Now that's what I call transportability! Who would have thought a few years ago that you could transport your guitar amp in a lunch bag. At least not me, especially if we assume power beyond the 0.5 watt limit. Peavey, on the other hand, has managed to squeeze up to 20 watts out of a pipsqueak with the Peavey 6505 Piranha, which, as the name suggests, has to follow in the biggest footsteps Peavey has ever left in the guitar sector.
It is almost 25 years ago that Peavey succeeded in a marketing-technical major offensive to get showcase tapper Eddie van Halen in the endorser boat, from whose cooperation the then 5150 Head was born. However, after EVH decided to market its naming rights under its own brand, the corresponding licenses to the 5150 trademark also expired, whereupon Peavey decided to continue marketing the elaborated model under the name 6505.
As before, the 6505+ enjoys an excellent reputation, especially in metal circles, which can be seen, among other things, in the fact that, in addition to the inevitable JCM series from Marshall for the British sound, the 6505+ is listed ahead of Mesa Boogie as the standard for the American sound by almost all backliners at many metal festivals around the world.
And now the same approach in only 82 x 178 x 132 mm, a weight of 1.13 kilograms and a price of under 200, - €? Now we all smile once extensively and devote ourselves to the facts, but which, it should be mentioned in advance, speak a very impressive language.
Construction
It should be clear to everyone that we are not talking about an all-tube head in the tradition of the firstborn with the dimensions mentioned above. A serious output transformer alone would put undue strain on the cabinet dimensions, not to mention the expected heat buildup of the power tubes. Therefore, as expected, a solid state power amplifier is used, which inevitably loses volume with increasing ohmic value of the cabinet due to its construction. Thus, the Peavey 6505 Piranha generates a power of 20 watts at 4 ohms, 15 watts at 8 ohms and only about 10 watts at a vintage cabinet of 16 ohms.
But if you think this volume isn't enough to compete with the friendly double bass drummer of your choice, you should do a field test with this Chinese-made midget on the spot. The little noise maker really makes a lot of noise at 4 ohms, and thanks to inear monitoring, volumes beyond this mark can only be found on large stages anyway. But if you now think you can hawk your stage amps on eBay without a care and already see the golden age of touring with the German railroad dawning, you should first consider the construction of the little predator.
Just three knobs on the front of the top give a very quick indication that this is not a multi-channel amp. Rather, Peavey has focused specifically on its target audience and this is now once in the hard rock and metal. First, you can choose in the preset of the sound by means of a mini-switch between Crunch and Lead, friends of the Clean channel will pull here crying from then. Although the Peavey 6505 Piranha reacts surprisingly "adult" to the volume control of the guitar and puts a very convincing dynamics in terms of distortion control on the day, but a "real" clean sound does not want and can not really arise. But why does the metal player need a clean sound? Exactly, for the plucked intro to the power ballad which is bludgeoned with five chords from the first chorus anyway. Therefore ...
Front
In addition to the gain control for the distortion level and the volume control for the final volume, Peavey spares the usual three-band tone control and replaces it with an EQ control, which when turned to the left, the notch sound (lowering mids, boosting bass and treble) often used in metal, and when turned to the right, fades smoothly to the mid-emphasized rock sound (full). Apart from that, the front also offers an AUX-IN for connecting an MP3 player or similar and a headphone output, which is fortunately available in 6.35 mm and not in the piddly mini jack version. Unfortunately, the headphone output doesn't have a speaker emulation, so you shouldn't be put off by the scratchy sound.
Rear
The back of the case is just as tidy. In addition to a simple push button for On/Off, the Peavey 6505 Piranha has a speaker out and a serial loop-in path, where you can place a volume pedal in addition to the most important modulation and room effects, for example, to raise the volume slightly in a solo without changing the sound of the amplifier. If the maximum volume of the head is not enough, you can also control an external power amp via send.
Finally, there is a socket for the included power supply. It is recommended not to install this power supply, because the required values with 30 volts at 1.0 ampere cannot be delivered by an average power supply. Even if the high voltages of an all-tube amp are not required to get the internally installed 12AX7/ECC83 tube to work, more than 9 volts at 100 mA is needed.
Practice
The transport of the tiny amp to small or medium applications is easily accomplished, as Peavey includes a simple transport bag for its protégé, in which the power supply also finds its place. Once connected, one finds his personal sound very quickly. As expected, nothing really works in the clean range. Vintage single coils with 7 KOhm or less can possibly get something clean-like from the head with moderate playing and half-open poti, but at the latest with a regular humbucker the first distortions flit over the crunch position.
Even for warm blues use there are more suitable playmates, the basic sound leans on the edgy and slightly scratchy basic sound of the 6505+ and leaves the flattering, soft mids rather in the background. However, if you want the forefather in pocket size, you are very well served by the Peavey 6505 Piranha. Despite the only rudimentary switching options, the amp reacts comparatively dynamically and adapts to the playing style of its master. The sound is very compact and yet not overly compressed, so that not every subtlety drowns in high-gain mud.
Nothing to complain about? Well, 2 points could / should / could have been changed. First, the amp is relatively strong noise, even at comparatively low distortion levels. Logically, the metaller is used to play with a noisy amp, but usually the noise decreases when you turn down the volume control. This is not the case here, because it is not the combination guitar-distortion-amp that is noisy, but the amp itself. In principle, not a real problem, you just have to be aware of it in advance.
To the would still be the on / off delay for the speaker. It doesn't exactly wham the diaphragm around your ears, but the impulse during the activation / deactivation of the amp does give a decent hit to the speakers.
Conclusion
With the Peavey 6505 Piranha, the American manufacturer brings the very, very small and quite inexpensive brother of the legendary 6505+ on the market. With minimal dimensions, Peavey manages to adapt the basic character of the big brother and generate a very portable solution for the hard rock / heavy friend.
Whoever manages to get a suitable box on site, can now only armed with a proper gig bag on the way to the next heavy show. It really doesn't get any more comfortable than this.
Additional Informations:
Peavey Electronics Corporation - A Comprehensive Company Overview
Introduction: Peavey Electronics Corporation, commonly known as Peavey, is an iconic American manufacturer of musical instruments, audio equipment, and professional sound systems. Founded by Hartley Peavey in 1965, the company has grown from humble beginnings in a small Mississippi basement to become a globally recognized brand in the music industry. With an unwavering commitment to innovation, quality, and affordability, Peavey has consistently delivered products that cater to musicians, sound professionals, and audio enthusiasts alike. This comprehensive report delves into the history, products, contributions, and impact of Peavey in the world of music and sound.
Historical Background: Peavey Electronics Corporation was established in 1965 by Hartley Peavey, a young entrepreneur with a passion for electronics and music. The company's foundation was laid in Meridian, Mississippi, where Hartley started repairing and building audio equipment in his parents' basement. He was determined to create products that were not only exceptional in performance but also accessible to musicians of all levels. This vision became the cornerstone of Peavey's success.
2. Product Line: Peavey offers a diverse range of products that cater to various segments of the music and sound industry. Some of their key product categories include:
2.1 Musical Instruments: Peavey manufactures a wide array of musical instruments, including electric guitars, bass guitars, acoustic guitars, and drums. Their instruments are known for their robust build quality, great playability, and affordability, making them popular choices for both beginners and seasoned musicians.
2.2 Audio Equipment: Peavey's audio equipment division produces a vast range of amplifiers, mixers, speakers, and signal processors. Their amplifiers, in particular, have garnered a reputation for their reliability and power, making them a staple in live sound applications and recording studios.
2.3 Professional Sound Systems: Peavey is also a significant player in the professional sound system market, offering solutions for large-scale events, installations, and concert venues. Their line array systems and loudspeakers are renowned for their performance and clarity.
2.4 Specialty Products: Apart from musical instruments and audio equipment, Peavey has diversified its product offerings to include other items such as lighting systems, microphones, and specialty audio gear, further solidifying its presence in the professional audio industry.
3. Technological Innovations: Peavey's commitment to innovation has been a driving force behind its enduring success. Throughout its history, the company has introduced numerous groundbreaking technologies to the market. One notable example is the "TransTube" technology, introduced in the 1980s. This innovation allowed solid-state amplifiers to emulate the warm and rich tones of tube amplifiers, revolutionizing the guitar amp industry and earning Peavey immense praise from musicians worldwide.
4. Contributions to the Music Industry: Peavey's impact on the music industry extends beyond their products. The company has played a vital role in promoting music education and supporting aspiring musicians. They have actively sponsored various music programs, contests, and events, fostering the growth of musical talent across different genres.
5. Global Reach and Market Presence: Over the years, Peavey has expanded its reach and established a global presence. Their products are sold in numerous countries through a network of authorized dealers and distributors. Additionally, Peavey maintains a strong online presence, making their products accessible to customers worldwide.
6. Endorsements and Artist Relations: Peavey's reputation for producing reliable and quality gear has attracted endorsements from many prominent musicians and bands. Over the years, numerous artists, including renowned guitarists, bassists, and vocalists, have chosen Peavey products as an integral part of their sound.
7. Sustainability Initiatives: Peavey has taken steps to promote sustainability and environmental responsibility in their operations. The company has implemented eco-friendly practices in manufacturing, packaging, and waste management, aiming to reduce their carbon footprint and contribute positively to the environment.
Conclusion: Peavey Electronics Corporation has undoubtedly left an indelible mark on the music and sound industry. From its humble beginnings in a basement to becoming a global leader, Peavey's commitment to innovation, quality, and affordability has resonated with musicians, sound professionals, and audio enthusiasts worldwide. Their diverse product line, technological advancements, and contributions to music education have cemented their position as an iconic and influential player in the world of music and sound. With a legacy of success and a dedication to progress, Peavey continues to shape the industry and inspire musicians for generations to come.
Donnerstag, 27. Juli 2023
TEST: Peavey 6505 Piranha
Montag, 24. Juli 2023
TEST: Peavey 6505 MH
"No, he's cute!" Well, the exclamation does not really do justice to a seasoned rocker and could escape from the appearance at most at the sight of a cute puppy, but what Peavey has brought with its Mini Head in the form of the Peavey 6505 MH on the market, inevitably triggers similar reactions in a guitarist.
Peavey, for many decades THE complete supplier of the American music market, had a harder time than expected in the guitar sector at the beginning of the company's history. Almost completely ignored by the European and Asian market, the products around company founder Hartley Peavey scored massively in the strongly traditional American Southern Rock. Bands such as Molly Hatchet or 38 Special carted whole truckloads of Peavey heads, cabinets and combos onto the stage at the time and, with the slightly shimmering, crunchy guitar sound, shaped a trademark of this music genre in the seventies.
With a major marketing offensive in the eighties, they succeeded in getting showcase tapper Eddie van Halen on board as an endorser, whose cooperation resulted in the 5150 Head, which is still very popular today. However, after EVH decided to market all other signature products under his own brand and thus the rights to use trademarks such as 5150 moved on, Peavey decided to continue to market the elaborated model under the name 6505. How successful this model is, especially in metal circles, can be seen, for example, in the fact that, in addition to the inevitable JCM 2000 series from Marshall for the British sound, the 6505 is listed ahead of Mesa Boogie as the standard for the American sound by all backliners at almost all metal festivals in the world.
Aware of the extended usage behavior of many musicians, Peavey has also not closed itself to the lunchbox class among the heads and brings with the 6505 MH the little brother of the fat Oschie on the market, knowing that even the offspring is always measured by the success of the firstborn. We are curious.
Design
"No, is the ..." yes we already had that. Indeed, the Peavey 6505 MH looks like a 6505 washed too hot. Appearance and handling are very much based on the firstborn, which is definitely a positive. With the dimensions (W x H x D): 490 mm x 300 mm x 325 mm, the Chinese-made pipsqueak is, however, only half as wide as its big brother, and it can also boast a weight of just under 8 kilograms, which can almost be described as ridiculous. This means that the amp can even be stored in a normal travel case, which makes it a perfect travel companion for musicians traveling by train or plane.
In terms of workmanship, there are no points of criticism. The black covering material made of Tolex is neatly glued, 8 corners made of steel sheet ensure an orderly distribution of force when hitting the edges, 4 strong rubber feet provide a firm stand. The perforated plate on the front seems to have the same hole diameters as the 6505, which leads to the fact that due to the smaller letters the lettering of Peavey is somewhat difficult and the model designation 6505 MH can no longer be read at all. Aware of this, Peavey has but on the underlying silver front panel the model designation again.
As mentioned above, the overall handling of the Peavey 6505 MH is identical to the 6505, which also affects the design and appearance of the controls. The small head is also an all-tube two-channel (3x 12AX7, 2x EL84, 20 watts), whose clean channel can be converted into a crunch channel via a mini-switch. This setup is very practical, because especially in the heavy range rarely more than 2 sounds are needed from the amp. Either you need a clean sound for a plucked intro (listens to the girl dragged along so much) or the obligatory middle part (the girl also finds nice), or you tear the crunch sound in terms of gain to the limit and play over it the rhythm stuff, whereby the volume control of the guitar still has additional influence on the distortion level down. The rest is played as expected over the lead channel, rhythm and solo, in the hope that the FOH does not forget again to drive the solo in the volume something.
Both channels share a three-band tone control as well as a reverb control, whereby, as with most other amplifiers, coil springs at the bottom of the cabinet are no longer responsible for the reverb. This work has long since been outsourced to a processor, which can smoothly mix in the emulation as needed. 2 separate volume controls manage the final volume of the channels, while the Presence and Resonance controls act on the tone control of the power amp. While in the past only the treble was in focus by means of the Presence control, the 6505 was also one of the first amps to introduce the Resonance control. The same control is supposed to simulate the resonance behavior of a 4x12 cabinet by influencing not only the bass, but also the compression behavior in the low bass range. The result is a much bassier and punchier sound than one would normally expect from an EL84 powered amp.
At the end of the front panel, the power and standby switches are located on the outer right, and two small LEDs above them provide information about their status. Standby = red glow, full throttle = green glow. Like most modern amplifiers, the Peavey 6505 MH is equipped with a power management, in Peavey trademark designation as T.S.I. (Tube Status Indication). If a power tube should go off during operation, which in the past would have inevitably meant the blowing of the microfuse and the temporary end of the show, nowadays said protection circuit ensures that operation is continued in Single Ended mode with simultaneous LED indication of the fault in the form of the color change of the LED. This calms the nerves immensely!
On the rear side, the user has a wide range of possible applications despite the limited space available. On the outer left, one first has the option to choose between 115 V or 220-230 V mains voltage. Very helpful if you actually want to pack the head in your suitcase and use it on the other side of the Atlantic. This is followed by the IEC plug and the main fuse. Following this is the only speaker output, which can choose between an impedance of 8 or 16 ohms. 4 ohms is senseless for the application area of this amp anyway, 2x 8 ohms, respectively 4x 16 ohms would only be possible with a distributor and the 4x12" cabinets, which can deliver 4 ohms, can always be switched to 16 ohms.
A power selector switch follows, which lets the amp run at 20, 5 or 1 watt. After that you can activate a speaker simulation called MSDI, which allows you to run the head without speakers (press SPKR button), a headphone jack and a ground lift for possible hum in the signal path. Then a serial effects loop, 2 footswitch inputs with a total of 4! Switching options (channel, boost, loop, reverb) and a USB port to play directly into the computer. All respect, a really rich offer for the dwarf!
Practice
The great art of the Lunchbox class is known to be flexibility. Preferably enough power to be able to illuminate a larger stage properly acoustically, but on the other hand please also a top sound as a bedroom amp. As a rule, these areas are diametrically opposed, i.e. either your amp blows your hat off on the open air stage, but has a basic volume that drives the fair wife out of the house, or your little Knuffel hums along pleasantly at 0.5 watts with the stereo, but immediately raises the white flag at the first snare beat. Difficult, difficult, if, yes, if an intelligent power management doesn't help the earpiece.
To say it up front, the Peavey 6505 MH is really, really far ahead when it comes to delivering a very full sound even at minimum volume. To the best of my knowledge, I've never come across an amp that still delivers a sound that allows for a dynamic response at the 1 watt setting. Here, on the other hand, you can entertain yourself while doing so and still have the amp respond to your playing style. Conversely, you can play complete hall gigs with the 20 watt setting, assuming you don't need ultra-clean sounds at Motörhead volume. In this case, the two EL84s are due to the design much earlier at the limit than the EL34 / 6L6 front.
In terms of sound, the head must be given a very excellent overall testimony. In addition to very dynamic and pearly clean sounds, it is as expected the entire distortion palette, which masters the Peavey 6505 MH with bravura. Despite the highest gain settings, the sound always remains defined, no mud, no paste, great cinema!
Conclusion
With the Peavey 6505 MH, America's flagship company in the field of instrumentation has brought a very outstanding product to the market. Rarely does a lunchbox amp manage to deliver such a high sound quality, from very, very quiet to really loud, without one or the other practical area falling by the wayside. Without wanting to belittle the quality of the clean sound, one must refer primarily to the crunch and lead range, which to all appearances has benefited more than just incidentally from the long development of its big brother, the 6505.
Who is looking for a very good sounding all-tube rock amp, which also allows the transportability of a culture bag, can not get past the Peavey 6505 MH. A very hot contender for the top spots of the "Product of the Year 2015" in the amplifier sector!
Additional Information:
Peavey Electronics Corporation: Pioneering Amplification and Sound Reinforcement
Introduction:
Peavey Electronics Corporation is an American company renowned for its pioneering contributions to the world of musical amplification and sound reinforcement. Founded by Hartley Peavey in 1965, the company has since become a dominant force in the industry, manufacturing a diverse range of products, including amplifiers, guitars, basses, mixers, speakers, and other audio equipment. This report provides a comprehensive overview of Peavey Amps, its history, innovations, and enduring impact on the music industry.
Founding and Early Years:
Hartley Peavey, an avid musician and entrepreneur, established Peavey Electronics Corporation in 1965 in Meridian, Mississippi. From its humble beginnings, the company's primary focus was on producing high-quality and affordable musical instruments and audio equipment, with a commitment to meeting the needs of musicians of all levels.
Innovations and Technological Advancements:
Peavey Electronics has been at the forefront of audio technology innovation, introducing groundbreaking features and advancements in their amplifiers and audio gear.
The Transtube Technology: One of Peavey's most significant innovations was the development of Transtube technology in the late 1980s. This revolutionary circuitry emulated the organic distortion of tube amplifiers in solid-state amplifiers, offering musicians an affordable alternative with a warm and dynamic sound.
Versatility in Amplification: Peavey Amps cater to a wide range of musical styles and applications. From the classic tube amplifiers like the Peavey 6505 series, favored by heavy metal musicians, to the versatile and powerful modeling amplifiers like the Vypyr series, Peavey offers options to suit various musical preferences.
Powered Mixers and Sound Reinforcement: Peavey is also renowned for its expertise in sound reinforcement equipment, manufacturing powered mixers, PA systems, and speakers. Their audio gear is widely used in live performances, concerts, and installations around the world.
Artist Collaborations and Endorsements:
Over the years, Peavey has collaborated with numerous artists and musicians to develop signature amplifiers and equipment tailored to their specific needs and playing styles. Notable artists associated with Peavey endorsements include Eddie Van Halen, Joe Satriani, and Hartley Peavey himself.
Commitment to Quality and Manufacturing:
Peavey Electronics has maintained a strong commitment to producing high-quality, durable, and reliable equipment. The company's manufacturing facilities in the United States have played a crucial role in ensuring strict quality control and craftsmanship.
International Presence and Impact:
Peavey's reach extends beyond the United States, with a global distribution network making their products accessible to musicians and audio professionals worldwide. The affordability and reliability of Peavey equipment have made it a popular choice for musicians, bands, and audio technicians in various regions.
Involvement in Music Education:
Peavey Electronics has also shown a commitment to music education by offering support to various music programs and initiatives. The company's efforts to promote music education reflect their dedication to nurturing the next generation of musicians and audio professionals.
Conclusion:
Peavey Electronics Corporation's journey from a small Mississippi-based startup to a globally recognized leader in the audio industry is a testament to the company's commitment to innovation, quality, and meeting the needs of musicians. Through their pioneering technological advancements, diverse product range, and contributions to music education, Peavey Amps has significantly shaped the world of amplification and sound reinforcement, leaving an enduring impact on the music industry. As they continue to evolve and adapt to new trends and challenges, Peavey remains a trusted name and a go-to brand for musicians seeking reliable and versatile amplification solutions.
TEST: PRS McCarty Korina
Paul Reed Smith has polarized musicians into two diametrically opposed camps ever since his company was founded. Some appreciate the guitars equipped with high-quality components and first-class workmanship as one of the best products that has ever brought forth the electric guitar construction, others dub the instruments due to their high-price segment and their sometimes sprawling appearance as "dentist guitars" or "living room tables" with a lack of independence.
The McCarty Korina I have for testing is not going to make the aforementioned camps break out in a collective frenzy of joy, but the initial appearance is much more moderate than some of the visually upscale Private Stock models. Although the living room table....;-)
By the way, the McCarty series was named after Theodore "Ted" McCarty, who, although never a musician himself, became president of Gibson Guitars in 1950 and is considered the mentor of Paul Reed Smith. Under his leadership, Gibson was reportedly able to increase its profits fifteenfold due to various groundbreaking inventions, such as the Tune-o-matic Bridge.
Construction:
PRS tried then, as now, to find a middle ground between the two major protagonists Gibson and Fender with its instruments. Also with the McCarty model these two worlds meet again and are partly merged, partly worked off in individual parts.
Let's start with the choice of wood, which clearly carries the Gibson lead. The used body and neck wood Korina, a mahogany subspecies, was strictly protected due to massive overexploitation a few decades ago and was not allowed to be used in instrument making for years. Through appropriate reforestation measures, however, the stock could be saved and is now available again for instrument making.
Korina is an extremely light mahogany species, which also comes into its own in this PRS. You wouldn't think it was mahogany when you take the guitar out of the case (which is many times heavier) that comes with it. For musicians who always wanted to play a Paula but found the weight too "manly", Korina is an adequate substitute.
The body shape, on the other hand, undoubtedly has the famous Strat touch, which is also noticeable in the subtle shaping on the back, the front (violin shaping) and a very practical hollowing out in the lower cutaway for playability in high registers.
The neck, equipped with a rosewood fingerboard, is made in the so-called "fat neck" shaping. One should not be misled here, the neck is quite practically executed, only the "meat content" is somewhat higher than on other necks. For someone like me, who anyway considers half of a baseball bat as a "normal" neck shape, this neck is even rather slim ;-)
The fretboard inlays of the twenty-two frets are done as bird inlays and in abalone, where I think you have to have a bit of abstracting ability. Some of the birds are really easy to spot, the kite from the 3rd fret, the hummingbird in the 7th fret, even the buzzard in the 12th fret is very obvious, but what the "flatsch" in the 21st fret is supposed to represent is beyond me. Maybe one of the readers can help me out.
A really innovative invention by PRS was the 25" scale (63,5 cm). It represents a middle ground between the short (Gibson) scale (62.5 cm) and the long (Fender) scale (64.8 cm) and allows both camps of musicians to get along on a PRS immediately.
In terms of hardware, in addition to six vintage style tuners with plastic wings, the McCarty has a special piece of work, the wraparound bridge. This is a solid piece of metal, in which the string guide together with the different support points regarding the octave purity was milled based on experience. The only adjustments are two large lateral guide screws (height) and two grub screws inserted from behind (string length).
The advantage of such a construction is the mass of the component, which also has virtually no moving parts. As is usually the case with solid bridge construction (see also bass construction), this makes itself felt in very good vibration behavior and long sustain.
The disadvantage of this bridge variant is the lack of flexibility of the support points. Even if about 90% of all string constellations are covered with this tailpiece in terms of optimal adjustability, so you should be aware that corresponding custom sets with non-linear string gauges, or even a 012 or 013 set with wound G-string, in terms of octave purity with this bridge is not to adjust!
As pickups, two in-house humbuckers are used, which were provided with chrome caps and sit in cream-colored frames. A 3-way toggle sandwich takes over the selection of the pickups. The tone control is a push/pull pot and switches the humbuckers to single coil mode when needed.
Practice:
The PRS McCarty Korina is a real sustain monster! You just have to put it this way. Since the entire design is trimmed exclusively for vibration preservation and resonance shaping, this is not surprising, but the fact that the intensity extends across the entire tonal spectrum without any dips amazes even me.
Sound-wise, the PRS offers great cinema in almost every facet. Warm, clean sounds with the necessary humbucker depth are just as possible as pearly, sometimes crisp single-coil sounds. Here it is interesting to hear how the Korina wood used, even in single-coil mode, does not octave the instrument the low-mid board known from other mahogany woods.
I also very much like the practical shaping, especially the cutaway milling cannot be appreciated enough. Compared to the traditional Les Paul "hau-ruck" milling, the sun really rises here.
The playability of the fat-neck is good, the dressing of the medium-strength frets is very clean and always sustain, sustain, sustain.....
Conclusion:
Let's make it short, the PRS McCarty Korina sounds excellent! Especially clean and crunchy sounds suit this high-quality instrument very well. Vibration behavior and workmanship are exemplary, the components used first choice, end, end, basta!
Is there nothing at all "bad" about the guitar, apart from its (albeit justified) selling price? Well, it depends on which camp you belong to (see the beginning of the article).....;-))) Even if dirty rock'n'roll with this guitar is undoubtedly technically and sonically possible at a high level, can you imagine a really scratched PRS with played-off varnish and beer stains on the top……?
Additional Informations:
- Company Profile: Paul Reed Smith Guitars
Introduction:
Paul Reed Smith Guitars, often abbreviated as PRS Guitars, is an American guitar manufacturing company known for producing high-quality, custom-built electric guitars and amplifiers. Founded by luthier Paul Reed Smith in 1985, the company has earned a reputation for its exceptional craftsmanship, innovative designs, and commitment to producing instruments that cater to the needs of professional musicians and guitar enthusiasts worldwide.
Founder and History:
The story of Paul Reed Smith Guitars began in 1985 when Paul Reed Smith, a skilled luthier and musician, decided to turn his passion for building guitars into a business venture. With the vision of creating instruments that combined the best features of vintage and modern guitars, Smith started his workshop in Annapolis, Maryland.
Having studied the work of renowned guitar makers like Ted McCarty (Gibson) and Leo Fender (Fender Musical Instruments Corporation), Smith honed his skills and aimed to create guitars that offered impeccable playability, flawless tone, and striking aesthetics. The dedication to excellence and the constant pursuit of perfection became the hallmark of PRS Guitars.
Innovations and Signature Features:
From the outset, PRS Guitars set out to innovate the guitar industry, and over the years, they have introduced several signature features that set their instruments apart from the competition.
The PRS Custom 24: One of the most iconic models, the PRS Custom 24, debuted in 1985, featuring a double-cutaway design, 24 frets, and a combination of humbucker and single-coil pickups. This model became the cornerstone of PRS Guitars' lineup.
PRS Bird Inlays: Recognizable on their fretboards, the bird inlays are elegantly designed, adding a touch of sophistication to PRS instruments.
PRS Tremolo System: PRS developed its patented floating tremolo bridge, which offered exceptional tuning stability and smooth operation.
PRS Pickups: PRS designed their own pickups, ranging from vintage-inspired to modern high-gain styles, allowing players to achieve a diverse range of tones.
PRS-Designed Hardware: Attention to detail is evident in the custom hardware and components designed by PRS, ensuring both aesthetics and functionality.
Artist Collaborations:
PRS Guitars has collaborated with numerous renowned artists over the years, creating signature models tailored to each musician's unique style and preferences. Some notable collaborations include Carlos Santana, Mark Tremonti, John Mayer, and Dave Navarro, among others. These partnerships not only expanded PRS's presence in the market but also helped refine and improve their guitar designs through artist feedback.
Factory and Production:
The PRS factory is located in Stevensville, Maryland, where the company has invested in state-of-the-art manufacturing facilities. While the brand continues to produce custom-built instruments, they have also introduced several product lines that cater to a broader audience, including the PRS SE (Student Edition) line, manufactured in Korea, and the S2 series, produced in the USA.
Quality Control:
One of PRS Guitars' core principles is an unwavering commitment to quality control. Every instrument is subjected to a rigorous inspection process to ensure that it meets the brand's strict standards for playability, tonal excellence, and overall craftsmanship.
Community Engagement:
Beyond manufacturing exceptional instruments, PRS Guitars actively engages with the guitar-playing community through events, workshops, and support for various music education initiatives. They often participate in major music trade shows and exhibitions, showcasing their latest models and connecting with musicians and enthusiasts worldwide.
Conclusion:
In conclusion, Paul Reed Smith Guitars has carved a prominent place in the guitar industry through their dedication to craftsmanship, innovation, and commitment to meeting the diverse needs of musicians. Their instruments are cherished by both amateurs and professionals alike, making PRS Guitars a leading name in the world of electric guitars. With a rich history of innovation, artist collaborations, and a passion for music, PRS Guitars continues to be a driving force in shaping the future of guitar manufacturing and the art of music.
- The Legacy of Ted McCarty: A Pioneer in the Guitar Industry
Introduction:
Ted McCarty, a visionary and innovator in the guitar industry, played a pivotal role in shaping the landscape of modern electric guitars. Born on November 15, 1909, in Somerset, Kentucky, McCarty's contributions to iconic brands such as Gibson and his relentless pursuit of excellence left an indelible mark on the world of music. This report delves into the life, achievements, and enduring impact of Ted McCarty in revolutionizing guitar design and manufacturing.
Early Life and Career:
Ted McCarty's early life was marked by a love for music and an inherent curiosity about mechanics. Raised in rural Kentucky, he developed a passion for playing the banjo and guitar, which would later fuel his enthusiasm for instrument design. After graduating high school, he attended the University of Cincinnati to study mechanical engineering, laying the foundation for his future accomplishments.
Gibson Era:
In 1948, Ted McCarty joined the Gibson Guitar Corporation as its president, a position he held until 1966. During his tenure at Gibson, he transformed the company into an innovative force within the guitar industry.
The "Golden Era" of Gibson: Under McCarty's leadership, Gibson experienced what is often referred to as the "Golden Era." He oversaw the design and release of some of the most iconic and influential guitar models, including the Les Paul, ES-335, SG, and Flying V.
Humbucking Pickup Invention: Ted McCarty collaborated with engineer Seth Lover to develop the humbucking pickup, which significantly reduced unwanted noise and hum in electric guitars. The humbucker became a standard feature in many Gibson models and remains popular to this day.
Thinline Semi-Hollowbody Design: McCarty's keen eye for innovation led to the creation of the ES-335, a semi-hollowbody guitar that combined the best attributes of solid-body and hollow-body designs. This model became a favorite among many guitarists for its versatility and tonal richness.
Tune-O-Matic Bridge: Another groundbreaking innovation was the introduction of the Tune-O-Matic bridge, a design that allowed for precise intonation adjustments and improved sustain. This bridge design remains widely used in various guitar models.
Legacy Beyond Gibson:
After his departure from Gibson, McCarty's passion for instrument design did not wane. He went on to co-found the Bigsby Guitar Company with Paul Bigsby, producing vibrato systems that further enhanced guitar playability.
Recognition and Awards:
Ted McCarty's achievements and contributions to the guitar industry did not go unnoticed. In 1983, he was rightfully inducted into the Country Music Hall of Fame, recognizing his significant impact on the world of music.
Conclusion:
Ted McCarty's life and work are a testament to the power of innovation and passion in transforming an industry. Through his groundbreaking designs, inventions, and leadership, he forever altered the course of guitar manufacturing, leaving behind a legacy that continues to inspire and shape the way we play and appreciate music. His innovative spirit and commitment to excellence serve as a timeless reminder of the profound impact one individual can have on an entire industry and the world of music.
TEST: PRS Custom 24 RW CB
Has it really been that long? It's demoralizing when a manufacturer's product maintenance rubbed the flight of time in your face. This has just happened when I hold the Custom 24 from PRS in my hands for testing. With this very model, the perhaps unique career of Paul Reed Smith began in 1985, the same guitar was the first of its kind at the music fair in the same year.
The until then always strived for fusion of classic Fender and Gibson features had hit the mark for the first time and was absorbed by the mass of guitarists like water from a dry sponge. Let's see to what extent the current version of the classic stands up to the competition, which has not diminished in the meantime. Unfortunately, the instrument is not offered as a left-handed model, but a very massive case is included.
Construction:
To lose further words about the body shape would be carrying owls to Athens. PRS has actually managed over the decades to peel out next to the big seven from the USA (5x Gibson - LP, SG, Explorer, Flying V, Firebird and 2x Fender - Strat, Tele) as one of the protagonists in terms of solibody body shape. This underpins the unbroken high popularity of the instrument among musicians.
As for the woods, once again the principle adopted by Gibson of the one-piece mahogany body with glued maple top prevails, of course not without the Fender look in terms of double cutaway and shaping. As always in this price range, very beautifully grained maple was taken for the top, which again supports the depth gradation through selective staining. The top is available in flame or quilted maple. The neck can also be equipped with an Indian Rosewood neck or a Pattern Thin neck profile.
The instrument is lacquered with a new lacquer called V12, which, according to the manufacturer, took 12 years to develop and which aims to make use of the best properties of acrylic and nitro lacquers respectively, i.e. the low vibration damping of the nitro lacquer and the increased protective effect of the acrylic lacquer. The neck, made from a single piece of mahogany, joins the body at the 22nd fret and is glued in place. The neck shape comes with a pleasant amount of mass without looking clunky. As expected, the traditionally used Bird Inlays and the Low Mass Locking Tuners are again used on this guitar.
A really innovative invention in my eyes was the 25" scale length (63,5 cm) established by PRS. It represents a middle ground between the short (Gibson) scale (62.5 cm) and the long (Fender) scale (64.8 cm) and allows both camps of musicians to get along immediately on a PRS.
Two in-house 59/09 humbuckers are used as pickups, which sit in cream-colored frames. Both pickups have the same Alnico mixture in their magnets, but are wound differently depending on the point of use on the body. Both pickups are switched via a 5-way switch, which allows the following circuits:
Pos. 1 - Bridge pickup alone
Pos. 2 - Bridge pickup together with single coil of the neck pickup
Pos. 3 - Bridge and Neck Pickup together
Pos. 4 - Neck pickup together with single coil of bridge pickup
Pos. 5 - Neck pickup alone
In addition, the instrument has a master volume and a master tone control. From the Fender league, the now almost equally famous PRS vibrato system is used, which at its time knew how to give the musician a real Strat vibrato feeling, but designed with a much better tuning stability and smoother movement. For the rest, the guitar is perfectly crafted and gives no reason for even any criticism of the craftsmanship.
Practice:
If you take the guitar in your hand, the first thing that strikes you is the very low weight of maybe 3.5 kilograms, despite a real mahogany battle. Older gentlemen or weight-sensitive minds will appreciate this condition. When you touch the neck of the guitar for the first time, it becomes immediately clear why Paule and his instruments were able to hold their own against the giants of the industry before he became one himself.
The guitar is really well balanced in its overall appearance and sound. Even with the forefathers of the electric guitar like Strat or Paula, which I hold in high esteem, there are always areas where you have to struggle, where wood edges get in the way, where the tone has to be fought for or where you have to have hands as big as toilet lids a la Steve Vai. Here, however, there is no area where the sound does not find its way into the speakers as if by itself.
The perfectly shaped body always takes itself back exactly where you want to go, nothing presses, nothing jams. Likewise, the neck, which is fleshy enough, provided with appropriate mass, takes a large part in shaping the tone, but still does not confront smaller hands with the stick fraction. Unlike the original model almost 25 years ago, the current pickups generate a much more acoustic sound, which does not compress the natural vibrations of the wood to death, but allows it to breathe better.
Both neck and bridge pickups leave a very open sonic impression, made for mainstream to powerful crunch. Chord playing remains transparent, crisp at times, and doesn't tend to muddy even with more powerful levels of distortion. The guitar proves a lot of character in all registers and in all distortion ranges, paired with a very independent basic sound.
The conception of the vibrato system is also convincing. Please keep in mind that this is not another edition of a knife-edge dive-bomb monster, but a systematic extension of the vintage Fender system. The action is softly set with the necessary degree of resistance to be able to use the pitch modulations in a targeted manner. Exactly the degree of haptics to allow the personal game the necessary expansion.
All in all, it must be said that this instrument is a very high-quality version of the model. Processing, implementation of the concept and the detail solutions are at the highest level and live up to the reputation of PRS across the board.
Conclusion
The Custom 24 from PRS is and remains one of the flagship models in the now very rich product range of the manufacturer. the model, which was introduced almost a quarter of a century ago, has undergone several improvements in the course of its career and is now in the Champions League in almost every respect.
The changed points such as new varnish, new pickups and the neck profile swept again give the instrument, which was already very good in its original version, a few extra points. That such an instrument with a manufacturing in the USA has of course also its price, the experienced musician will take without grumbling to the knowledge. As long as we are willing to pay gas prices of almost 2 € per liter, the price is always put into perspective. Just do not fill up the car 20 times and the guitar is yours.
Additional Informations:
PRS Guitars - Crafting Excellence in the World of Musical Instruments
Introduction:
PRS Guitars, short for Paul Reed Smith Guitars, is a prestigious American guitar manufacturer renowned for its exquisite craftsmanship, high-quality materials, and innovative designs. Founded in 1985 by Paul Reed Smith, the company has established itself as a major player in the competitive musical instrument industry. With a strong focus on producing high-end electric guitars and amplifiers, PRS has earned a dedicated global following among professional musicians and enthusiasts alike.
1. Company History and Founder:
The journey of PRS Guitars began with its founder, Paul Reed Smith, who developed a passion for music and guitar-making from an early age. Born on February 18, 1956, in Bethesda, Maryland, Smith's fascination with guitars led him to experiment with creating his own instruments during his teenage years.
In 1985, after years of refining his craftsmanship and gathering valuable insights, Paul Reed Smith officially launched his guitar company. Initially operating out of a small workshop in Annapolis, Maryland, PRS Guitars quickly gained recognition for its distinctive designs and impeccable attention to detail.
2. Vision and Philosophy:
At the core of PRS Guitars' philosophy lies a commitment to excellence in every aspect of their instruments. The company strives to create instruments that inspire musicians to reach new heights of creativity and expression. Their vision is to bridge the gap between traditional guitar designs and modern innovation, catering to a wide range of musical genres and player preferences.
PRS Guitars places a strong emphasis on handcraftsmanship, combining traditional techniques with cutting-edge technology to ensure that each guitar is meticulously built to perfection. They believe that every instrument should be a work of art that embodies the passion and dedication of the skilled luthiers who create them.
3. Product Range:
PRS Guitars offers an extensive range of electric guitars, catering to various playing styles and tonal preferences. Their iconic models include the Custom 24, Singlecut, McCarty, and SE series, among others. Each model showcases unique designs, premium materials, and versatile electronics that appeal to a wide spectrum of musicians.
Aside from guitars, PRS also manufactures top-notch amplifiers and guitar accessories, further solidifying its position as a comprehensive brand for discerning musicians.
4. Artist Collaborations:
One of the key factors contributing to the success of PRS Guitars is its collaborations with world-renowned artists. Over the years, numerous legendary musicians and guitarists have endorsed and used PRS instruments on stage and in the studio. Notable endorsers include Carlos Santana, John Mayer, Mark Tremonti, and David Grissom, among many others. These partnerships have not only elevated the brand's visibility but have also led to the development of signature model guitars tailored to suit the specific needs of the artists.
5. Innovations and Technological Advancements:
Innovation is a constant driving force behind PRS Guitars. The company continuously explores new technologies and materials to enhance the performance and playability of their instruments. From the proprietary PRS tremolo system to the versatile electronics configurations, they are committed to pushing the boundaries of guitar design.
Moreover, PRS actively engages in research and development, collaborating with engineers, luthiers, and musicians to ensure that their products remain at the forefront of the ever-evolving music industry.
6. Manufacturing Process:
The production of PRS Guitars involves a combination of modern machinery and skilled handwork. The company's state-of-the-art factory in Stevensville, Maryland, spans over 150,000 square feet and houses dedicated departments for wood preparation, guitar assembly, finishing, quality control, and more.
Skilled artisans work meticulously to shape and assemble each guitar, paying close attention to every detail, from the selection of premium tonewoods to the application of immaculate finishes. The careful craftsmanship ensures that every PRS instrument meets the highest standards of playability, aesthetics, and tone.
7. Social and Environmental Responsibility:
Beyond their dedication to craftsmanship and innovation, PRS Guitars is also committed to social and environmental responsibility. They source their tonewoods from sustainable and responsible suppliers, and the company actively engages in initiatives to minimize waste and reduce their environmental impact.
Furthermore, PRS supports music education programs and charitable organizations that promote access to music for aspiring musicians and underserved communities.
Conclusion:
With over three decades of experience, PRS Guitars has earned its place as an industry leader, revered by musicians worldwide. Their unwavering commitment to craftsmanship, innovation, and artist collaborations has resulted in iconic instruments that continue to inspire generations of musicians. As the company continues to evolve, it will undoubtedly remain at the forefront of the guitar-making industry, contributing to the world of music with its timeless creations.
TEST: PRS McCarty 594 Semi-Hollow
Who would have thought that Paul Reed Smith, who always reminds me latently of Harry Potter actor Daniel Radcliffe, would hit the taste of the time with his PRS Guitars in the mid-eighties and become one of the biggest names in the business. His combination of Strat and Paula trademarks and the introduction of the "medium" scale length of 63.5 cm were sensational innovations of their time and secured the newcomer great interest from artists such as Carlos Santana or Al Di Meola. In the meantime, the manufacturer has also been able to shed its "dentist and lawyer clientele" mentality a bit by introducing some less expensive models, even though the PRS McCarty 594 Semi Hollow we have for testing serves old clichés to the hilt with a retail price of about 4,500 euros.
The construction of the PRS McCarty 594 Semi Hollow
As with almost all PRS guitars, the PRS McCarty 594 Semi Hollow is based on a high proportion of Paula ingredients, such as a mahogany body and neck plus a maple top, which in the model I have is so intensely grained as if a photo wallpaper had been pasted on it. Really impressive, if you are a friend of "living room cabinet look", whereby this comparison is not meant judgmental.
The neck is made in "Pattern Vintage Proifile", which means that the shaping of the neck changes asymmetrically with the frets upwards in the profile. However, this effect is done very subtly, so we don't have a transition from fat "D" to slim "C" or anything like that here. The saddle is made from the bones of a dead animal, while the tuners are Modefied Phase III models with a comparatively short gear ratio. Whether you like the black locking screws on top is something everyone should decide for themselves.
The fingerboard is made of rosewood with the wonderful name "Dalbergia latifolia" and accommodates 22 frets. The fingerboard inlays are once again the Birds motifs, although the association to poultry decreases a bit towards the top and the 21st fret honestly reminds me more of a turtle :-) As pickups, the in-house 58/15 LT are used, which can be switched with a 3-way switch and can also be switched to single coil by means of two push/pull pots, which after all a basic selection of 8 sounds (neck humbucker, bridge humbucker, neck single coil, bridge single coil, neck + bridge humbucker, neck plus bridge single coil, neck humbucker + bridge single coil, neck single coil plus bridge humbucker). Then there is a two-piece bridge construction in tune-o-matic style with a tailpiece where the strings can also be hooked from the top, as known from the early Ibanez guitars of the eighties.
The special feature of the instrument is the combination of the body dimensions of a solid body with the vibration behavior of semi-acoustic instruments, such as the ES series from Gibson. The advantage over a real hollowbody is the much lower tendency to feedback, both in the bass and treble range and, as with this instrument, the handiness of a solidbody, which also comes with a ridiculous weight of well under 3 kg, which can be weighed on a kitchen scale.
However, anyone who now hopes that the PRS McCarty 594 Semi Hollow could approach the volume of a hollowbody or even acoustic guitar in terms of volume, must unfortunately be disappointed. The volume, which the guitar produces unamplified, hardly differs from that of a solid body.
The PRS McCarty 594 Semi Hollow in practice
Actually, it's self-explanatory, but I'll say it anyway just to be on the safe side. This guitar is not a hard or heavy guitar, heavily distorted lead sounds or even high gain suit this instrument about as well as a blues evening with a B. C. Rich. Probably everyone has already thought of that, but it should be mentioned anyway. So let's turn primarily to the main habitat of the PRS McCarty 594 Semi Hollow, that is, anything clean or with a moderate crunch.
First of all, the resonance behavior of the instrument is truly very appealing. The combination of wood and pickups never makes the instrument sound biting or harsh, regardless of the selector switch position. The basic sound of the instrument is round and mellow at all times, just perfect for the sometimes strained blues claim. By the way, can a musician who can put almost 5,000 Euros on the table for an instrument really have the blues? Probably not, but he can still play a good blues depending on his skills.
Let's start with the neck pickup. In humbucker mode, the PRS McCarty 594 Semi Hollow delivers a very nice round and smooth sound, much in the style of its bigger sisters. With this sound alone, the entire jazz spectrum can be covered, although the sound is a tick more clarity and freshness than comparable ES consorts. By no means better or worse, just different. If you go into single coil mode, the sound gets a significant boost attack. A little less warmth than a comparable P-90, but clearly more than a slim representative of the Fender class.
Highlight of the two PU's, however, is the bridge pickup, which benefits the most from the design. Unlike many other representatives in this position, at no time there is a feeling of sharpness or unpleasant bite. Despite its position, the sound remains soft and shines with a high assertiveness without hurting. This pickup in particular benefits from the wood selection in single coil mode. Despite single coil operation, the sound remains round and sensitive and does not leave the route of smoothness like many Strat colleagues. While many single coils in this position like to drift towards the aggression of a rockabilly sound, which can be quite welcome, the 58/15 LT always remains true to its constructional source material and never leaves the track of clarity, coupled with a soft basic sound.
What in individual operation already provided for benevolent nodding of the head, is consistently continued in the combination of the two pickups together with different coil tapping, whereby it seems completely impossible to make out a clear winner here. The different areas of application in which the PRS McCarty 594 Semi Hollow can find its home are too large. Jazz, definitely, blues, also very much, but how about some funk beyond the Nile Rodgers sounds? Both PU's in single coil mode and then the right amp, preferably something like Bassman or Twin / Dual Showman and the party can begin.
Maybe a few words about the sustain of the guitar. Due to the construction of the PRS McCarty 594 Semi Hollow, you can not expect a sustain of a continuous neck. But you don't want to. A Semi Hollow is rather played out of the unique combination of attack, resonance and soft sound, all under the aspect of the
feedback and handling compensation of a hollowbody. But now the surprise, for a Semi Hollow the sustain is indeed impressive. You can really feel the high quality workmanship and the rock solid construction of the instrument.
Also, there are almost no dead spots to be found, which is still something special for an instrument made of wood. As always with almost all guitars, there is a hint of sustain robbing resonance behavior in the area around the 14th and 15th fret on the treble strings, but as I said, we are dealing with wood here and this behavior is completely normal.
Basically, we can say that the instrument sounds as expected from the store price. It sounds very good and it is very expensive, basta. The rest is up to you, but the fact is that the PRS McCarty 594 Semi Hollow is worth this price, regardless of your personal budget. However, whether one is willing to pay this price, I may not judge. Economically seen certainly not, because who looks at the current live fees of a blues or jazz band, knows that one will be able to afford this instrument only under subsidy of a 9 to 5 job.
Conclusion
The PRS McCarty 594 Semi Hollow is a tonally excellent, structurally perfect and visually appealing instrument of the upper league, which can convince especially in the clean and subtly distorted range. The only thing that could keep the ambitious jazz and blues player from buying the instrument is the typical PRS-heavy retail price, which does not fit the typical budget of a jazz player or blues player.
Additional Informations:
PRS Guitars - Crafting Excellence in the World of Musical Instruments
Introduction:
PRS Guitars, short for Paul Reed Smith Guitars, is a prestigious American guitar manufacturer renowned for its exquisite craftsmanship, high-quality materials, and innovative designs. Founded in 1985 by Paul Reed Smith, the company has established itself as a major player in the competitive musical instrument industry. With a strong focus on producing high-end electric guitars and amplifiers, PRS has earned a dedicated global following among professional musicians and enthusiasts alike.
1. Company History and Founder:
The journey of PRS Guitars began with its founder, Paul Reed Smith, who developed a passion for music and guitar-making from an early age. Born on February 18, 1956, in Bethesda, Maryland, Smith's fascination with guitars led him to experiment with creating his own instruments during his teenage years.
In 1985, after years of refining his craftsmanship and gathering valuable insights, Paul Reed Smith officially launched his guitar company. Initially operating out of a small workshop in Annapolis, Maryland, PRS Guitars quickly gained recognition for its distinctive designs and impeccable attention to detail.
2. Vision and Philosophy:
At the core of PRS Guitars' philosophy lies a commitment to excellence in every aspect of their instruments. The company strives to create instruments that inspire musicians to reach new heights of creativity and expression. Their vision is to bridge the gap between traditional guitar designs and modern innovation, catering to a wide range of musical genres and player preferences.
PRS Guitars places a strong emphasis on handcraftsmanship, combining traditional techniques with cutting-edge technology to ensure that each guitar is meticulously built to perfection. They believe that every instrument should be a work of art that embodies the passion and dedication of the skilled luthiers who create them.
3. Product Range:
PRS Guitars offers an extensive range of electric guitars, catering to various playing styles and tonal preferences. Their iconic models include the Custom 24, Singlecut, McCarty, and SE series, among others. Each model showcases unique designs, premium materials, and versatile electronics that appeal to a wide spectrum of musicians.
Aside from guitars, PRS also manufactures top-notch amplifiers and guitar accessories, further solidifying its position as a comprehensive brand for discerning musicians.
4. Artist Collaborations:
One of the key factors contributing to the success of PRS Guitars is its collaborations with world-renowned artists. Over the years, numerous legendary musicians and guitarists have endorsed and used PRS instruments on stage and in the studio. Notable endorsers include Carlos Santana, John Mayer, Mark Tremonti, and David Grissom, among many others. These partnerships have not only elevated the brand's visibility but have also led to the development of signature model guitars tailored to suit the specific needs of the artists.
5. Innovations and Technological Advancements:
Innovation is a constant driving force behind PRS Guitars. The company continuously explores new technologies and materials to enhance the performance and playability of their instruments. From the proprietary PRS tremolo system to the versatile electronics configurations, they are committed to pushing the boundaries of guitar design.
Moreover, PRS actively engages in research and development, collaborating with engineers, luthiers, and musicians to ensure that their products remain at the forefront of the ever-evolving music industry.
6. Manufacturing Process:
The production of PRS Guitars involves a combination of modern machinery and skilled handwork. The company's state-of-the-art factory in Stevensville, Maryland, spans over 150,000 square feet and houses dedicated departments for wood preparation, guitar assembly, finishing, quality control, and more.
Skilled artisans work meticulously to shape and assemble each guitar, paying close attention to every detail, from the selection of premium tonewoods to the application of immaculate finishes. The careful craftsmanship ensures that every PRS instrument meets the highest standards of playability, aesthetics, and tone.
7. Social and Environmental Responsibility:
Beyond their dedication to craftsmanship and innovation, PRS Guitars is also committed to social and environmental responsibility. They source their tonewoods from sustainable and responsible suppliers, and the company actively engages in initiatives to minimize waste and reduce their environmental impact.
Furthermore, PRS supports music education programs and charitable organizations that promote access to music for aspiring musicians and underserved communities.
Conclusion:
With over three decades of experience, PRS Guitars has earned its place as an industry leader, revered by musicians worldwide. Their unwavering commitment to craftsmanship, innovation, and artist collaborations has resulted in iconic instruments that continue to inspire generations of musicians. As the company continues to evolve, it will undoubtedly remain at the forefront of the guitar-making industry, contributing to the world of music with its timeless creations.
TEST: PRS DGT
You have to hand it to Paul Reed Smith. Detached from all the prejudices that are rampant about the company, I know of no other company off the top of my head, which has succeeded so well to develop an independent brand despite a unique collection of trademarks of the two major electric guitar protagonists Gibson and Fender. Either the manufacturers copy the overfathers down to the last detail, or they set out for completely new shores and run the risk of not being noticed by the consumerist mainstream. A truly fitting "In Between" is more than rare.
In addition, PRS maintains a very unique relationship with signature instruments. While the Asian competition in the form of Ibanez or the above-mentioned compatriots only take the really big international names to the chest in terms of "tailoring to the body" and offer the same a custom-made, Paule also often has names that have not yet crossed the Atlantic in terms of reputation, apart from a few insiders.
Who for example is David Grissom? Never heard of him? Well, if you have a soft spot for the second row of sidemen of "big names", you might have heard the name before. John Mellencamp, The Allman Brothers, Dixie Chicks, Buddy Guy, Chris Isaak or even Bob Dylan, among others, relied on his services. Under his aegis, the DGT model was created, which fits seamlessly into the tradition of PRS in terms of design and concept.
Construction
And if it costs me my last breath, I will not tire of fighting the confusion spread by Leo Fender out of ignorance in terms of technical terminology. Now, all together: What does the "T" stand for in DGT? For tremolo! What is a tremolo? A volume modulation! What do we have for a modulation on the bridge construction of the guitar? A pitch modulation! What is this called? Vibrato!!! Properly conceptualized, the model would have to be called DGV. It's a real mystery how many decades this mistake has been kept in the music industry.
At first glance, you can see that the DGT is not a completely new guitar. Rather, one is inclined to call this instrument a PRS McCarty with vibrato system. This is a very accurate statement, as this is the guitar that David Grissom played for many years before Paul Reed Smith offered him a special model.
Grissom's model therefore differs only marginally from the production model, as there are changes in neck thickness (thinner), fret wire (thicker) and pickup selection. Traditionally, the body, respectively the glued-in neck comes in one-piece mahogany, whereby the body was provided with a maple top almost 1 cm thick and more. As almost always, the body was very tastefully milled out in the relevant places and gives the guitar the already legendary curvaceous shape. The guitar was lacquered in the low-sealing but high-vibration variant in the form of nitro-cellulose.
The rosewood fingerboard features 22 jumbo frets, again using the "medium" scale, a sort of "middle ground" between short scale (Gibson) and long scale (Fender) of 635 mm. Small abalone dot inlays serve as fingerboard markers. The instrument is offered in Black, Tobacco Sunburst, Cherry Sunburst and Gold colors. As pickups, two special variants were developed for David Grissom, which are managed by a three-way switch, two volume knobs and a tone knob. The tone control is designed as a push/pull variant and turns off one coil of each pickup when needed.
All the hardware of the instrument is nickel-plated. Locking tuners with a 14:1 ratio are used as tuners, with plastic wings at the ends. The already mentioned vibrato system is the standard PRS variant. The lever is only plugged in and fixed by an internal plastic sleeve. Despite the lack of saddle clamps, the vintage-style system shows amazing tuning stability, which is partly due to the very good adjustment of the instrument, but also to the design of the system. Heavy dive bombs are not the metier of this instrument, but rather the moderate handling of the free-floating suspended system.
Interestingly, the instrument comes from the factory with "male" 011-049 strings and requires appropriate plucking (just my thing ;-). A real change is indeed the neck shaping of the DGT. While one is used to the "wide and fat" variant with a strong "D" from PRS, the DGT takes a more discreet Fender "C" to the chest, which gives the instrument a completely different feel.
Practice
As expected, the entire guitar is superbly crafted and gives no cause for any form of criticism. The DGT lies well in the hand and, due to its strong design, spreads an air of "firm grip", the esprit of a true craftsman. The thicker fret wire makes stringing much easier and due to the higher string tension of the 011 set, you can also use a little more finger pressure without the intonation blowing up in your face.
I liked the custom pickups very much, which especially in the single coil / humbucker interplay showed a very high sound variety. The overtone behavior is exemplary and fits seamlessly into the already good appearance of the instrument. The vibrato system is smooth, tuning stable and conveys the unobtrusive charm of a mature vintage system due to the discreet design in terms of mass and smoothness.
Conclusion
Once again PRS succeeds in bringing its "Best-Of-Both-Worlds" philosophy to the man, this time maybe even a bit more than it was the case before. With the DGT, the basic model McCarty gets a significant boost of more "Fender" in the program due to the changed neck shaping and the modified pickups, which will make especially stylistically flexible musicians sit up and take notice.
The instrument is excellently crafted, sounds excellent and is characterized by a high practical value with maximum transparency. With the DGT, PRS is moving away a bit from its image of "high-brow dentist guitars" to a very good "working man" variant for the "real" craftsman. Who would like to enjoy a tick'n more esprit, combined with a masculine handling, is right with the DTG.
Additional Informations:
PRS Guitars - Crafting Excellence in the World of Musical Instruments
Introduction: PRS Guitars, short for Paul Reed Smith Guitars, is a prestigious American guitar manufacturer renowned for its exquisite craftsmanship, high-quality materials, and innovative designs. Founded in 1985 by Paul Reed Smith, the company has established itself as a major player in the competitive musical instrument industry. With a strong focus on producing high-end electric guitars and amplifiers, PRS has earned a dedicated global following among professional musicians and enthusiasts alike.
1. Company History and Founder: The journey of PRS Guitars began with its founder, Paul Reed Smith, who developed a passion for music and guitar-making from an early age. Born on February 18, 1956, in Bethesda, Maryland, Smith's fascination with guitars led him to experiment with creating his own instruments during his teenage years.
In 1985, after years of refining his craftsmanship and gathering valuable insights, Paul Reed Smith officially launched his guitar company. Initially operating out of a small workshop in Annapolis, Maryland, PRS Guitars quickly gained recognition for its distinctive designs and impeccable attention to detail.
2. Vision and Philosophy: At the core of PRS Guitars' philosophy lies a commitment to excellence in every aspect of their instruments. The company strives to create instruments that inspire musicians to reach new heights of creativity and expression. Their vision is to bridge the gap between traditional guitar designs and modern innovation, catering to a wide range of musical genres and player preferences.
PRS Guitars places a strong emphasis on handcraftsmanship, combining traditional techniques with cutting-edge technology to ensure that each guitar is meticulously built to perfection. They believe that every instrument should be a work of art that embodies the passion and dedication of the skilled luthiers who create them.
3. Product Range: PRS Guitars offers an extensive range of electric guitars, catering to various playing styles and tonal preferences. Their iconic models include the Custom 24, Singlecut, McCarty, and SE series, among others. Each model showcases unique designs, premium materials, and versatile electronics that appeal to a wide spectrum of musicians.
Aside from guitars, PRS also manufactures top-notch amplifiers and guitar accessories, further solidifying its position as a comprehensive brand for discerning musicians.
4. Artist Collaborations: One of the key factors contributing to the success of PRS Guitars is its collaborations with world-renowned artists. Over the years, numerous legendary musicians and guitarists have endorsed and used PRS instruments on stage and in the studio. Notable endorsers include Carlos Santana, John Mayer, Mark Tremonti, and David Grissom, among many others. These partnerships have not only elevated the brand's visibility but have also led to the development of signature model guitars tailored to suit the specific needs of the artists.
5. Innovations and Technological Advancements: Innovation is a constant driving force behind PRS Guitars. The company continuously explores new technologies and materials to enhance the performance and playability of their instruments. From the proprietary PRS tremolo system to the versatile electronics configurations, they are committed to pushing the boundaries of guitar design.
Moreover, PRS actively engages in research and development, collaborating with engineers, luthiers, and musicians to ensure that their products remain at the forefront of the ever-evolving music industry.
6. Manufacturing Process: The production of PRS Guitars involves a combination of modern machinery and skilled handwork. The company's state-of-the-art factory in Stevensville, Maryland, spans over 150,000 square feet and houses dedicated departments for wood preparation, guitar assembly, finishing, quality control, and more.
Skilled artisans work meticulously to shape and assemble each guitar, paying close attention to every detail, from the selection of premium tonewoods to the application of immaculate finishes. The careful craftsmanship ensures that every PRS instrument meets the highest standards of playability, aesthetics, and tone.
7. Social and Environmental Responsibility: Beyond their dedication to craftsmanship and innovation, PRS Guitars is also committed to social and environmental responsibility. They source their tonewoods from sustainable and responsible suppliers, and the company actively engages in initiatives to minimize waste and reduce their environmental impact.
Furthermore, PRS supports music education programs and charitable organizations that promote access to music for aspiring musicians and underserved communities.
Conclusion: With over three decades of experience, PRS Guitars has earned its place as an industry leader, revered by musicians worldwide. Their unwavering commitment to craftsmanship, innovation, and artist collaborations has resulted in iconic instruments that continue to inspire generations of musicians. As the company continues to evolve, it will undoubtedly remain at the forefront of the guitar-making industry, contributing to the world of music with its timeless creations.
- Paul Reed Smith Private Stock - Where Craftsmanship Meets Exclusivity
Introduction: The Paul Reed Smith Private Stock is a prestigious and exclusive program offered by PRS Guitars, known for producing some of the finest, most luxurious, and limited-edition instruments in the world of guitar craftsmanship. Launched in 1996, Private Stock represents the epitome of PRS's dedication to innovation, artistry, and personalized service. With an unwavering commitment to perfection, the Private Stock division caters to musicians who seek unparalleled craftsmanship and a unique expression of their musical identity.
Origins and Purpose: The genesis of the Private Stock program can be traced back to the vision of Paul Reed Smith, the founder of PRS Guitars. Recognizing the desire of musicians for truly custom, handcrafted instruments, Smith established Private Stock as a way to offer a highly personalized guitar-building experience. The program was created to cater to the discerning tastes of musicians who seek instruments that go beyond standard production models.
2. Uncompromising Craftsmanship: At the heart of the Private Stock division is an unwavering commitment to uncompromising craftsmanship. Each Private Stock guitar is meticulously hand-built by a select group of PRS's most skilled luthiers, often under the direct supervision of Paul Reed Smith himself. These master craftsmen pour their passion, expertise, and artistry into every step of the guitar-making process, ensuring that each instrument is a masterpiece in its own right.
From the selection of premium tonewoods to the precision inlay work and flawless finishing, every detail of a Private Stock guitar is executed with the utmost precision and care. As a result, these instruments boast not only extraordinary playability but also breathtaking aesthetics that are a testament to the skill and dedication of the artisans.
3. Limited Editions and Exclusivity: Private Stock guitars are produced in extremely limited quantities, making them highly sought-after collector's items. Each year, PRS releases a select number of instruments, often featuring unique tonewoods, finishes, and innovative designs not found in their regular production models.
Moreover, Private Stock owners have the opportunity to collaborate with PRS's master luthiers to bring their creative visions to life. From custom body shapes to personalized inlays and unique electronics configurations, customers can create a guitar that reflects their musical identity and stands apart from any other instrument in the world.
4. Exquisite Tonewoods and Materials: One of the defining features of Private Stock guitars is the use of exquisite tonewoods and materials. PRS sources a diverse range of rare and highly sought-after woods from all corners of the world. From figured maple, Brazilian rosewood, and African blackwood to artist-grade quilted or flamed maple, each guitar boasts a distinct and visually stunning appearance.
The selection of tonewoods is not only based on aesthetics but also on their tonal properties, ensuring that every Private Stock instrument delivers a rich, resonant sound that captivates both players and listeners alike.
5. Artistic Inlays and Finishes: PRS's Private Stock division is known for its intricate inlay work and stunning finishes. Master inlay artists craft meticulous designs using mother-of-pearl, abalone, and other exotic materials, turning the fingerboard and headstock into breathtaking works of art. These inlays can be customized to reflect personal symbols, names, or themes, further adding to the exclusivity of each guitar.
Additionally, the finishing process is done with great care, enhancing the natural beauty of the tonewoods while protecting them for generations to come. The result is a visually striking instrument that leaves a lasting impression.
6. High-End Electronics and Hardware: In keeping with PRS's commitment to excellence, Private Stock guitars are equipped with top-of-the-line electronics and hardware. From proprietary pickups wound to exacting specifications to precision-machined bridges and tuning machines, each component is chosen for its contribution to the guitar's tone, stability, and playability.
7. A Testament to Excellence: In conclusion, the Paul Reed Smith Private Stock program is a testament to the pursuit of excellence in guitar craftsmanship. The division's commitment to personalized service, limited editions, and extraordinary artistry ensures that each Private Stock guitar is a rare and exceptional instrument that surpasses expectations. For musicians seeking a guitar that embodies their individuality and passion for music, a PRS Private Stock guitar stands as an ultimate expression of musical artistry and exclusivity.
Sonntag, 16. Juli 2023
TEST: Palmer Pocket Amp MK II
I admit, I've always been a big fan of the Swiss Army Knives, those folding wonders, which to this day can only be made by 2 manufacturers in Switzerland and, as far as I know, have not yet been outsourced to China for production. The installation of several useful tools in the smallest of spaces has always fascinated me and will probably remain so for the rest of my life. Why do I have to think of this preference in the following test of the Palmer Pocket Amp MK 2? The following test will prove it.
construction
Old-school Palmer fans will rub their eyes a little when they first come into contact with the pedal. A designation such as "Pocket Amp MK 2" seems quite conservative, almost conservative, compared to the sonorous product selection of the company based in Neu-Anspach near Frankfurt in the style of "Mutterstolz", "Frohlocker" or "Herrenchor". However, one should keep in mind that the creative neologisms are individual pedals, while the pocket amp, as already mentioned at the beginning, takes on the function of a multi-tool, which no single description, no matter how funny, would do justice.
In terms of workmanship, Palmer once again leaves nothing to be desired. Even if the product, which used to be manufactured in Germany, is now assembled in China, the high quality standards have not changed. The Palmer Pocket Amp MK 2 appears in a solid metal housing, a continuous rubber plate on the underside of the housing, which protects against slipping on smooth surfaces and a consistently clean finish. The tough road operation is secured!
Let's take a typical situation description of the touring musician, songwriter or simply the "working musician". Busy musicians are characterized, among other things, by a lively activity in matters of travel and transport. Of course, the league Steve Vai and colleagues have a sizable staff of entourage who not only maintain, manage and transport every tool of the artist's trade, but also ensure that the tool you need is at hand exactly when you need it. Such a way of working is pleasant, easy on the nerves and costs a lot of money! The economically thinking artist, on the other hand, is always happy about tools that offer the greatest possible gain in sound and flexibility with minimal dimensions and as few compromises in sound as possible.
The Palmer Pocket Amp MK 2 was designed for exactly this area, which is a rich tool for electric guitarists with a complex mixture of different circuits. Let's take a look at the individual functions in detail.
1.) Overdrive and distortion pedal: With the controls gain, volume, bass and treble in combination with a bypass footswitch, the Palmer Pocket Amp MK 2 works as a classic overdrive and distortion pedal on the musician's pedalboard. Depending on the choice of amp and mode (more on this later), the pedal has a large selection of distorted sounds as a pre-connected effect to start the respective amp accordingly. Power is supplied via a 9V battery, which is accessible via a flap on the underside of the housing, or via a DC socket on the back of the housing. The input and output sockets are designed as jacks.
2.) Direct Recording Amp: The Palmer company has a long tradition of speaker simulations, so it is not surprising that the Palmer Pocket Amp MK 2 also has one. In order to facilitate direct feeding into a corresponding console, the signal is routed via XLR on the back of the housing. Three amp simulations Vintage (Tweed era), British (Marshall Style), US (Mesa Boogie), three modes (Clean-Cruch-Heavy) and three microphone angles Classic (edge of the dome), Center (dome in the middle) and OFF X (edge of the membrane) allow a wide range of sounds, for example to play directly into the computer for demo recordings or songwriting.
3.) Live Amp: The functions described under 2.) can of course be used for a live situation in which the sound is delivered to the artist via the monitor system or personal in-ear monitoring.
4.) Practice amplifier: The Palmer Pocket Amp MK 2 has a mini-jack headphone output for silent practice and a mini-jack AUX In to feed in a metronome, drum machine or MP3 player. In combination with the sounds described above, you can put together your personal exercise program.
5.) Reamping: A tool that is now popular for guitar recording is reamping, which does not record the finished microphoned guitar sound, but only the clean guitar signal. The signal is then fed out of the computer again, so that it can then be picked up again by the appropriate amp. In this process, it is extremely important at what level the signal is present at the amplifier. The signal can be optimally processed via the volume control of the Palmer Pocket Amp MK 2 and, if necessary, enriched accordingly via gain and the two-band tone control.
6.) DI Box: Thanks to the XLR output, you can also use the Palmer Pocket Amp MK 2 as a D.I. Use the box between the instrument and the amplifier. Even if this area of application is rarely used in the guitar sector, your bass player will be happy. Especially in the live area, a bass pickup via a D.I. Box actually standard, so that you can get a symmetrical signal here without much effort.
Practice
To say it straight away, the concept of the Palmer Pocket Amp MK 2 lies in the combination of many elements in a single housing. So if, for example, you now expect the same speaker simulation as in a specialist with three times the price, you are doing the product more than wrong.
Let's just start with the pedal function. One of the things that stands out here is the very low background noise level. No matter how far you drive the gain controller towards the stop, you only hear a very small amount of noise in the background. The different combinations of the sliders allow a corresponding number of basic sounds to be called up, which play out their different strengths depending on the amplifier used.
I particularly like the Palmer Pocket Amp MK 2 on a comparatively random-sounding practice amp, which has 27 different sounds with the help of the pedal, which can then be varied again using the gain controller and the two-band tone control. That makes practicing fun again. Variety of sounds without having to heave the half stack out of the basement, a pleasure.
As soon as you connect the product to the mixing console via XLR, you can see that Palmer has the relevant experience in speaker simulation. As expected, the openness of the sound decreases somewhat compared to the live pedal function, but it is still far ahead of the products of various competitors. The designations of the different amp modes are really okay for a pocket amp, you should only rely more on your own ears when it comes to the microphone positions.
The center setting, which is mostly unusable in "real" microphone practice, sounds unexpectedly good with the Palmer Pocket Amp MK 2 without the unspeakable scratching, while the Classic position, which is mostly used live, is somewhat thinned out with the Palmer Pocket Amp MK 2 and lacks the typical mid-range component . The same can be balanced with a good EQ on the mixer.
Conclusion
The Palmer Pocket Amp MK 2 is a real asset when it comes to great variety in a minimum of space. The very well processed pedal offers a large selection of good sounds, which do an excellent job in the different live, studio and practice situations.
Whether you want a very good practice amp on tour, want to quickly play a few ideas into the computer, or the personal 5-watt practice noise needs a sound upgrade, the Palmer Pocket Amp MK 2 can do it. And the pedal always sounds better than the amp simulations that Logic, for example, expects in its factory settings.
We recommend!
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.