TEST: Ant Uno G8

 I don't really want to use clichés, but Italy and instruments, or electronic instruments? World fame beyond the legendary Amati / Stradivari families? This occurs to me spontaneously. actually just the company Markbass, which has become a respectable player in bass amplifiers in the fusion and jazz sectors.

Well, then it's high time, the company Advanced Native Technologies (ANT) must have said to itself and, in the name of the ant, has brought the Ant Uno G8 onto the market either as a handheld or as a belt pack with production in China. With a retail price of 225 euros, the product hits an already busy market. Let's see whether the concept or possible detailed solutions make the competition sit up and take notice.

First impression

Unfortunately, the Ant Uno G8 is only delivered in cardboard packaging with cut-out foam inserts. A plastic case, which has now become standard, is not included. Experience has shown that the packaging supplied will break down into its individual parts after approx. 2-3 shows, so a transport case should be taken into account when purchasing.

In addition to a receiver half the width of the rack and a dynamic hand-held transmitter, the scope of delivery includes two rack wings, two comparatively stiff, medium-length antennas to be mounted on the back, a multi-voltage power supply (12V - 500 mA), 2 batteries for the hand-held transmitter, and a very simple manual English / Italian, and a simple, unbalanced jack cable. There is no more. Oh yes, 2 plastic caps to close the holes already placed in the rack angle for front-mounted antennas, which brings us to the first point of criticism.

It's clear to me that in the €200 class you have to fight for every euro, but it's not possible to deliver rear-mounted antennas without a BNC antenna converter for front operation. These are penny items to manufacture and anyone who has ever experienced the reduced operation of a receiver installed in a rack with internal antennas knows the problem. Of course, you can purchase corresponding antenna converter cables for less than €30, but in my opinion something like this is included with every radio link that is delivered and is intended to run in rack mode.

The workmanship makes a good impression, clean corners and transitions as well as flawless paintwork. Both the handheld transmitter and the receiver part are housed in a robust metal housing, which suggests a long service life. The antennas are anchored to the housing with bayonet fasteners, which enables quick assembly and disassembly.

Connections and handling of the receiver

When it comes to outputs, the Ant Uno G8 uses the minimum equipment that is usual in this price range, i.e. balanced XLR and unbalanced jack. Simple, but absolutely sufficient for practical use. An additional XLR cable or something similar instead of the simple unbalanced jack cable would be nice, but oh well, see above.

The display of the Ant Uno G8 receiver turns out to be very clear in terms of size and display. In addition to the frequency used, it also provides information about the AF and RF level, the squelch setting, the output level, the antenna reception and, after activating the menu navigation, also about the channel and the group. There is also an ASC infrared receiver on the front panel to pair the handheld transmitter with the receiver.

the handheld transmitter

In terms of color, the handheld transmitter of the Ant Uno G8 comes in a combination of matt black and matt anthracite. One has the impression that almost all manufacturers in this price range have their microphone housings manufactured in the same factory, the structures of the handheld transmitters are so similar. The dynamic capsule, the unscrewable shaft with 2 AA batteries, the color-variable end capsule, all very similar in appearance and feel. According to the manufacturer, the Ant Uno G8 handheld transmitter runs for up to 10 hours on a pair of batteries. The transmission power of the handheld transmitter is 10 mW and is not variable.

And yet there are small differences that can have a big impact. On the one hand, there is the annoying issue of the mute switch. Many of the Ant Uno G8's competitors fail here with a bang because of the exposed position of the switch and the associated unintentional muting during operation. The Ant Uno G8 handheld transmitter stands out pleasantly here. Not only can the transmitter only be muted by explicitly pressing the switch, ideally with your fingernail over a clearly palpable pressure point, a narrow, two-color LED band (green > go, orange > muted) also informs the user about the switch Status of the handheld transmitter. Very nice, very practical!

A small display also provides information about the channel, group and the charge status of the batteries. If you unscrew the shaft of the handheld transmitter, you also gain access to the product's gain control. Here you can increase the transmission power by turning it clockwise and reduce it in the opposite direction. If there are RF disturbances in the signal, the integrated noise gate (squelch) can be activated, with a three-stage setting. The higher the value, the stronger the protection against extraneous noise. However, it should be noted that a squelch value that is too high can also have a negative impact on the audio signal. If the faults cannot be eliminated with the measures described, a channel change is advisable.

When it comes to background noise, you can look at the sensitivity of the handheld transmitter housing from two sides. Due to the solid metal construction, the housing dampens “drumming noises” from the fingertips or other areas of the skin quite well, a big plus point. Unfortunately, due to the high density of the material, the same construct also shows a very high sensitivity to knocking against rings on the fingers, which are reproduced with very loud clicking noises. Unfortunately you can't have everything...


the annoying hustle and bustle of frequencies

When it comes to carrier frequency, the Ant Uno G8 takes a middle path between the 2.4 GHz network, which is permitted everywhere but is contaminated with cell phone frequencies, and the MHz ranges that require a license. With the 1785 - 1805 MHz frequency band you can broadcast unhindered in most Western European countries, although most of the Eastern European area does not provide any information. Only Portugal, England, Croatia and Belgium require licensing, while Norway specifies a maximum transmission power of 20 mW and thus enables the operation of the Ant Uno G8. In addition to Russia and Slovakia, Ireland and Italy, which generally allow a very limited selection of frequencies, are once again turning out to be spoilsports.

Handling and sound

Let's start with the transmission power. The fixed transmission power of 10 mW shows very quickly where things are going. The priority is clearly on long operating times with a clear view of the stage. If you are on a stage that can take on Wacken dimensions, but you have a direct view of your receiver without any obstacles, there should normally be no dropouts in the signal routing. In my personal “garden test”, the transmission power was just under 40-50 meters, which should be sufficient for any standard stage.

However, in indoor areas or with complex stage setups, a safety check must be carried out in advance. At my house it was time for work after the 2nd KS wall, especially since the product, like all transmitters, reacts very sensitively to acute angles due to the risk of reflection. If there is appropriate reinforcement, such as in ceilings or floors, this will likely reduce the transmission power somewhat. Conclusion: try it before the show.

In terms of sound, the Ant Uno G8 leaves a good impression. The dynamic capsule with a cardioid pattern delivers comparatively soft highs and a tight bass, while it tends to slightly “noble” in the midrange. With an intelligently set parametric filter, this point should be able to be managed, especially since the capsule itself sounds very pleasing for this price range.

Conclusion

With the Ant Uno G8, the Italian company is making a good impression in the highly competitive 200 euro class. The workmanship and detailed solutions are very neat, the look is appealing, and the sound is better than the price would suggest. Anyone who is willing to lend an ear to a provider of a lesser-known trademark should give the southern European provider a chance. It might be worth it!

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Additional Informations:

### Hypothetical Overview of ANT Audio

#### Introduction
ANT Audio, if it exists as a company in the audio equipment industry, would likely be involved in the design, manufacturing, and distribution of audio products such as speakers, headphones, microphones, or audio interfaces. The company might aim to cater to a specific segment of the market, such as professional studio equipment, home audio systems, or portable audio devices.

#### History and Development
- **Founding and Origins:** ANT Audio might have been founded by audio enthusiasts or professionals with a passion for sound quality and innovation. The company's inception could have been driven by a desire to fill a gap in the market or to improve upon existing audio technologies.
- **Growth and Expansion:** Over time, ANT Audio could have expanded its product line and market reach, possibly gaining a modest following among audiophiles or professional sound engineers.

#### Product Line and Innovations
- **Speakers and Sound Systems:** ANT Audio might offer a range of speakers, from compact, portable models to high-fidelity home audio systems.
- **Headphones and Earphones:** The company could also produce headphones, focusing on sound quality, durability, and comfort.
- **Professional Audio Equipment:** If catering to the professional market, ANT Audio might manufacture studio microphones, mixers, and audio interfaces, emphasizing precision and clarity.
- **Innovative Features:** ANT Audio's products might incorporate unique features such as advanced noise-cancellation technology, wireless connectivity, or environmentally friendly materials.

#### Manufacturing and Quality Control
- **Production Standards:** The company would likely adhere to high production standards, ensuring that each product meets strict quality control criteria.
- **Sourcing of Materials:** ANT Audio might be committed to using sustainable and high-quality materials, balancing environmental concerns with product durability.

#### Market Presence and Brand Perception
- **Target Audience:** Depending on its product range, ANT Audio's target audience could include audiophiles, professional musicians and sound engineers, and general consumers seeking quality audio experiences.
- **Brand Values:** The company might emphasize values such as innovation, customer satisfaction, and sustainability.

#### Challenges and Opportunities
- **Market Competition:** ANT Audio would face competition from established audio equipment manufacturers and emerging brands.
- **Technological Advancements:** Staying abreast of rapid technological changes and consumer preferences would be crucial for the company's success.

#### Corporate Responsibility and Sustainability
- **Environmental Impact:** ANT Audio might have initiatives to minimize its environmental impact, such as using recyclable materials and promoting sustainable practices.
- **Community Engagement:** The company could engage in community outreach programs, supporting music education and local arts.

#### Future Prospects
- **Research and Development:** Continuous investment in R&D would be essential for ANT Audio to innovate and remain competitive.
- **Market Expansion:** The company might aim to expand its global presence, entering new markets and diversifying its product offerings.

### Conclusion
In summary, while specific details about ANT Audio are not available, a company in the audio equipment industry with this name would likely focus on delivering high-quality audio products, driven by a commitment to innovation, quality, and customer satisfaction. Its success would depend on its ability to navigate a competitive market, stay technologically relevant, and maintain a strong brand identity.

TEST: AMT SS 30

 Russia, a country full of contrasts. Politically a deep black spot in the world political situation and environmentally blessed with tons of legacy issues, the country also produces artists of the genius of Peter Tchaikovsky or detailed technical solutions on a world-class level, see space travel. But the guitar sector has also benefited from Eastern know-how in the last few decades; until a few years ago, for example, Russian tubes were the only remaining standard components available for professional use.

Why did the Russians have the best tubes for years? Well, tubes are the only electrical components that can withstand an EMP (electro-magnetic pulse) from a nuclear bomb detonated in the atmosphere without damage, and during the Cold War, Russia invested huge amounts of money in optimizing tube technology. Tubes exist with an estimated lifespan of 100 years, but that's another story.

But what seems to be inherent in all Russian products is a touch of military suitability, combined with mostly very robust and high-quality workmanship. During the Iron Curtain era, many artists and technicians were forced to live with what socialism had to offer, which gave rise to a history of product longevity with sometimes slightly quirky detailed solutions. Owners of previous Petersburg amps know what I mean. This extremely appreciable penchant for durability, which is in contrast to the Western disposable mentality, seems to radiate even into small products, as can be seen in the AMT SS 30 I have, an almost tiny guitar preamp for floorboard use.


construction

The AMT SS-30 is a three-channel guitar preamp in stompbox format. The small box is very sturdy, the housing is made of thick folded sheet metal and rests on 4 pleasantly soft rubber feet, which provide a secure grip even on smooth surfaces. The dimensions of the product remain less than two packs of cigarettes, but it combines a huge number of connections and switches in this marginal space.

The SS-30 is operated in front of a clean and neutrally set guitar amplifier, the return of the FX loop (better!), a power amplifier with a connected box or, due to a frequency-corrected separate output, in front of an active monitor or a mixer. In order to ensure that the product always has sufficient headroom in signal management, the preamp is operated with two 9V batteries or alternatively an external 18V power supply. In its extremely “clear” operating instructions (2 stapled DIN A4 sheets), AMT recommends operation with batteries, as external power supplies are not very trustworthy. In fact, high-quality 18V power supplies are not easy to find, but should be preferred if possible for environmental reasons alone.

Changing the battery itself is extremely easy. By loosening a knurled screw on the front housing, a slotted metal flap opens, which reveals two battery slots and a view of the inside of the device. Despite the tight space, only the best quality was delivered in terms of workmanship. The circuit boards are neatly installed, the soldering points are precise, everything is nicely tidy and blessed with maximum efficiency in terms of space utilization.

You can choose between the three sound modes Clean, Crunch and Drive using two powerful foot switches. Despite the small dimensions, a total of 12 (!) knobs plus 3 pressure switches for sound shaping were accommodated on only half (!) of the surface. The clean section has a complete 3-band tone control consisting of high, mid and low plus a gain and a level control. Gain and Level also each have the Crunch and Drive channels, but share a common three-band tone control.

The fact that all controls are comparatively easy to reach despite the narrowness is due to the very narrow potentiometer heads, which all protrude upwards from the housing like small projectiles. In order to secure the potentiometer axes against unintentional breakage due to clumsy trampling by the user, a steel bracket was welded between the mode switch and the controller. Looks simple, does its job quite effectively but without any complaints.

However, we are not yet finished when it comes to flexibility. The SS-30 also has its own FX loop and the option of connecting the product to an external MIDI footswitch from the same company called AMT FS-2MIDI via a mini jack socket in order to integrate it into a MIDI network . The SS-30 also has two outputs, a standard output for the power amplifiers and a frequency-corrected one for the mixer.


Practice

And then the tester starts pondering. It would be a great thing if you could fit a full-sized amp in a side pocket of a gig bag. Playing shows with just a guitar under your arm and maybe 2 cables? Weren't there also suitable dwarf power amplifiers? Maybe just ask your colleague at the gig if you can use the 4x12” and the lugging is over? The voltage increases. So let’s get to it.

Starting as usual with the clean channel, the SS-30 performs very well. Even without tubes, the product has a pleasantly high degree of warmth and suppleness. The tone control works smoothly, the clean boost is subtle. Due to their corrugation, the narrow pot heads are actually easy to reach and operate at any time, despite the narrow overall concept.

With a slight tendency towards bass, it goes over into the crunch or drive channel, although the topic of crunch might have to be redefined here. Anyone who only suspects subtle distortions here is wrong. Even without the additional drive boost, the SS-30 is able to push powerful leads and massive power chords out of the floor when turned right and can adjust your personal sound taste with the two switches Tone Shift and Crunch Bright.

With the Drive Channel, the pedal can increase the level of distortion again, but only by a marginal amount. What's nice, however, is that the separate gain and level controls allow you to give the third channel an additional volume boost, which can be advantageous in solo passages, for example.


Conclusion

Small, smaller, AMT. The Russian company's SS-30 is particularly suitable for musicians who are looking for a small, handy and very well-made preamp. Designed as a stompbox, the product can fit even in the smallest gig bag and with a suitable combination of power amplifier and box or, if necessary, directly into the console, the necessary sound reinforcement can be provided.

It has rarely been so easy to transport and manage a preamp.

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Additional Informations:

AMT Electronics, a distinguished name in the world of musical equipment, particularly known for its high-quality guitar pedals, preamps, and other audio processing equipment, stands as a beacon of innovation and craftsmanship in the Russian electronics industry. This comprehensive article aims to explore the various facets of AMT Electronics, including its history, product line, technological innovations, market presence, and future prospects.

### Introduction

**Background:** Established in Russia, AMT Electronics has gained international recognition for producing guitar pedals and audio equipment that blend traditional craftsmanship with modern technology.

### History and Development

1. **Foundation and Early Years:**
   - *Origins:* Founded in [Insert Year], the company started as a small-scale operation focused on creating guitar effects units.
   - *Growth:* AMT Electronics quickly gained a reputation for its high-quality sound and sturdy construction.

2. **Expansion Over the Years:**
   - *Product Line Diversification:* From its initial focus on guitar pedals, the company expanded to include preamps, cabinet simulators, and more.
   - *Global Reach:* Despite its Russian roots, AMT Electronics has established a significant presence in the global market.

### Key Products and Innovations

1. **Guitar Pedals:**
   - *Distortion Pedals:* Known for their rich, dynamic range and versatility.
   - *Overdrive Pedals:* Highly sought after for their warm, tube-like overdrive tones.

2. **Preamps and Cabinet Simulators:**
   - *SS-11 and SS-20 Series:* These have become staples for guitarists seeking a portable yet powerful solution for both studio and live settings.
   - *Cabinet Simulators:* Offer guitarists the ability to replicate various speaker cabinet sounds in a compact, pedal format.

3. **Custom and Signature Series:**
   - *Collaborations with Artists:* AMT Electronics has collaborated with various artists to create signature pedals, catering to specific tonal preferences.

### Technological Advancements and Manufacturing

- **Innovation in Design:** The company is known for its continuous innovation, integrating new technologies while maintaining the integrity of classic analog tones.
- **Quality Manufacturing:** Emphasis on high-quality components and sturdy build, ensuring reliability and durability.

### Market Presence and Brand Perception

- **Domestic Market:** In Russia, AMT Electronics is revered for its contribution to the music scene, supporting both professional and amateur musicians.
- **International Recognition:** The brand has been well-received internationally, with a strong following in Europe, the USA, and Asia.

### Challenges and Opportunities

- **Market Competition:** Facing competition from both established global brands and emerging boutique pedal makers.
- **Opportunities for Growth:** Growing interest in unique, boutique pedals offers significant opportunities for expansion and innovation.

### Corporate Responsibility and Community Engagement

- **Supporting Music Education:** AMT Electronics is involved in supporting music education initiatives, providing equipment and resources for budding musicians.
- **Environmental Considerations:** The company is conscious of its environmental impact, adopting sustainable practices in manufacturing and packaging.

### Future Outlook and Strategy

- **Adapting to Digital Trends:** While maintaining its analog roots, AMT Electronics is also exploring digital technologies to expand its product offerings.
- **Global Market Expansion:** Aiming to strengthen its presence in various international markets through partnerships and enhanced distribution networks.

### Conclusion

AMT Electronics, with its rich history, innovative product line, and commitment to quality, stands as a testament to Russian ingenuity in the field of music technology. The company's blend of traditional analog warmth and modern technological advancements makes it a favorite among musicians worldwide. As it looks to the future, AMT Electronics is well-positioned to continue its legacy of creating groundbreaking audio equipment that resonates with the evolving needs of musicians globally.

The Russian audio floor pedals scene is a fascinating and dynamic segment of the global music equipment industry, marked by a blend of innovative design, technical prowess, and a distinctive cultural flair. This comprehensive article delves into various aspects of this niche yet thriving industry, from its historical development to the current trends, key players, and the unique characteristics that set Russian audio floor pedals apart in the global market.

### Historical Context and Development

1. **Early Beginnings:** The history of Russian audio floor pedals dates back to the Soviet era, where initial developments were often driven by necessity due to the scarcity of Western music equipment. Musicians and technicians often resorted to DIY methods, creating unique sounds and equipment.

2. **Post-Soviet Innovation:** After the fall of the Soviet Union, there was a surge in the availability of technology and information. This period saw the emergence of numerous small-scale manufacturers and enthusiasts who began to explore pedal-making with more sophistication.

### Key Manufacturers and Brands

1. **Sovtek:** Perhaps the most renowned, originally known for producing tubes for audio equipment, Sovtek also gained fame for its Big Muff Pi pedal, favored by musicians worldwide for its distinctive fuzz sound.

2. **Red Sun FX:** A more recent entrant, known for its high-quality, handcrafted pedals that combine classic and modern sounds.

3. **Other Notable Brands:** Include companies like Ego Sonoro, and Spaceman Effects, each contributing uniquely to the Russian pedal scene.

### Technical and Design Innovations

1. **Unique Sound Characteristics:** Russian pedals are often celebrated for their distinctive sounds, ranging from warm, deep distortions to sharp, biting overdrives.

2. **Robust Build Quality:** Many Russian pedals are noted for their durable construction, able to withstand the rigors of heavy touring.

3. **Customizable and Boutique Options:** There's a strong tradition of producing customizable and boutique pedals, catering to musicians seeking unique tones and aesthetics.

### Cultural Influence and Musical Genres

1. **Influence on Various Genres:** Russian pedals have found a place in various music genres, from rock and metal to experimental and indie music.

2. **Cultural Significance:** The pedals often reflect the rich cultural and artistic heritage of Russia, seen in design elements and naming conventions.

### Challenges and Opportunities

1. **Market Challenges:** Russian manufacturers face challenges in terms of international distribution and competition with larger, established Western brands.

2. **Opportunities for Growth:** There's growing interest in unique, boutique pedals in the global market, presenting opportunities for Russian manufacturers.

### The Global Market and Export

1. **International Recognition:** Some Russian pedals have gained cult status among musicians worldwide, praised for their unique tones and build quality.

2. **Export Challenges:** Exporting can be challenging due to regulatory hurdles and logistical issues, but it remains a key goal for many manufacturers.

### The Future of Russian Audio Floor Pedals

1. **Technological Advancements:** Embracing digital technology and new manufacturing techniques while maintaining the distinctive Russian sound character.

2. **Sustainability and Innovation:** Increasing focus on sustainability in manufacturing and continuous innovation to stay competitive in the global market.

### Conclusion

The Russian audio floor pedal scene represents a unique blend of historical development, cultural richness, and technical innovation. While facing challenges, the industry continues to make significant strides, gaining recognition and admiration from musicians and enthusiasts worldwide. With a strong foundation in quality and uniqueness, the future of Russian audio floor pedals looks promising, potentially influencing music and sound creation on a global scale.

TEST: AMT Pangaea VC-16

 The guys from the AMT team are a funny bunch. There must be something in the Russian genes that makes developments in music electronics always turn out a little different than usual. Especially when it comes to haptics, you often get the feeling that Russia builds everything in such a way that it could also survive in front-line operations if necessary. The best example is probably the Russian version of the Big Muff. The dwarf pedal AMT Pangea VC-16 isn't quite as violent, but as has often been the case with AMT, the unusual special solutions are also available this time.

The construction of the AMT Pangea VC-16

What does the dwarf, which weighs only 200 grams and has the almost tiny dimensions of 470 mm x 950 mm x 550 mm, actually do? Well, it once again contributes to the miniaturization of signal management in the guitar sector by offering a 24 bit/48kHz IR speaker simulation / DI box for recording, live performances and playing on headphones. The developers try to bring together a maximum number of functions with a minimum amount of space. To ensure this, you have to use switching functions other than regular rotary potentiometers.

AMT does this by putting together a total of 16 presets using 4 small sliders and 4 notches each, which can also be programmed using software that can be downloaded from the AMT website. A corresponding USB port is located on the left side of the housing. With the AMT Pangea VC-16, AMT is trying to create an amp/speaker simulation so that you can play with your pedals or preamps directly into the simulator. In order to adapt the respective sounds to your personal taste, the AMT software has a very extensive sound processing, which consists of a volume control, a reverb control, a presence control, a low pass, a five-fold semi-parametric EQ, a high pass, an IR deactivation, a own power amp section with various tube presets, a preamp section with its own three-band tone control, a noise gate and a compressor. So there are lots of options to vary the sound accordingly. Admittedly, the UI is hard to beat in terms of ugliness, but let's overlook the whole thing in favor of handling.

Unfortunately, the guys at AMT have somewhat lost sight of compatibility when it comes to the power supply of the AMT Pangea VC-16. 100 mA, wonderful, but unfortunately at 12V, which knocks over 90 percent of all commercially available board bugs out of the ring. Although many multi-voltage power supplies now also have a 12 volt output, this special solution still represents a shortcoming in my opinion, especially since an external power supply is not included in the scope of delivery of the product manufactured in Russia.

To e.g. If you want to jam to an MP3, for example, the AMT Pangea VC-16 has a mini-jack AUX In, which works in conjunction with a headphone out that also has a mini-jack. By the way, the fed AUX In signal is only sent via the headphone output, not via the two outputs, which can be plugged in both symmetrically as TRS and unbalanced via a jack. It is also practical that a DI box is installed at each output, so that you can do without external DI boxes for a direct PA feed or similar.

The only footswitch on the housing switches back and forth between the two presets A and B and seems downright huge due to the tiny housing dimensions. In order not to accidentally adjust the four sliders with your foot in the heat of the stage battle, there is a very solid steel bracket behind the foot switch, which also fixes the switching process on the front tip of your foot. Speaking of sliders, AMT isn't necessarily the first choice here. The switching stages are very close together, sometimes a bit awkward or fiddly. Not really a problem, but not exactly comfortable either.

In order to make the switching process a little more comfortable, the AMT Pangea VC-16 has a feature that works in conjunction with other AMT pedals. The switching process can be carried out in combination with other AMT pedals via a control in/out in the mini jack. It is conceivable, for example, E.g. using 2 distortion pedals, one running on preset A and one on preset B. The activation e.g. B. of pedal A leads to the deactivation of pedal B and a preset change on the AMT Pangea VC-16. A simple concept with a very practical implementation.

To the z. In order to easily handle the widely varying output voltages of pedals and preamps, the input channel of the AMT Pangea VC-16 can be adjusted to an optimal level with 2 additional sliders from 0 dB to -40 dB in six steps, a really very good practical solution.

The case of the AMT Pangea VC-16 really contains all the attributes that are associated with “Made In Russia”. Although the characteristic olive-green camouflage paint is missing, the product, which is made from a total of 4 steel sheets, looks extremely solid. With 4 screws each on the front and foot side, you can't imagine that the pedal would ever give up its mechanical spirit. In order to give the tiny thing the ultimate hold on a pedalboard, the pedal has 2 eyelets on the outside with which you can screw the housing onto the board. Not a stupid idea, especially since the application area of Velcro is comparatively small with such small housing dimensions.

On the underside of the case, a fairly large slot with a small circuit board raises a question mark, but this quickly disappears. It is a slot for the patch panel, also available from AMT, where you can plug several in-house pedals into it, which simultaneously takes over the power supply and signal management.

The AMT Pangea VC-16 in practice

Let's start with the pros of the AMT Pangea VC-16, with the feel of the product being the top priority. 2 or 3 overdrive/distortion pedals, possibly also with micro dimensions, connected in front of the tiny thing and you have a 2 or 3 channel pedal, which in terms of dimensions can be transported in a handbag and in terms of weight probably dangles around the 1 kilogram mark . Working musicians who have to travel a lot by public transport or similar for work will particularly appreciate the weight and space savings.

The very flexible level management is also impressive. No matter which console or interface is used. Regardless of whether it is a microphone or line input, even without a separate gain control on the console, you can manage the levels very well and transfer them without peak problems.

To understand the cons of the AMT Pangea VC-16, you just have to listen to the included sound examples. It is well known that all speaker simulations have the most problems with high gain guitars, as the highly compressed signal with an extremely large number of overtones can quickly sound “artificial”, “mushy” and undynamic. In order not to make it easy for the speaker simulation, I used my IRONFINGER Signature Distortion Pedal https://www.amazona.de/test-ironfinger-axel-ritt-signature-distortion-verzerrerpedal/ as a reference, since I am using it As expected, I am extremely familiar with the sound behavior of this pedal.

Unfortunately, the AMT Pangea VC-16 doesn't really convince me in terms of sound. Although there are countless ways to bend the sound, the basic sound of the product unfortunately suffers, like many other IR products, from the lack of dynamics and the rough resolution of the signal. Despite the sometimes massive treble boost, all the sounds always sound a bit busy or subtly musty and lack the “freshness” of a real microphone.

The AMT Pangea VC-16 seems to me to be a perfect solution when it comes to quickly adding speaker simulation to a guitar signal without transport problems. The losses in terms of sound in the crunch or clean range may not be nearly as severe as in the high gain range, but unfortunately you have to expect some tonal compromises here.

Conclusion

With the AMT Pangea VC-16, the Russian company has an extremely handy and flexible speaker simulation on the market. The processing is excellent, the downloadable software is extensive and the level management is extremely flexible.

In terms of sound, in contrast to the excellent feel, you have to expect a few losses in the high gain range, but this always depends on your personal area of use.

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Additional Informations:

In the realm of music technology, AMT (Applied Music Technology) has emerged as a prominent and innovative force with a history steeped in ingenuity. Over two decades, this Russian company has been instrumental in advancing the world of musical effects pedals, preamps, and amplifiers. In this extensive article, we delve into the origins, achievements, and contributions of AMT, a brand that has made a lasting impact on the global music technology landscape.

## The Genesis of AMT

AMT's journey commenced in 1997, with its founder, Sergey Marichev, at the helm. Sergey Marichev, an electronics engineer and a musician himself, established AMT in Moscow, Russia, with a vision to create cutting-edge audio equipment that would resonate with musicians worldwide. Driven by a passion for both music and technology, Marichev set out to pioneer a new era in the realm of music gear.

## A Commitment to Quality

From its inception, AMT distinguished itself through an unwavering commitment to quality and innovation. The company's focus on precision engineering and meticulous craftsmanship quickly earned it a reputation for producing high-end audio equipment. AMT's dedication to quality control and the use of top-tier components ensured that their products were reliable, durable, and capable of delivering exceptional sound.

## Pioneering Tube Emulation Technology

One of AMT's most notable contributions to the music technology industry is its pioneering tube emulation technology. This innovation allows musicians to capture the warm, harmonically rich tones traditionally associated with tube amplifiers, all while benefiting from the convenience and versatility of compact digital pedals and preamps. AMT's tube emulation technology has become a hallmark of its product line, attracting guitarists and bassists seeking classic tube sounds without the bulk and maintenance associated with traditional tube amplifiers.

## Versatile and Adaptable Pedals

AMT's reputation for producing versatile and adaptable pedals has made it a sought-after brand among musicians across various genres. Whether it's distortion, overdrive, delay, modulation, or other effects, AMT pedals are celebrated for their sonic flexibility and ability to cater to a wide range of musical styles and playing techniques. Musicians appreciate the nuanced control over their sound, allowing for creative exploration and expression.

## Innovations in Guitar Amplification

Beyond effects pedals, AMT has made significant advancements in guitar amplification technology. Products like the AMT SS-20 and AMT Pangaea series exemplify the brand's commitment to providing compact, portable, and tonally versatile amplifiers. These amplifiers incorporate advanced features, including multiple channels, built-in effects, and direct recording capabilities, making them well-suited for both stage and studio use.

## Artist Collaborations and Signature Products

AMT has cultivated partnerships with renowned musicians, resulting in the creation of signature pedals and products tailored to the specific preferences and demands of influential artists. These collaborations have not only expanded AMT's product catalog but have also solidified its reputation as a brand trusted by professionals seeking gear designed with their unique needs in mind.

## International Recognition and Global Reach

Despite its origins in Russia, AMT has achieved international recognition and distribution. The company's products are now available in music stores worldwide, showcasing the global demand for its high-quality audio equipment. This expansion into international markets has further established AMT as a leading player in the global music technology industry.

## A Glimpse into the Future

As AMT continues to evolve, it remains dedicated to pushing the boundaries of audio technology. The company's ongoing research and development efforts focus on creating innovative solutions that cater to the needs of musicians, producers, and audio engineers. With a growing and diverse product catalog that includes amplifiers, preamps, effects pedals, and more, AMT is poised to play an increasingly influential role in shaping the future of music technology.

In conclusion, AMT, under the visionary leadership of Sergey Marichev, has emerged as a prominent and trailblazing force in the music technology industry. Its commitment to innovation, unwavering dedication to quality, and ability to cater to the diverse needs of musicians have earned it a place of respect and admiration among professionals and enthusiasts alike. As AMT continues to expand its product range, international presence, and influence, it stands as a testament to the transformative power of innovation in the world of musical effects and amplification.

TEST: AMS Neve 4081

 Even the strongest trademark in professional studio operations has to keep up with the times, which is why the company founded by Rupert Neve has taken the legendary 1081 microphone preamplifier as a starting point with the AMS Neve 4081 QuadMic and has simply quadrupled it.

The construction of the AMS Neve 4081 QuadMic

One of the names you first get to know in your training in sound engineering is the Neve company, which after being bought by Siemens in 1985, merged with Advanced Music Systems into the AMS company in 1992 Neve was converted. The microphone preamps 1073 and 1081 are still among the company's best-known classics and are held in the highest esteem simply because of their countless copies from other manufacturers. This excellent reputation will not be lost under the new label. In recent years, several new products have been introduced based on these original designs, but with modern improvements to better align with today's current workflow practices and requirements.

The new 4081 Quad Mic Preamp is based on the immense success of the 1081 module, which is constructed identically to the original mixing console from 1972 or the remote-controlled 1081R variant, which contains up to 12 compact preamp modules based on the original Neve 1081 or the technically improved AIR Montserrat Studio variant offered space.

At first glance, the AMS Neve 4081 QuadMic looks like a double brick due to its height of 2U, its half rack width of 9.5 inches and its rather large depth of 270 mm. A rack kit is available as an option, allowing either a single 4081 or a pair to be installed in a rack if required. However, the device also has aluminum handles on the front that protect the controls and allow the AMS Neve 4081 QuadMic to be used as a standalone version. In this case the system rests on 4 rubber feet which are attached to the underside.

Despite its bulky appearance, the 4081 is surprisingly light, weighing just 3 kg, which is probably due to the fact that the AMS Neve 4081 QuadMic has an external power supply. You can do it, but to be honest, in my opinion you should be able to expect a cold appliance plug at a retail price of just under €3,500.

As with the 1081R, each function of the four channels can be controlled either directly from the front panel or via Neve's remote control. The software is available for PC and Mac, the AMS Neve 4081 QuadMic is connected via USB 2. For multiple operation, the units are connected in series via the RS485 interface. In this way, up to 16 of these units can be controlled remotely, allowing a maximum upgrade of up to a total of 64 channels. A four-way rear panel DIP switch provides the ability to uniquely identify each 4081 module in a multi-module installation.

The case can also accommodate an optional digital converter card, which digitizes the four channel outputs and outputs them in both Firewire and AES3 formats. The same format is offered in digital format as a return channel. These are converted by a D/A converter and made available as analog line-level signals from a 25-pin D-Sub socket on the main device. These channels are typically used as monitor returns or as a direct monitor mix. The same D-Sub socket also provides access to balanced insert returns for each channel, allowing an alternative input signal to be routed to the D/A converters. Eight XLRs In/Outs on the back of the case provide four microphone/line inputs and the corresponding outputs. The external SMPS power supply is connected via an eight-pin DIN socket on the outside left of the housing.

Essentially there were 4 pieces in the 4081 case. 1081R preamps were installed, especially since the functions on the front are very similar. A large, very easily locked knob with the classic red Neve wing knob is located at the top of the channel and is used to adjust the preamplification. This control also has a push button function which is intended to query the console settings when the 4081 is used with a Neve 88R console. In microphone mode, the gain range extends from 20 to 70 dB in 5 dB increments, while in line mode it is reduced to 0 to 20 dB. The respective gain setting is displayed in a large, two-digit LED window below the control, with two additional LEDs indicating the signal present (green for signals above 30 dBu) and overload (red at +24 dBu, 2 dB below analog clipping). . Unfortunately, the gain control leaves a comparatively weak impression with its “floppy” holder and is in fact unworthy of a device in this price range.

Below the numeric display window, six illuminated pushbuttons provide all the usual preamp switching functions: phantom power, a 20 dB pad, low impedance mode (e.g. for ribbon microphones), mic/line input switching, polarity reversal and loop path activation, which switches the input to the (optional) D/A converter from the output of the preamplifier to an external input. With this function, for example, an external compressor can be patched between the analog output of a channel and the corresponding symmetrical insert return to the D/A converter and switched on and off using the front button of the 4081.

To the right of the four preamp control areas at the top of the panel is the familiar on/off button, identified by its illuminated Neve logo. Below there are two buttons that can be used to configure the sample rate and clock source of the optional digital card. Eight yellow LEDs display the current sample rate with all standard modes from 44.1 to 192 kHz, as well as indicators for 384 kHz and the DXD sample rate. Four green LEDs below, however, indicate the current clock source of Wordclock, AES3, Internal and Firewire.





In use

The 4081 may visually flirt with its past due to its classic, all-analog design, but the digital connectivity on the back shows the product is ready for integration into a modern studio. Already with the first signals played, the phenomenon that has given the name Neve its famous extra dose of glamor and glory for decades is revealed.

It's really hard to describe what happens acoustically once you have the AMS Neve 4081 QuadMic in the signal path, but the sonic difference is clearly noticeable. Almost every signal fed in, regardless of style or frequency spectrum, gains density and character. You could almost think that the product, which “only” provides the preamp function, has its own, discreetly adjusted channel strip consisting of compressor, EQ and enhancer built in.

At first listening impression, you completely miss the inner need to process the signal with appropriate tools, the signal pours out of the monitors so round, full-bodied and yet natural, in a word, the signal once again sounds “analog” in the best sense of the word of the word.

The narrow-breasted signal donors, e.g. B. in the form of ribbon microphones at your expense, or room microphones, which only deliver very little level. Even with full preamplification, the noise component is negligible and does not color the signal in any way.

To test the flexibility of the AMS Neve 4081 QuadMic on different signals, several dynamic and frequency diametric signals were used. It starts with a spatially microphoned natural drum set:

The following are recordings of a radio loop:

A typical electric bass figure for the bass range:

Something synthetic from the electrical sector:

Finally a female voice:

Conclusion

With the AMS Neve 4081 QuadMic, the British company once again underlines its legendary reputation when it comes to sound. With the product you get 4 units of the 1081R module for a comparatively low price, provided your personal budget even allows an investment in this quality class.

The digital connection and system expansion is exemplary and also enables operation in a modern digital studio. Especially with appropriate cascading, the system can show off its full strengths in the form of a full-bodied analog sound that is in the top league.

However, what caused AMS Neve to initiate such inferior integration of the input controls in this high-end product will always remain a mystery to me. In my opinion it's the only, but unfortunately also a very big, negative point in an otherwise outstanding product.

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Additional Informations:


In the realm of professional audio equipment, few names resonate with as much reverence as AMS Neve. With a history spanning over five decades, AMS Neve has consistently pushed the boundaries of audio technology, setting the industry standard for high-quality recording and mixing equipment. This comprehensive article delves into the origins, innovations, and impact of AMS Neve in the world of sound engineering.

## A Storied Beginning

The story of AMS Neve begins in the early 1960s when Rupert Neve, a British electronics engineer and visionary, founded Neve Electronics. Rupert Neve's passion for audio engineering led him to develop some of the most iconic and influential audio equipment in history, setting the stage for the legacy of AMS Neve.

In 1970, Neve Electronics merged with Automated Music Systems (AMS), giving birth to AMS Neve. This union brought together Neve's reputation for crafting high-end recording consoles and AMS's expertise in digital audio technology. The company's headquarters remained in the United Kingdom, where its engineers continued to innovate and create cutting-edge audio equipment.

## Legendary Consoles

AMS Neve is perhaps best known for its legendary analog recording consoles. These consoles have graced the world's most renowned recording studios and have been used to produce countless hit records. Notable examples include the Neve 8028, Neve 8078, and Neve VR Series consoles, which have been cherished for their exceptional sound quality, pristine mic preamps, and versatile EQ sections. These consoles have played pivotal roles in shaping the sound of music across various genres, from rock to classical to pop.

## Iconic Signal Processors

Beyond consoles, AMS Neve has made significant contributions to the world of signal processing. The company's outboard gear, such as the Neve 1073 preamp and 33609 compressor, have become iconic pieces of equipment coveted by audio engineers and producers worldwide. The Neve 1073, in particular, is celebrated for its warm, colorful, and character-rich sound, making it a staple for recording vocals, guitars, and drums.

## Digital Advancements

AMS Neve didn't rest on its analog laurels; the company embraced digital technology with the same fervor that defined its analog offerings. The Neve DFC (Digital Film Console) and Genesys digital console exemplify the brand's commitment to innovation. The DFC, for instance, has been instrumental in the post-production industry, providing advanced mixing capabilities for films and television shows.

## Commitment to Quality

One of the hallmarks of AMS Neve is its unwavering commitment to quality and craftsmanship. The company has consistently used the finest components and materials in its products, ensuring longevity and reliability. Each piece of equipment is handcrafted with meticulous attention to detail, upholding the standards set by Rupert Neve himself.

## Studio Integration

AMS Neve's dedication to the needs of modern studios is evident in its products' integration capabilities. The Neve BCM10/2 Mk2, for instance, combines analog circuitry with digital control, allowing seamless integration into today's digital audio workstations (DAWs). This forward-thinking approach ensures that AMS Neve remains at the forefront of studio technology.

## Awards and Recognition

The industry has not been slow to recognize the excellence of AMS Neve. Over the years, the company has received numerous awards, including multiple Technical Grammy Awards from the Recording Academy. These accolades acknowledge AMS Neve's enduring contributions to the advancement of audio technology.

## The Legacy Continues

As technology evolves, AMS Neve continues to adapt and innovate. The brand's ongoing commitment to creating exceptional audio equipment ensures its relevance in an ever-changing industry. AMS Neve remains synonymous with uncompromising sound quality, trusted by audio professionals who demand the best.

In conclusion, AMS Neve's journey from its humble beginnings to its current status as a global leader in audio technology is a testament to the passion, innovation, and dedication of its founders and team. With legendary analog consoles, iconic signal processors, and cutting-edge digital solutions, AMS Neve has left an indelible mark on the world of audio engineering, shaping the way we hear and experience music and sound.

TEST: Ampeg SVT VR

 I won't soon forget the exhausted, slightly reproachful look of the otherwise friendly UPS employee when he rang my doorbell to deliver a medium-sized package to me. At first I couldn't fully understand his request to help him carry the package because of its size until I helped myself.
When we arrived at the studio, an Ampeg SVT-VR bass head weighing a whopping 43 kg emerged from the brown cardboard packaging! Truly not for the faint of heart. Even the act of prying the amplifier out of the packaging with one hand and holding the packaging with the other hand fails miserably. The device can only be transported with full physical exertion and by a strong man alone. It is not for nothing that a carrying handle was omitted on the top of the housing and two massive folding handles were installed on the side.

Apart from the trademark “Marshall” in the guitarist class, there is probably no other product that is as closely associated with the term “rock” as Ampeg’s SVT class. Everything, really everything that had any status was on the move with these monsters when it came to low-frequency design over 30 years ago. Please take into account the fact that at that time, open airs were actually provided with a somewhat more powerful vocal system and a large part of the instrument sound actually came from the stage and not from the P.A. like today. came. There is a reason why many artists like Pete Townsend, John Entwhistle or Glenn Hughes complain about a rudimentary loss of hearing; the volume on stage was truly infernal at the time. In the age of digital switching power supplies under a kilo and bass amps the size of 4 cigarette packs, there must be a reason why Ampeg continues to produce archaic dinosaur-class amplifiers.


Construction:

The SVT-VR Amp is a reissue of the world-famous “Blue-Line” head from the early seventies in an all-tube design. A total of 12 glass bottles are used, 2x 12AX7 and a 12AU7 in the pre-stage, 2x 12AU7 and a 12AX7 in the driver stage and 6x! 6550 in the final stage. Due to the immense heat generated, the car has to be forced cooled; the thermal power plant is blown by a fan built into the rear wall. Ampeg refers to an output of 300 watts RMS at 4 or 2 ohms, i.e. a single 8 ohm box is not recommended and the classic 16 ohm cabinets are usually only found with guitarists anyway.

The whole thing is packaged in a very solid wooden structure, with a perforated sheet of steel at the back. The amp rests on 4 tapered rubber feet that fit into the corresponding Ampeg bass speakers. People have been arguing for years now as to whether you should actually place an all-tube bass amp on your speaker during a performance or next to it. It is known that heated tubes should no longer be moved if possible and any mechanical stress should be avoided during operation. Both have a negative impact on the service life and reliability of the component. On the other hand, IF a tube gets vibrations THEN definitely if it is placed on a loud bass speaker during the show. An amp built into the rack and padded with foam will certainly thank you for its longer lifespan, but visually the classic phallus shape of a stack can only be achieved with a top section. And anyway, who wants to carry this case monster? Amp plus case, that means at least 60 kg, i.e. the case is equipped with wheels and we have vibrations again during transport that nobody actually wants. How to do it........

The entire workmanship of the product is very clean and solid, only the rocker switches for the sound control (booster / midrange) make a downright pathetic impression. Wobbly, flexible and unclear when it comes to locking in, these cheap ones have nothing in common with the rest of the high quality of workmanship. It's a mystery to me how you can install something like that in a quality product. In return, you then have to deal with standby and power switches that are so massive and difficult to operate that delicate women's hands may not even be able to turn them.

As was often the case in the 1970s, a not insignificant part of the sound shaping is already anticipated by the different input sockets of the amp. The SVT-VR has four of these, 2 per channel, each divided into “Normal” and “Bright”. Channel one has a three-band tone control, which operates at 4Khz (+/- 12 db - treble), 40Hz (+/- 12 db - bass) and, depending on the selected center frequency, at 220Hz / 800Hz or 3Khz (+/- 20db - midrange). intervenes in the sound event. The channel also has 2 boosters at 8Khz (Ultra High) and 600Hz (Ultra Low) and a bass cut at 40Hz. Channel 2 dispenses with the midrange range and only has a treble and bass control along with 2 boosters.

On the back, next to the mains socket and the main fuse from left to right, we first find a polarity switch, which is due to the sometimes lousy quality of the power network overseas, for example in the USA (but only 2 conductors in the network fly to the moon.....simple laughable) or Japan makes perfect sense and can suppress ground loops. Despite the reissue, Ampeg has (fortunately) opened up a section of modernity and allows the bias or tube balance within the amps to be adjusted in just a few steps using a slotted screwdriver. Even an inexperienced user can carry out the adjustment quite quickly using an LED control, provided they have at least briefly familiarized themselves with the English-language manual. This refers once again to the structural peculiarities of all-tube amps and the importance of adjustment.

A suitable loop-in trio is available via slave-out, preamp-out and power-amp-in to feed or feed external devices. A symmetrical D.I. box, with selectable tapping point (pre/post EQ), or with ground lift and adjustable output volume, was also placed on the back. On the far right you will find the connection sockets for the speakers. As is now usual, the XLR plug has given way to the superior Speakon plug at Ampeg, and 2 jack sockets are still available for “emergency charging”.



Sound:

When connected and wired, no one can beat the SVT when it comes to its solid appearance. After flipping the power switch, a red LED makes it clear to us that the tubes are being preheated. On the back, an orange LED shows the correct tuning of the factory-adjusted power tubes. So then, switched to standby, the red LED changes to green and the inferno starts.... However, not in the form of sound but rather background noise caused by the construction. On the one hand, we have a very loud switch-on impulse, which really doesn't have to be there. All connected speakers make a powerful leap forward, a behavior that I have never experienced with all-tube amps.

However, the built-in fan, which starts working when the amplifier is switched on, shoots the bird down. I've only heard such a noise on cheap PC notebooks, you'd think you'd started a model airplane behind the amplifier. The fan is so loud that you can't actually put the amp in the control room when working in the studio. I realize that the immense heat generated when the device is in operation needs to be dissipated, but that is really too much of a good thing. Of course, the fan can no longer be heard on a loud stage, but this is a clear limitation when working in the studio.

Well, enough complaining, what does the “Godfather Of Rock Bass Amps” sound like now? Let's make it short, fantastic! Even if the bass control is unfavorable at 40Hz because it is too low and the midrange actually only sounds good at 800Hz, if a bass amp ever sounded legendary, it was the SVT. Mind you, we're talking about rock, hard rock and metal. Here we don't wrap things softly, pack them airily and serve them gently. There are low mids here that are so boney that no bass drum, no matter how loud, can affect the bass. The high-mid range, played alone is almost noisy to penetrating, and in the band context it finds exactly the frequency range that the guitar and vocals leave free. If you are looking for a flexible, multi-channel amp with different characteristics, you have come to the wrong place with the SVT. There is only one (!) sound here, but with the best that you can imagine for rock'n'roll.

The amp compresses even at low volumes and if you have the opportunity to actually drive the amp to the power amplifier saturation on a large stage or an open air event, you will realize how legends are created. Mind you, I'm talking about open airs in the sense of Rock-Am-Ring, etc. At sister's garden party, a turned-up SVT only ensures that the men in green are on the mat within a very short time.

Conclusion:

Infinitely heavy, maintenance-intensive, full of background noise, inflexible but equipped with probably the best rock sound in history! Decide for yourself.

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Additional Informations:


1. **Ampeg B-15 "Portaflex"**:
   - **Inventors**: Everett Hull and Stanley Michaels
   - **Notable Features**: The Ampeg B-15 "Portaflex," introduced in the late 1950s, was a groundbreaking innovation in amplifier design. Its most distinctive feature was the flip-top design, allowing for easy transport and setup. This amplifier used all-tube technology, with a single 12-inch speaker and a 30-watt power output. The B-15 produced a warm, smooth, and articulate tone, often described as "tubey." Its tone was characterized by a rich midrange, making it a favorite among jazz and Motown bassists. The amp's simplicity and reliability made it a studio staple, contributing to its legendary status.

2. **Ampeg SVT (Super Vacuum Tube)**:
   - **Inventors**: Developed by Bill Hughes, Dennis Kager, and Mike Matthews
   - **Notable Features**: Introduced in 1969, the Ampeg SVT is an iconic amplifier that set new standards for bass amplification. With a massive 300-watt all-tube power section and an eight 10-inch speaker cabinet, it became known for its unparalleled power and projection. The SVT's signature sound is characterized by a deep and punchy low end, a rich harmonic texture, and a crisp, cutting presence. Its ability to deliver clean, powerful bass tones even at high volumes made it a go-to choice for rock and heavy music genres.

3. **Ampeg V-4B**:
   - **Inventors**: Introduced by Ampeg's engineering team in the early 1970s
   - **Notable Features**: The Ampeg V-4B is a classic all-tube bass amplifier renowned for its vintage warmth and versatility. With a 100-watt output and a flexible four-band EQ, it offers a wide range of tonal options. Its clean tones are characterized by a smooth midrange and a defined low end, while pushing the gain yields a creamy, harmonically rich overdrive. This versatility has made it a favorite among bassists and guitarists seeking that classic Ampeg tube tone.

4. **Ampeg Heritage Series**:
   - **Inventors**: Developed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Heritage Series amplifiers represent a fusion of vintage aesthetics and modern technology. These amps are meticulously designed to capture the essence of Ampeg's legendary sound while incorporating modern improvements in reliability and performance. The Heritage Series offers a wide tonal palette, including the classic Ampeg warmth, but with added flexibility, making them suitable for a variety of playing styles and musical genres. These amplifiers continue to honor Ampeg's rich legacy while meeting the demands of today's musicians.

5. **Ampeg BA Series**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg BA Series includes a range of compact and versatile bass amplifiers designed for practice, rehearsal, and smaller gigs. These amplifiers feature built-in EQ, effects loops, headphone jacks, and other convenient features. Their tonal characteristics are known for clarity, punch, and articulation, making them suitable for bassists of all skill levels and musical genres.

6. **Ampeg Classic Series**:
   - **Inventors**: Introduced as part of Ampeg's commitment to classic tone
   - **Notable Features**: The Ampeg Classic Series amplifiers aim to capture the vintage Ampeg sound while incorporating modern enhancements. These amps offer reduced noise, enhanced reliability, and expanded tonal flexibility. The Classic Series pays homage to Ampeg's rich heritage while ensuring that these amplifiers meet the demands of today's discerning musicians.

7. **Ampeg Micro-VR**:
   - **Inventors**: Designed by Ampeg's modern engineering team
   - **Notable Features**: The Ampeg Micro-VR is a compact and lightweight amplifier head that is often paired with the SVT-210AV cabinet. Despite its size, it packs a punch, offering classic Ampeg tone at lower wattage levels. This portability makes it ideal for smaller venues and recording situations where convenience and vintage sound are desired.

8. **Ampeg Rocket Series**:
   - **Inventors**: Engineered by modern Ampeg designers
   - **Notable Features**: The Ampeg Rocket Series amplifiers combine vintage aesthetics with modern functionality, catering primarily to guitarists. These amplifiers are known for their clean and warm tones, responsive controls, and versatility. While they may not be exclusively for bassists, they offer a taste of Ampeg's classic sound for guitarists.

These detailed insights into various Ampeg amplifier models, their inventors or development teams, and their tonal characteristics showcase the depth and diversity of Ampeg's legacy in the world of amplification. Each amplifier represents a unique chapter in Ampeg's history, contributing to the brand's enduring reputation for delivering exceptional tone and innovation.

TEST: Ampeg BA-110

Ampeg! A name like Donnerhall! Even if it may sound a little pathetic, in this case this statement should be taken literally. Only in very few cases is a company name as closely linked to a product as with this company and anyone who has ever experienced an SVT with a matching 8x10" box in the upper load range knows what I'm talking about. Unfortunately, as with almost all musical tactile experiences, there is a reduction in the practicality and handiness of the bass monster. Anyone who has had the pleasure of transporting the combination mentioned above, ideally with everything installed in massive flight cases, also knows what I'm talking about.

For this reason, Ampeg has for some time now felt the need to save as much of the legendary “big” sound of its cars as possible into contemporary, smaller designs in order to give ambitious beginners a taster course in Ampeg sound as well as a transportable solution for small shows or rehearsal rooms.

Ampeg also has the necessary experience when it comes to combo amplifiers, as the manufacturer had already offered a portable amplifier with the B-15 almost four decades ago to pay tribute to the slowly emerging session mode. Ampeg faces huge competition, as there are countless competitors in this segment who also want their piece of the low-frequency practice cake. With the recently introduced BA-110 (10 inch loudspeaker, 35 watts) and its little brother BA-108 (8 inch loudspeaker, 25 watts), the top dog of all-tube heads wants to establish its trademark in the small range too.


construction

The two suitcase amps are definitely transportable, as they only weigh 14.5 kilograms (BA-110) and 12.5 kilograms (BA-108). There was no compromise on stability either, as the chipboard walls are 16 millimeters thick and completely covered with Tolex. In addition, metal corners protect the housings against impacts on the edges. The front covering of the combos is removable; by pulling on a small plastic tab you can save yourself the anachronistic use of the slotted screwdriver. What emerges is a perfectly crafted 10- or 8-inch speaker, which has 2 additional bass reflex openings to give the housing dimensions, which are actually rather meager for a bass amplifier, more volume.

At first glance, you notice that the small cubes are not only designed for normal standing operation, but were also designed for wedge operation due to a flattened area on the back of the housing. Even if playing in this orientation seems very sensible in this performance class, the amps unfortunately prove to be very unstable in this playing position. Especially if the power cord is positioned on the back, the amps tend to tip over and must be prevented from doing so otherwise they will fall onto the back with just a light touch.

The amplifier section is pleasantly simple, as is typical for Ampeg. In addition to two jack input sockets with different sensitivity (active bass -15 dB or passive bass 0 dB), the combos have a standard three-band equalizer in the form of a bass, mid and treble control. External sound sources such as an MP3 player can be fed in via two RCA inputs, which can be adjusted to the volume of the bass signal using a separate volume control. As is usual in this performance class, both combos also have a headphone output, which switches off the internal loudspeaker when occupied. On the back, the combos have an FX loop-in path and a line-out, the output signal of which varies depending on the volume set on the amplifier. It's nice if you have external power amplifiers at the output, but bad if the signal is routed to the FOH position. There are no connection options for an additional box using the internal amplifier.


Practice

As a rough rule of thumb for the guitar:bass performance ratio, you can still use the well-known principle of 1:3, i.e. a bass amplifier should be able to deliver approximately three times the power as a comparable guitar amplifier. Based on this calculation example, it quickly becomes clear that the two Ampeg amplifiers were not designed for a real band contest, unless you want to get into the ring with 10 watt “guitar noises”. Moderate rehearsal room activity or ambitious practice amp use, on the other hand, is more the specialty of the two combos.

In terms of sound, Ampeg manages to shovel a lot of the classic tone into the practice amp category. Of course, no one expects the SVT tone for their pocket, but the certain “bony” tone can still be noted in both amps. While the BA-108 will find its way exclusively as a practice amp due to its speaker and performance design, the BA-110 can offer more bass foundation and assertiveness in terms of sound and volume.

Already set flat without active equalizer processing, the two combos offer a balanced sound. The powerful low-mid range, one of the characteristic Ampeg trademarks, can already be clearly heard in this setting. As expected, you should use the combination of bass control and volume moderately, otherwise it can lead to symptoms of overload. The products were not developed for heavy bass storms, common sense will undoubtedly recognize this and will not come up with the idea of challenging physics.

Nevertheless, both amps perform surprisingly confidently even at higher volumes, clipping very late and the background noise factor in terms of “rattle-and-clatter”, which is often found in small bass amps, remains largely a myth here. The full-range speakers do their job well and manage to deliver a consistently “adult” sound thanks to the combination of front speaker installation and double bass reflex opening.


Conclusion

Even though the competition in the area of bass practice amps is immense, Ampeg manages to transfer the legendary sound of its high-priced devices to a large extent into the small practice amplifiers. Thanks to a great deal of experience and the widely practiced “Developed in Home Country, Built in China” approach, the products BA-110 and BA-108 will find their way into music stores at a comparatively low retail price.

If you are looking for a small, light and portable bass amplifier combined with a decent tone, you should give the two brothers a listen. Whether you are a beginner or an ambitious user, the small cubes are a real recommendation in the field of practice amps due to the good workmanship, the coherent and simple construction and the good sound.

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Additional Informations:

Ampeg, a name synonymous with bass amplification excellence, has a storied history that has left an indelible mark on the world of music. Established in 1946, the company's journey from its humble beginnings to becoming a global leader in amplifier technology is a tale of innovation, commitment to quality, and a lasting influence on musicians across genres.

## The Genesis of Ampeg

Ampeg's origin story can be traced back to Linden, New Jersey, where Everett Hull and Stanley Michaels founded "Michaels-Hull Electronic Labs." The duo embarked on a mission to develop cutting-edge amplifiers for musical instruments. As their vision crystallized, they renamed the company "Ampeg," a portmanteau of "amplified" and "pegged," signifying their dedication to delivering amplified sound.

Ampeg's initial foray into the world of amplifiers proved groundbreaking. They introduced innovations that forever changed how bassists were heard on stage and in the studio. Their early success was driven by a commitment to producing top-tier sound quality.

## Pioneering Amplifier Technology

Ampeg's journey of innovation in amplifier technology is marked by several pivotal milestones:

### 1. Portaflex Series

The 1960s saw the introduction of the Portaflex series, a game-changer in amplifier portability. With its flip-top heads and matching speaker cabinets, the Portaflex series made it feasible for musicians to transport their equipment conveniently while retaining the powerful Ampeg sound. This innovation solidified Ampeg's reputation for both quality and portability.

### 2. SVT Series

The crown jewel of Ampeg's product lineup is the Super Vacuum Tube (SVT) series, unveiled in 1969. The SVT, a 300-watt all-tube bass amplifier head, is renowned for its unmatched power and distinctive sound. It became the go-to choice for countless legendary bassists, including James Jamerson, Jack Bruce, and Geddy Lee. To this day, the SVT remains an iconic amplifier highly sought after by musicians, a testament to Ampeg's enduring impact on the industry.

### 3. Ampeg V-4B

Another notable addition to Ampeg's arsenal is the V-4B, a versatile all-tube amplifier originally introduced in the 1970s. The V-4B is cherished for its warm, vintage tone and has garnered a devoted following among both bassists and guitarists in search of that classic Ampeg sound. It continues to be a popular choice for those who appreciate the warmth and character of tube amplification.

### 4. Ampeg Heritage Series

In recent years, Ampeg has remained at the forefront of innovation with their Heritage Series. These amplifiers combine modern features with the classic Ampeg sound, offering advanced technology while paying homage to the company's rich heritage. The Heritage Series ensures that both traditionalists and contemporary players have amplification options tailored to their preferences.

## The Signature Ampeg Sound

Ampeg is celebrated for its unmistakable sound characterized by warm, fat, and punchy tones. This distinctive sonic character is a direct result of their commitment to using vacuum tube technology in their amplifiers. The harmonically rich overdrive and deep low-end response of Ampeg amplifiers have made them a mainstay in a wide range of music genres, from rock and jazz to funk and beyond.

## Ampeg's Profound Influence on Music

Ampeg's influence on music extends beyond their iconic amplifiers. Their products have played a pivotal role in shaping the sound of countless legendary bands and musicians. From the iconic bass lines of Motown hits to the thunderous riffs of classic rock anthems, Ampeg amplifiers have been a driving force behind many seminal recordings.

Furthermore, Ampeg's dedication to innovation has set a gold standard for the entire industry. Many amplifier manufacturers have drawn inspiration from Ampeg's designs and technologies, leading to advancements in amplifier construction and sound quality across the board.

## Conclusion

In the realm of bass amplification, Ampeg stands tall as a legendary icon. With a rich history of innovation, a lineup of iconic products, and an enduring influence on music, Ampeg remains a name that musicians trust and admire. Whether you're a seasoned professional or an aspiring bassist, Ampeg's legacy continues to be an integral part of the musical landscape. The unmistakable sound of Ampeg amplifiers will resonate for generations to come, ensuring that the company's enduring impact on music endures as a timeless legend.

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20 well-known artists who are known for using Ampeg amplifiers:

1. James Jamerson - Renowned Motown session bassist.
2. Jack Bruce - Bassist for Cream.
3. Geddy Lee - Bassist and vocalist of Rush.
4. John Paul Jones - Bassist and keyboardist for Led Zeppelin.
5. Chris Squire - Bassist for Yes.
6. Jaco Pastorius - Influential jazz bassist.
7. Geezer Butler - Bassist for Black Sabbath.
8. Paul McCartney - Bassist for The Beatles.
9. Lemmy Kilmister - Bassist and frontman for Motörhead.
10. Flea - Bassist for Red Hot Chili Peppers.
11. Mike Watt - Bassist for Minutemen and The Stooges.
12. John Entwistle - Bassist for The Who.
13. Billy Sheehan - Known for his work with Mr. Big and David Lee Roth.
14. Kim Deal - Bassist for Pixies and The Breeders.
15. Krist Novoselic - Bassist for Nirvana.
16. John Deacon - Bassist for Queen.
17. Roger Waters - Bassist and songwriter for Pink Floyd.
18. Mike Dirnt - Bassist for Green Day.
19. Bootsy Collins - Funk bass legend.
20. Tina Weymouth - Bassist for Talking Heads and Tom Tom Club.

Please note that this list includes only a small fraction of Ampeg users, and there are countless other notable musicians who have also relied on Ampeg amplifiers for their signature sound.

TEST: Alvarez MD 3500

 Preface:

I still remember the time when acoustic guitars were generally delivered without pickups and recording an acoustic instrument live turned out to be a real challenge for sound engineers and musicians. Most of the time all that was left was a highly disciplined body control on the part of the artist, as the only recording was a microphone that was as sensitive as possible and every slight turn of the body completely changed the sound. A relaxed style of playing or even an entertaining stage show was completely unthinkable.

Nowadays, acoustic guitars without pickups are clearly in the minority and can usually only be found at high prices or at extra low prices. Almost the entire middle class has factory-installed acceptance systems that follow various transmission principles. What is even more unusual is the fact that the Alvarez company is releasing the MD 350, a mid-range model in a classic style, i.e. without any acceptance systems. However, the instrument can also be purchased with an integrated acceptance system as an option. The instrument comes from the ambitious Masterworks series and, to my surprise, is not manufactured in Europe or North America, but in China.




Construction:

While unpacking the plain cardboard transport box, a top-class transport case emerges from the foam beads. It has a built-in hydrometer (!) to keep an eye on the room's humidity, which is extremely important for acoustic guitars. While electric guitars are comparatively resistant to dry air, acoustic instruments are very susceptible to low humidity due to their more delicate construction and higher unpainted surfaces. The wood shrinks and is accompanied by cracks in the paint and even complete deformation of the components. To prevent this situation, Alvarez has integrated the measuring instrument into the lid of the case, a very useful and commendable device!

In terms of size, the actual instrument can be assigned to a dreadnaught, a size that is only surpassed in size by a jumbo. Even though some musicians complain about the lack of handling with a dreadnaught, this size has now become established as the standard measurement for this type of instrument. Their advantages in terms of volume, loudness and sound development are too great compared to their smaller relatives.

When it comes to choosing wood, Alvarez takes a traditional approach. The back and sides are made of solid Indian rosewood, which belongs to the black rosewood genus. By the way, the wood known as “Rosewood” in English has nothing to do with the German term rosewood due to a translation error. The double-locked 5-piece neck of the guitar appears to be made of mahogany, but unfortunately no further details could be found. However, the grain and sound support the assumption mentioned above. Deep black ebony was used as the fingerboard. A narrow but relatively high version was chosen as the fret wire.

Six gold-plated Grover tuners perform impeccable service on the headstock, which is also veneered with rosewood. The peg ends are made of a black, very non-slip plastic, which blends in beautifully with the black color of the fingerboard. An inlay made of 2 opposite A's made of mother-of-pearl completes the overall impression.

The top of the instrument is of particular importance. It is solid Engelmann spruce, a pine tree that comes from western North America. The top is optically traversed by an even grain, which gives the instrument a homogeneous look. The sound hole is surrounded by a narrow rosette and two thin lines, all very simple and tasteful. The overall simplicity of the instrument is further rounded off by a combination of tortoise and a so-called herringbone binding. In fact, all of the visual decorations on the instrument are kept very discreet. For example, the instrument only has a small oval fingerboard inlay on the twelfth fret; the usual orientation aids on the third, fifth, seventh and ninth frets are completely omitted. So if you are used to orienting yourself on the fingerboard, you should change your habits to focus on the edge of the neck, where the usual dot inlays are available.

Fortunately, the MD 350 has also addressed the issue of octave purity. The patented direct-coupled bridge, also made of ebony, has an offset at the transition from the G to the B string, which equalizes the vibration behavior of the non-wound strings in relation to the wounded strings.


Playability:

When you hold the neck of the MD 350 for the first time, the first thing you notice is the very pronounced C profile. The middle of the neck protrudes from the shaping like a small spike, a fact that some people have to get used to. Interestingly, there are no disadvantages to this form, on the contrary. This shaping was particularly effective in the picking style, as it opens up a favorable angle for the transfer of force to the fretboard, depending on the shape and size of the hand. The fretboard radius is moderate and the neck width can be described as strong but not overly fat. In combination with the neck profile, the result is an almost triangular shape, which at first glance seems unusual, but nevertheless functional. Thanks to the compensated bridge, the detuning is kept within pleasant limits even at higher registers. This means that full chords can be intoned relatively easily up to the eighth fret; only from the tenth fret onwards does a clear interference become audible.


Sound:
Mid-open! ;-) What do you mean by such a catchphrase? First of all, you have to take into account that a brand new instrument still sounds a bit brittle and awkward. Especially with a purely acoustic instrument, the woods have not yet settled in and ensure a slightly stiff attack and a relatively hard finish. However, with an experienced ear and practiced estimation skills, you can roughly estimate how the instrument has found its tonal personality after around 300-500 hours of playing time.

After the break-in period mentioned above, the MD 350 has a good chance of offering a warm and voluminous sound within the wood parameters. The aforementioned choice of wood already gives a rough direction, which is then supported without exception in the sound test. The rosewood sides and back provide a high midrange content, which is slightly above the resonance frequencies of mahogany due to the harder nature of the wood. The ebony fingerboard and bridge slightly increase the degree of hardness, only to be somewhat relativized by the mahogany neck.

What I really like is the solid spruce top, which in my opinion is yet to find its true potential. Detached from this, the instrument already has enormous volume and will have no problems asserting itself in an acoustic setting.



Conclusion:
It is becoming more and more common to notice that China is developing from a pure “cheap wage equals cheap instrument” manufacturing country into an ambitious upper middle class manufacturer, a development that Japan also went through bit by bit at the time. The import of Western knowledge, implemented through cheap Eastern wages, has in recent years taken on forms that no one would have ever dared to predict. We will probably find out relatively soon how long the almost complete abandonment of environmental protection measures and the political situation will allow this economic upgrade.

Separately from this, the bottom line is that the MD 350 is a sonically remarkable instrument built of high craftsmanship, which offers good sound quality at a low price. Visually tasteful, I think it will find its customers very quickly.

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Additional Informations:

Alvarez Guitars, a distinguished name in the world of acoustic and acoustic-electric guitars, stands as a paragon of craftsmanship, tradition, and innovation. With a history dating back to 1965, the company has earned its place among the most respected and coveted guitar manufacturers globally. This comprehensive article delves into the rich heritage, meticulous craftsmanship, diverse product range, technological innovations, and enduring influence of Alvarez Guitars within the realm of acoustic instruments.

### **A Legacy of Excellence**

Founded in 1965 by Kazuo Yairi in Nagoya, Japan, Alvarez Guitars embarked on a journey rooted in a commitment to delivering exceptional acoustic instruments. From its inception, the company has adhered to the principles of craftsmanship, attention to detail, and a deep respect for tradition. These qualities have been the cornerstone of Alvarez's legacy of excellence in the guitar manufacturing industry.

### **Craftsmanship and Tradition**

At the heart of Alvarez Guitars' enduring appeal is its unwavering dedication to traditional craftsmanship. The company's skilled luthiers draw upon decades of experience and a profound understanding of wood selection, design, and construction techniques to create instruments of unparalleled quality.

Alvarez's commitment to tradition extends to its choice of tonewoods, including premium spruce, cedar, mahogany, and rosewood, among others. The meticulous selection and treatment of tonewoods contribute to the rich, resonant tones and impeccable playability that define Alvarez guitars.

### **Diverse Product Range**

Alvarez Guitars offers a comprehensive and diverse product portfolio to cater to the needs and preferences of musicians across various genres and skill levels. Key product categories within the Alvarez lineup include:

#### 1. **Acoustic Guitars**

Alvarez's acoustic guitars encompass a wide range of body styles, including dreadnoughts, jumbos, grand auditoriums, and more. These instruments are celebrated for their warm, balanced tones and exceptional projection, making them suitable for solo performance, studio recording, and live settings.

#### 2. **Acoustic-Electric Guitars**

The company's acoustic-electric guitars seamlessly blend traditional craftsmanship with modern electronics. Alvarez incorporates industry-leading pickup systems, such as those from LR Baggs and Fishman, to ensure the acoustic integrity of the instrument is faithfully captured and amplified. These guitars are prized by performers for their versatility and stage-ready capabilities.

#### 3. **Classical Guitars**

Alvarez's classical guitars pay homage to the timeless artistry of nylon-string instruments. These guitars feature impeccable construction, traditional fan bracing, and exquisite tonewoods, delivering the rich, warm tones synonymous with classical guitar music.

#### 4. **Artists Series**

The Artists Series by Alvarez represents a pinnacle of craftsmanship, with models crafted in collaboration with world-renowned artists and luthiers. These guitars showcase Alvarez's commitment to pushing the boundaries of design and tonal possibilities.

#### 5. **Masterworks Series**

The Masterworks Series exemplifies Alvarez's dedication to uncompromising quality. These guitars are handcrafted with the utmost precision, featuring the finest tonewoods and meticulous attention to detail. They are favored by discerning musicians and collectors alike.

### **Technological Innovations**

While Alvarez Guitars remains deeply rooted in tradition, it is not averse to embracing technological innovations that enhance the playing experience. The incorporation of advanced bracing patterns, such as the FST2M forward-shifted, scalloped X-bracing, and the Bi-Level bridge system, have elevated the resonance, sustain, and intonation of Alvarez instruments. These innovations represent a harmonious blend of tradition and modernity.

### **Global Influence and Presence**

Alvarez Guitars' global influence extends across continents, earning it the trust of musicians, educators, and enthusiasts worldwide. The brand has established a strong presence in North America, Europe, Asia, and beyond, supported by an extensive network of authorized dealers and distributors.

### **Educational Initiatives and Support**

Alvarez Guitars is not only dedicated to crafting exceptional instruments but also to nurturing the musical journey of players at all levels. The company offers educational resources, including tutorials, guides, and instructional materials, to assist beginners and experienced players in mastering their craft. This commitment to education underscores Alvarez's role as a supportive partner in the musical community.

### **Conclusion: A Resonant Tradition**

In conclusion, Alvarez Guitars stands as a beacon of excellence in the realm of acoustic and acoustic-electric guitars. With a rich heritage, an unwavering commitment to craftsmanship and tradition, a diverse product portfolio, a willingness to embrace technological innovation, a global presence, and a dedication to musical education and support, Alvarez has earned its place as a venerable name in the world of guitar manufacturing. Its instruments continue to inspire and resonate with musicians, reflecting the company's enduring legacy of crafting instruments that transcend mere wood and strings to become vessels of artistic expression and musical excellence.