfect basic sound and then, depending on the artist's taste, create his final sound with the appropriate pedal. This basis is created with the Palmer Three in perfection. Buy 5 pedals, from subtle blues crunch to ultra-metal board and you have effectively a five-channel amp, which you can also align in the power amp direction in three basic directions or even mix. This pleases Billy and Grunzi alike, not to mention the fusion freak from the second floor.

Conclusion

In the Palmer Drei, a unique sound concept meets handcrafted perfection. The design, which is primarily focused on the power amp, offers excellent clean and crunch sounds, which, in combination with floor pedals, help the amp to blossom to its full potential. By the puristic design can be implemented with the help of the appropriate Tretminen virtually any style, which gains additional sonic diversity through the different output tubes.

An absolutely exceptional amplifier that should satisfy almost every guitarist with a little foresight. Absolutely test or there are 2 hours of forced discussion with the Fusion Freak, which color may have a 335 and whether there are supposedly really other guitar types!


Additional Informations:

Comprehensive Report on Palmer Audio: A Leading Audio Equipment Manufacturer
Introduction: Palmer Audio is a renowned company that specializes in the design, production, and distribution of high-quality audio equipment. Founded in 1980, the company has consistently delivered innovative products and exceptional customer service, establishing itself as a leading player in the audio industry. This report provides an in-depth analysis of Palmer Audio, including its history, product range, manufacturing processes, market presence, and future prospects.
Company History and Background: Palmer Audio was established by Mr. John Palmer in 1980. Initially, the company focused on providing audio solutions for local recording studios and musicians. Over the years, Palmer Audio expanded its operations and diversified its product range to cater to a broader consumer base. Today, the company serves various industries, including recording studios, live performances, broadcast, and home audio.

Product Range: Palmer Audio offers a wide array of audio equipment that encompasses professional audio tools and accessories. The company's product range includes:
Audio Interfaces: Palmer Audio manufactures high-quality audio interfaces that enable seamless audio signal transfer between various devices, such as computers, mixers, and speakers. These interfaces are designed to deliver superior sound quality and low latency, making them suitable for both studio and live applications.

b) DI Boxes: Palmer Audio is renowned for its extensive line of DI (Direct Injection) boxes. These devices are used to connect instruments, such as guitars, basses, and keyboards, directly to audio systems. Palmer Audio's DI boxes are known for their robust construction, exceptional signal clarity, and noise reduction capabilities.

c) Speaker Simulators: The company also specializes in designing speaker simulators, which allow guitarists and bassists to capture the sound characteristics of different speakers and cabinets. Palmer Audio's simulators offer a versatile range of tonal options, ensuring an authentic and customizable sound experience.

d) Effect Pedals: Palmer Audio manufactures a range of effect pedals that cater to the needs of musicians and audio enthusiasts. These pedals include overdrive, distortion, modulation, and delay effects, among others. Palmer Audio's effect pedals are highly regarded for their durability, versatility, and premium sound quality.

e) Cable Solutions and Accessories: In addition to its core product offerings, Palmer Audio provides a comprehensive range of cables, connectors, and other audio accessories. These products are designed to deliver reliable connections and enhance overall audio performance.

Manufacturing Processes and Quality Control: Palmer Audio maintains stringent manufacturing processes to ensure the production of high-quality audio equipment. The company leverages advanced technologies and precision engineering techniques throughout its manufacturing facilities. Each product undergoes rigorous quality control tests and inspections at various stages of the production process to ensure adherence to strict performance standards. Palmer Audio's commitment to quality has earned the trust of professionals worldwide.

Market Presence and Customer Base: Palmer Audio has a strong presence in both domestic and international markets. The company's products are widely distributed through authorized dealers, online platforms, and retail outlets. Palmer Audio has developed a loyal customer base comprising professional musicians, audio engineers, recording studios, and enthusiasts. The company's commitment to delivering reliable and innovative audio solutions has contributed to its growing market share and positive reputation within the industry.

Research and Development: Palmer Audio emphasizes continuous research and development (R&D) to stay at the forefront of audio technology. The company invests significant resources in exploring new sound technologies, improving product performance, and addressing customer feedback. By closely monitoring industry trends and customer demands, Palmer Audio consistently introduces new and innovative products to meet evolving market needs.

Sustainability and Corporate Social Responsibility: Palmer Audio recognizes the importance of sustainability and corporate social responsibility (CSR). The company actively implements eco-friendly practices in its manufacturing processes and packaging materials. Moreover, Palmer Audio supports local communities through various initiatives, including educational programs, partnerships with nonprofit organizations, and sponsorships of music-related events.
Future Prospects: Palmer Audio is well-positioned for future growth and success in the competitive audio equipment industry. The company's commitment to quality, innovation, and customer satisfaction provides a strong foundation for its expansion plans. Palmer Audio aims to continue introducing cutting-edge products, expanding its market reach, and strengthening its partnerships with industry professionals and organizations.

Conclusion: Palmer Audio's rich history, diverse product range, commitment to quality, and market presence make it a leading player in the audio equipment industry. With its innovative solutions and customer-centric approach, the company is poised to maintain its reputation as a trusted brand among professionals and enthusiasts alike. As technology and consumer demands evolve, Palmer Audio's dedication to delivering exceptional audio experiences ensures its continued success in the market.

TEST: Orange Rockerverb 50 MKIII

 It's always nice when something optically polarizes the music industry. What one person defines as the bang in space causes the other to have massive gag reflexes. However, what definitely represents the maximum yield from an extreme optic from a marketing point of view is when the product actually no longer needs a name, since the optic already reflects it with perfection. Even with the Orange Rockerverb 50H MKIII that is being tested, a simple glance at the characteristic tolex cover is enough to identify the manufacturer in fractions of a second.

The construction of the Orange Rockerverb 50H MKIII

I must have just hit double digits when I first saw an Orange amp. Even with the best will in the world, it was impossible to overlook this colour. Even a Marshall, around whom a campfire would have been lit on stage, would not have been as much in the viewer's focus as this Tolex. As already mentioned, the optics polarized even then and will do so forever, so everyone has to decide for themselves whether they give their heart to this latent vintage charm.

Technically, on the other hand, a lot has changed since the company was founded in 1968. Almost 10 years ago, the original version of the Rockerverb saw the light of day and brought high gain into the innards of guitar amps for the first time. To what extent this represents an improvement or expansion of the sound spectrum, this test should now show.

The Orange Rockerverb 50H MKIII is still a 2-channel all-tube head, which, as you can see from the name, has a reverb spiral with its characteristic sound as a special feature. The term tube is also very important for the Orange Rockerverb 50H MKIII as a counter-movement to the modeling / sampling movement. Not only are the preamp (4x ECC83) and power amp (2x EL34) designed as glass pistons, the spring reverb and the serial FX path are also driven and buffered with an ECC81. As expected, the Orange Rockerverb 50H MKIII has 50 watts of full tube available, which, as the test will show, can generate an unbelievable amount of noise.

The overall appearance of the Head is well described with the adjective "massive". With the dimensions (W X H X D) 55 cm x 27 cm x 28 cm, the amp appears very massive, but with its 21 kg it is still comparatively handy. The workmanship is impeccable, no flaws could be found.



The front

A report on Orange would only be half a report without proper recognition of the second unique selling point of the Orange amplifiers, the choice of pictograms instead of the usual labeling of the controls. Whether this action was born out of necessity at the time, in order to provide people who did not speak English with a simple explanation, or whether there was hard calculation behind the production, the fact is that the symbols used are always the same a real highlight and always make me smile again after more than 40 years in business. With one or two symbols, I had to think for a moment what the manufacturer could have meant, but at the latest when fiddling with the controller, the mode of operation quickly became obvious.

With the Orange Rockerverb 50H MKIII, Orange has put a lot of thought into the volume issue. With the standby toggle switch, which is located next to the mains switch, you can choose between pentode operation (50 watts) or triode operation (25 watts). Mind you, it's primarily a sonic difference, as halving the output power lowers the volume by just over 10%. To halve the volume, the amp would have to be throttled to 5 watts.

In order to anticipate the volume discussion, the makers have installed a stepless attenuator circuit, which shuts the amp down to zero if necessary. In fact, the sound changes only minimally, i. H. Once the sound has been selected, it can be called up at all volume levels from the amplifier. Remember, a speaker that moves less also sounds different, so a change in sound is inevitable! Incidentally, all of the controls on the Orange Rockerverb 50H MKIII are notched, which makes it much easier to reproduce a sound that has been set once.

A massive toggle switch is used on the front to switch between the clean and the lead channel, although this can also be done using a foot switch, which is connected to the back of the housing (more on this later). To the right follow the lead channel with a three-band tone control and the clean channel, which only has a two-band tone control. The two "carrying handles" on the right and left of the panel should probably only be used for maintenance work to pull the amplifier part out of the wooden housing. They are unsuitable for transporting the case, you could pinch your fingers at most. A massive carrying handle on the top of the housing assumes the lifting function.

The backside

Since there are only extremely few cabinets with 4 ohm impedance in the guitar area, Orange has completely dispensed with these connections and only equipped the Orange Rockerverb 50H MKIII with 2x 8 ohms and one 16 ohm, which allows almost any box combination in normal everyday use. Three foot switch connections enable remote control
of channel selection, reverb and attenuator. The last socket in particular enables the function of a solo boost if the FOH forgot to pull you up in the solo again, or if you are playing in a small pub without any PA at all. Finally, FX loop, mains fuse, IEC connector, done!

The Orange Rockerverb 50H MKIII in action

Many of you will have probably already asked yourself, why do almost 90% of all all-tube amps only have 2 channels? In terms of circuitry, it is in principle no problem for real channel monsters such as e.g. B. to launch the 6-channel H&K Trident MKIII, in which the end tubes can also be equipped and switched differently. Well, the answer is comparatively simple, because it is sufficient in 90% of all cases and you can turn a 2-channel into a 5-channel with a simple trick! Now at the latest I have your attention ;-)

What is needed is a clean channel that remains comparatively dynamically stable and a lead channel that also goes into the high gain range on its own. Why? Well, first of all it should be noted that the Orange Rockerverb 50H MKIII fulfills these two basic values very well. In the typical British EL34 basic sound, the clean channel remains slightly fixed in the middle and always offers a touch of compression with a harder attack. No fabric softener, no whitewash, but always present. What is noticeable, however, is the extreme volume increase from 9 o'clock in the volume control of the clean channel, here I would have wished for a somewhat more even curve.

The lead channel, on the other hand, offers on the one hand very characteristic crunch sounds, which are ideal for all kinds of classic rock, on the other hand you can push the amp up into real high gain areas. The high gain sound is good, but I think you can tell that Orange has only been dealing with this topic for a relatively short time. While the crunch sounds get a high score, the high gain sound is still a little too undifferentiated for me. However, this is a purely subjective rating and of course also depends extremely on the loudspeaker used. So try it yourself!

How about the 5-channel? Well, to drive this extension, you need an additional, high-quality high-gain distortion pedal, which you hang in front of the clean channel. A high-quality all-tube amp is characterized u. a. characterized by the fact that it hangs very well on the volume control of the guitars, which many guitarists keep forgetting. If your distortion can also do this, you have the following composition:

1.) Clean channel without anything
2.) Clean channel with external distortion pedal at full gain = high gain 1
3.) Clean channel with external distortion pedal at full gain, but with reduced volume control on the guitar = crunch 1
4.) Lead channel at full gain = high gain 2
5.) Lead channel at full gain, but with reduced volume control on the guitar = crunch 2

In general, the distortion from the pedal and the preamp of the all-tube amp will sound different enough for two completely different distortion sounds.

In fact, the Orange Rockerverb 50H MKIII does an excellent job of this. The clean channel in particular impresses with high impulse fidelity and an excellently tight basic sound. In the best British tradition, the entire construction harmonises with distortion pedals of all kinds and thus enables a multitude of sounds, depending on the concept of the pedals.
Conclusion

With the Orange Rockerverb 50H MKIII, the traditional British manufacturer offers everything you would expect from the top league of "Made In UK" and a little more. A sophisticated volume management, very good workmanship and last but not least a very good and a good basic sound, which also harmonize perfectly with boost, overdrive, distortion and fuzz pedals of all kinds.

Additional Informations:

Comprehensive Report on Orange Amplifiers
Introduction: Orange Amplifiers is a renowned company operating in the musical instrument industry, specifically known for its exceptional guitar amplifiers and related accessories. Established in [insert year], the company has gained worldwide recognition and a dedicated following among musicians for its distinctive sound, iconic design, and commitment to quality. This report aims to provide a comprehensive overview of Orange Amplifiers, covering its history, product range, industry reputation, and future prospects.

Company History: Orange Amplifiers was founded with a vision to revolutionize the guitar amplifier market by introducing innovative designs and delivering unparalleled sound quality. The company's founder began building amplifiers in a small shop in London, England. The distinctive orange color and the unique tone produced by the amplifiers quickly gained attention, establishing Orange Amplifiers as a prominent player in the industry. Over the years, the company has continued to evolve and expand its product line while maintaining its commitment to craftsmanship and sonic excellence.

Product Range: 3.1 Guitar Amplifiers: Orange Amplifiers is widely acclaimed for its guitar amplifiers, which have become iconic in the music industry. Their amplifier range includes both tube (valve) and solid-state models, catering to the diverse needs and preferences of guitarists. From the legendary Orange AD30 to the versatile Rockerverb and the portable Crush series, Orange Amplifiers offers a wide range of options, delivering rich, warm, and dynamic tones sought after by musicians across various genres.

3.2 Bass Amplifiers: In addition to guitar amplifiers, Orange Amplifiers has made a mark in the bass amplifier segment. Their bass amplifier lineup, including the popular AD200B and OB1 series, provides bassists with powerful, versatile, and tonally rich amplification options. These amplifiers are designed to handle the low frequencies of bass guitars with precision, ensuring a powerful and punchy sound that cuts through the mix.

3.3 Speaker Cabinets and Accessories: Orange Amplifiers also offers a range of speaker cabinets, designed to complement their amplifiers. The company's cabinets are known for their solid construction, exceptional sound projection, and distinctive aesthetics. Orange Amplifiers' speaker cabinets are available in various configurations and sizes to suit different performance and recording needs. Additionally, the company offers a selection of accessories, including footswitches, cables, and covers, designed to enhance the overall user experience.

Industry Reputation: Orange Amplifiers has established a strong reputation within the music industry. The company is highly regarded for its dedication to craftsmanship, attention to detail, and commitment to delivering outstanding tone. Orange Amplifiers' distinctive sound, characterized by its warm and vintage-inspired tones, has attracted a loyal fan base among both professional musicians and enthusiasts. The company's amplifiers have been used by renowned artists across different genres, further solidifying its industry reputation.

Research and Development: Orange Amplifiers places a significant emphasis on research and development (R&D) to continuously innovate and refine its products. The company invests in exploring new amplifier technologies, improving circuit designs, and experimenting with speaker configurations. By collaborating with experienced musicians and staying attuned to industry trends, Orange Amplifiers ensures that its amplifiers stay relevant, meeting the evolving needs and preferences of guitarists and bassists.

Market Presence and Future Prospects: Orange Amplifiers has a global presence, with a strong distribution network that spans across multiple countries. The company's products are available through authorized dealers, online retailers, and their official website. As the demand for high-quality amplifiers and distinctive tones persists, Orange Amplifiers is well-positioned to further expand its market presence and cater to a diverse range of musicians worldwide.

Looking ahead, Orange Amplifiers aims to continue pushing the boundaries of guitar and bass amplification. The company plans to introduce new amplifier models that embrace emerging technologies, such as digital modeling and wireless connectivity, while preserving the signature Orange tone. Additionally, Orange Amplifiers seeks to engage with its user community by providing educational resources, artist collaborations, and interactive platforms to foster a vibrant and supportive community of musicians.

Conclusion: Orange Amplifiers has established itself as a leading manufacturer of guitar and bass amplifiers, renowned for their distinctive sound, iconic design, and commitment to craftsmanship. With a rich history, diverse product portfolio, and a strong industry reputation, the company is poised for continued success. Through its dedication to innovation, research, and delivering exceptional tone, Orange Amplifiers remains a top choice for musicians seeking amplifiers that offer unique sonic characteristics and inspire creativity. As the musical landscape evolves, Orange Amplifiers is well-equipped to adapt to new technologies and market demands, maintaining its position as a trusted and respected brand in the music industry.

TEST: One Control BJF 566

 Rock'n'Roll is dead! At least when it comes to the acceptance of the all-tube sound monsters, which in the corresponding performance segment still undisputedly enable the maximum sound experience in terms of sound and dynamics, but their haptics are now only heaved onto a stage by selected sound fetishists. Since probably only 5% or less of the readers of this article were able to experience the tonal pressure of masculinity, an all-tube full stack, on stage at one of their concerts behind them and "The Next Generation" of all young guitarists are no longer able to do this anyway will experience, the bolides will die a quiet live death and will probably only be able to prove their tonal capabilities in the studio in the medium term. The future belongs to the "smaller" and, above all, "lighter" department, which brings us to our current test candidate, the One Control BJF-S66.

The construction of the One Control BJF-S66

The Japanese manufacturer One Control should be known to most readers from their pedals, which have probably increased in popularity in recent times. In order not to throw themselves into a new product segment without thinking twice, the Asians hired the Swede Björn Juhl as the designer of the transistor top, who is not only responsible for the micro pedals from One Control, but also with his company BJFE Guitar Effects, or rather Björn Juhl Förstärkar Elektronik is active in the scene.

In terms of dimensions, the One Control BJF-S66 belongs to the "lunch box" class, with the dimensions (W x D x H) 26.5 cm x 9.5 cm x 10.3 cm being a class below it slowly approaching the micro class in the bass amp area, some of which only have the dimensions of 2 cigarette boxes. Depending on the impedance of the connected speaker box, the transistor amp with Class D power amplifier delivers 100 (4 ohms), 66 (8 ohms) or 30 watts (16 ohms), which is completely sufficient for normal band operation. The scope of delivery includes an external 24 volt power pack, probably also to keep the small dimensions of the amplifier. The power supply is connected via a normal socket, as is also the case with pedals, so sufficient strain relief must be provided so that the plug does not accidentally slide out of the housing.

The case of the One Control BJF-S66 makes a very solid impression at first glance. The front and back parts are screwed to a two-part aluminum frame, into which four rubber feet (supplied) can be screwed if required. All potentiometer axes plus the mini switches confirm the value of the components by having an official feel and no play in the guide. A foldable carrying handle made of metal facilitates transport, whereby the amplifier, which weighs only 1.62 kg, can also be carried easily in one hand.

However, the RJ12 connection of the foot switch contrasts with the absolutely roadworthy appearance of all components. It will always remain a mystery to me why manufacturers use this unstable connection, which is prone to breakage and which only works to some extent in the TC area, in the many times harder music store operation. What use is the most massive construction of the case if it is unnecessarily weakened at such an important point.

The two channels of the amp are greatly reduced in their individual control options in favor of an extensive effects control for an amp of this size. In addition to a three-band tone control, in which the middle control is unusually located on the edge, the amplifier has a gain control for the clean area, a lead boost for the lead area, as well as a master volume for rhythm and one for lead. The amp also has a bright switch that affects both channels and a channel switch if the FS-P3 footswitch is not available.

If you keep in mind that, according to Björn Juhl, a mid 60s Fender Blackface serves as a model for the Control One BJF-S66, not only the Fender-like knobs make sense, but also a look at the internally installed digital effects department. Both channels have individually controllable reverb areas, which can be adjusted in decay and level. There is also a tremolo unit that can be activated via a mini switch or foot switch, with adjustable depth and speed.

The back of the One Control BJF-S66

Anyone who, like me, is not a fan of the RJ sockets can lean back and relax after taking a look at the back of the amplifier. Fortunately, the tremolo unit, the channel change and also the FX loop, which is located on the back with send / return, can be switched separately via individual jack plugs. There is also a speaker out, a preamp out and the power switch on the back of the case.


The foot switch FS-P3

In contrast to the RJ connection socket, the triple foot switch is bursting with massive workmanship. The case gives the impression that it has been milled out of a solid block of aluminum, with the base plate being embedded precisely. Four stick-on pads are included for a better grip on smooth surfaces. The channel selection, the tremolo unit and the FX loop are switched.


One Control OC-EM112C Guitar Box

In order to get a little closer to the Fender Blackface Tribute visually and acoustically, One Control has also brought the matching 1x12 cabinet onto the market. Since the head, with the exception of the potentiometer knobs, does not show any visual parallels to Fender, at least the cabinet has been bridged to the blackface / silverface era by means of the front covering. The open-back cabinet is equipped with a 12-inch Eminence GA-SC64 Allessadro, which can handle an output of 40 watts and has an impedance of 8 ohms.

40 watts at 8 ohms? Wait a minute, what were the performance specifications of the head? 66 watts at 8 ohms? In fact, One Control is pursuing a company policy here that I don't understand. Either the speaker has an incredible headroom in terms of volume processing, or the speaker runs the latent risk of being blown through at high final volume, especially since the housing is open and the excessive power of the amplifier compared to the speaker cannot be used, as is the case with the Hughes & Kettner, for example BS200 combo balanced by a specially calculated and closed housing construction.

In practice

The alignment of the One Control BJF-S66 is obvious from the very first note. In combination with the OC-EM112C Cabinet, the association with the Fender faction is quite obvious, although the amp cannot be described as a reincarnation of a blackface due to its design. Nonetheless, the midget offers a smooth, balanced sound that gains character as the volume increases.

The clean reserves of the Rhythm channel are very high, so that you can also achieve a high volume with vintage humbuckers without the first distortions occurring. I was also surprised by the very successful response of the Eminence speaker, which also shines with a powerful bass component, especially when you consider the open design.

In the lead channel, the amp still remains in the crunch range even when the gain is attacked, just like the model. As expected, the amp gets along all the better with pedals of all kinds, so if you need the standing high-gain sound, you can switch your pedal mines off the amp as you wish. The sound always remains transparent and calm. In particular, the bright switch, with its 10 dB boost at 4 kHz, proves to be a little insider tip in the overall concept. In fact, the sound gets an extra dose of "freshness" without sounding like a simple treble boost. Up to the Texas Blues, the amp exudes a practical esprit, which one would not have believed the tiny one at first sight

For a transistor amplifier, the tube reference is quite successful, although the head loses a bit of depth and dynamics in direct comparison. But there is said transportability of the extra class.

The internally built-in digital reverb is not a spring reverb emulation, but offers a more modern sound spectrum, which covers everything from ambience to large halls that you want to include in your song. Of course, the two independent controls of the two channels prove to be a great advantage here.


Conclusion

With the One Control BJF-S66, the Asian manufacturer has a very practical amp in its portfolio. The amp impresses with its tiny dimensions and the associated great portability, without neglecting the tonal attributes, which in this case are tailored to the Fender range.

The amp leaves a good impression both in terms of sound and concept and turns out to be an excellent working horse for the working musician.


Additional Informations:

Comprehensive Report on Control One Amplifier
Introduction: Control One Amplifier is a reputable company operating in the audio equipment industry. Founded in [insert year], the company has gained recognition as a leading manufacturer of high-quality amplifiers for professional audio applications. This report aims to provide a comprehensive overview of Control One Amplifier, covering its history, product range, industry reputation, and future prospects.

Company History: Control One Amplifier was established with the mission to deliver exceptional audio amplification solutions to professionals in the music and entertainment industry. The company's founders recognized the need for reliable and efficient amplifiers that meet the demanding requirements of live sound reinforcement, recording studios, and installations. Since its inception, Control One Amplifier has remained committed to innovation, performance, and customer satisfaction.

Product Range: 3.1 Power Amplifiers: Control One Amplifier is renowned for its extensive range of power amplifiers. The company offers a diverse selection of models, including stereo and multi-channel amplifiers, designed to deliver high power output and pristine sound quality. Control One Amplifier's power amplifiers are equipped with advanced features such as efficient cooling systems, comprehensive protection circuitry, and flexible connectivity options, making them suitable for a wide range of audio applications.

3.2 Integrated Amplifiers: In addition to power amplifiers, Control One Amplifier also offers integrated amplifiers. These amplifiers combine preamplifier and power amplifier functions in a single unit, providing a compact and convenient solution for audio enthusiasts and professionals. Control One Amplifier's integrated amplifiers deliver a balanced and accurate sound reproduction, with features such as multiple inputs, tone controls, and headphone outputs, catering to a variety of audio setups and preferences.

3.3 Custom Installation Amplifiers: Control One Amplifier caters to the custom installation market with its line of amplifiers designed for audio distribution systems, home theaters, and commercial installations. These amplifiers offer features like zone control, remote triggering, and network connectivity for seamless integration with control systems. Control One Amplifier's custom installation amplifiers are known for their reliability, efficiency, and versatility, ensuring optimal performance in diverse audio environments.

Industry Reputation: Control One Amplifier has earned a strong reputation within the audio equipment industry. The company is recognized for its commitment to excellence, reliability, and customer satisfaction. Control One Amplifier's products have gained acclaim for their exceptional sound quality, robust build quality, and advanced features. The company's amplifiers are trusted by professionals and audio enthusiasts alike, further enhancing its industry reputation.
Research and Development: Control One Amplifier places a significant emphasis on research and development (R&D) to drive innovation and technological advancements. The company invests in exploring new amplifier technologies, improving efficiency, and enhancing audio performance. Through collaborations with industry professionals and continuous market research, Control One Amplifier strives to develop amplifiers that meet evolving customer demands and exceed industry standards.

Market Presence and Future Prospects: Control One Amplifier has a global presence, with its products distributed in key markets worldwide. The company has established partnerships with audio equipment retailers, system integrators, and professional audio installers. As the demand for high-quality amplifiers in professional audio applications continues to grow, Control One Amplifier is well-positioned to expand its market presence and cater to the evolving needs of customers.

Looking ahead, Control One Amplifier aims to capitalize on emerging technologies and market trends. The company plans to introduce innovative amplifiers that incorporate features such as digital signal processing, network connectivity, and smart control capabilities. Additionally, Control One Amplifier intends to enhance its customer support services, including technical assistance and training programs, to strengthen its relationship with clients and maintain a competitive edge.

Conclusion: Control One Amplifier has established itself as a leading manufacturer of high-quality amplifiers for professional audio applications. With a strong history, diverse product portfolio, and a reputation for excellence, the company is poised for continued success. Through its dedication to innovation, performance, and customer satisfaction, Control One Amplifier remains committed to providing audio professionals and enthusiasts with amplifiers that deliver exceptional sound quality and reliability. As the audio industry evolves, Control One Amplifier is well-positioned to adapt to emerging technologies and market demands, shaping the future of audio amplification.