STUDIO EQUIPMENT
Studio C

Neumann M 149

PIECE: 1

The M 149 Tube is one of Neumann’s flagship tube condenser microphones, with a large-diaphragm capsule, 9-way pattern - including omni, wide cardioid, cardioid, hypercardioid, figure-8, and four intermediate positions and very low self-noise.

The M 149 is one of the most versatile microphones ever made. Capture the perfect amount of ambience in any situation with nine selectable polar patterns.

Neumann M7 capsules

PIECE: 1

In 1932, Georg Neumann introduced a transducer with a cardioid polar pattern, the legendary M7 capsule.It is rightly considered a milestone in mic development, and at the same time, it established what is called the Neumann sound.

In close cooperation between Georg Neumann and his managing director Erich Kühnast, the M 7 continued to be developed even after the move to Gefell in 1943 due to the war.

In 1947, Georg Neumann transferred the management of the limited partnership Georg Neumann & Co. in Gefell to Erich Kühnast.In the following years, Gefell`s M 7 fabrication, a flagship product, reached enormous quantities.

Neumann U 87 Ai

PIECE: 1

The U 87 Ai is Neumann’s latest version of the classic large-diaphragm, tripolar FET condenser. The Neumann U 87 is probably the best-known and most frequently used studio microphone the world over.

Its smooth and refined sound is as iconic as its elegant exterior design. The U 87 is the standard microphone for speech and vocals. The mic offers three pickup patterns via a switch mounted below the headbasket. Cardioid, Omni, and Figure-8 patterns are supported.

Neumann U47 FET

PIECE: 1

The U 47 fet was first manufactured from 1972 to 1986. Since its original release, the Neumann U47 FET has become a legendary microphone that stands on its own from the U47.

The microphone came to fruition as Neumann put an end to production of the U47 in the mid-1960s. Working to develop the same microphone using transistors.

The final design of the U47 FET featured the original K47 capsule, but could better handle high sound pressure levels without affecting the resulting recording.

Sennheiser MD 421

PIECE: 1

The Sennheiser MD 421 is a German cardioid dynamic microphone commonly used for speech on broadcast and for music at live concerts and in the recording studio.

At the end of the 1950s, Fritz Sennheiser commissioned the engineers Paul-Friedrich Warning and Johann-Friedrich Fischer to develop a new microphone. In 1960, the MD 421 was introduced with a directional polar pattern, advertised by the manufacturer as a studio microphone.

Sennheiser MKH 416

PIECE: 1

The MKH 416 is one of the most popular short shotgun microphones for film and ENG (electronic news gathering) applications. The MKH 416 is a short shotgun interference tube microphone.

Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone.

Shure SM 57

PIECE: 1

The SM-57 is a unidirectional dynamic mic that has been used in some respect on 75% of the recordings in your collection — from snare drum to vocals to guitar cabs to, well, everything.

It is known for sounding pretty good on everything, and more specifically for its “carefully contoured presence rise,” sometimes less charitably known as “midrange honk.” It is a utility mic, usable on just about any source in any context, and is probably the most popular microphone in history.

EMI Pathé Marconi

PIECE: 1

This is the historic 24 channel "large format console" from EMI / Pathe Marconi, designed & built for the studio of the same name.

Unique in its kind - unique in the world.

This more than special console comes out of the late 60´s.
Pathe Marconi is the name of the studio and Boulogne Billancourt the place, south west of Paris, after the Porte d'Auteuil near Parc des Princes and the Roland Garros tennis stadium.

Also the Beatles dropped in to Pathe Marconi Studios in January 1964…

EMI's West German imprint, Electrola Gesellschaft, had been attempting to convince Brian Epstein and George Martin that they could only sell Beatles records if they were in German.
The session had originally been scheduled to take place on 27 January 1964, but The Beatles had proved reluctant to attend. George Martin eventually persuaded them to fulfil the obligation, and so they entered the Pathé Marconi Studios in Paris to record new versions of their two biggest hits. They recorded new vocals for “She Loves You”,”’I Want to Hold Your Hand” and “Can’t Buy Me Love”

The Rolling Stones show up in the studio in 1982. At this time it was their second home. A kind of new Olympic studios for them.

EMI TG12345 MKQ

PIECE: 1

One of only two EMI winged TG12345 Mk.IV consoles ever built.

This beauty found it’s new home as main console at Prime Studios control room C, next to a EMI TG12410 transfer desk.
The iconic Abbey Road Studio’s EMI TG12345 Mk.IV recording consoles used between 1971 – 1983.

During the '70s and up until 1983, the TG12345 consoles (Marks I–IV) were the main desks used at Abbey Road Studios, contributing to the sound of timeless albums such as Pink Floyd’s The Dark Side of the Moon and Wish You Were Here, John Lennon’s Plastic Ono Band, George Harrison’s All Things Must Pass, and many more.

Only two of the Mk.IV series were ever build - custom-made by EMI engineers specifically for the Abbey Road Studio.
The two TG12345 Mk.IV recording consoles were located in Studio 2 and Studio 3.

The TG was EMI’s first solid-state mixing desk. Its modular design was an innovative approach that enabled the quick replacement of faulty channel strips (or ‘Cassettes’ as EMI called them). Each Microphone Cassette contains two input channels that could be used independently or as a stereo pair.
One of the main features of the TG was the inclusion of a compressor/limiter in each channel, unique in console design at the time. The compressor/limiter was based on the valve Fairchild and Altec units that EMI used in the 1960s, but being a solid-state device, their sound was not the same.

Most engineers found the sound to be more aggressive than the old valve units and although popular, the trusty Fairchild 660s and Altec RS124s were still preferred for processing vocals and drums. Compression or limiting was selectable via a toggle switch, with COMP offering a 2:1 ratio similar to the Altec, and LIMIT giving a 8:1 ratio mimicking the Fairchild. Another of the TG’s features was its expanded EQ, which offered wider scope for shaping sounds than the old EMI REDD desks that had gone before.

The solid-state TG12345 had a much smoother and brighter sound than the valve REDD.51 it replaced. Some engineers complained that they were unable to get the gritty, edgy sounds they had achieved by overloading the valves in the older desks. The only Beatles album recorded with the TG was Abbey Road, and comparing the sound of that album with previous ones clearly shows off the TG12345’s inherently clean nature.

EMI TG12410 Transfer Desk

PIECE: 1

Originally built for transferring the master analog tape to the vinyl master cutting machine.

The TG12410's tone control and filter modules have become secret weapons of mastering engineers all over the world - or in better words…everywhere a rare TG12410 console can be found. Very few of these consoles were ever made.
The distinct solid-state transistor-based sound of the TG12410 has proven itself time and again over many decades. Whether it's used for mastering as a complete console, or for mixing with only select modules, the TG brings nothing less than magic — the same magic heard on albums like Pink Floyd's The Dark Side of the Moon, Nirvana's In Utero, Radiohead's OK Computer and Ed Sheeran's "+"..

The EMI TG12410 was custom designed and built by EMI's research department in Hayes, Middlesex, England, beginning in the late 60s. Made strictly for use in EMI studios around the world, this console was never available to the public.
The TG12410 has a sound so musical and unique that Chandler Ltd. released a plug-in emulation of the modules a few years back. But no plug-in can match the sound of the original.

NEVE 5300 SIDECAR

PIECE: 1

Neve Melbourn – Classic Neve 12 channel sidecar. These beautiful small discrete 12 channel desks were designed to accept the 33114 and/or 33115 mic pre/eq modules, great, smooth & punchy sounding Neve modules.

Class A/B rather than Class A (as in the legendary 80 series larger format desks), the 33114/5 have the same mic preamps as the 1081 and comprehensive three band eq, making them punchier than a 1073 and so ideal for drums, and more modern music with raunchier dynamics.

Although limited to two aux’s which doesn't much matter for recording, the Melbourn has inserts and direct outputs plus decent centre section facilities. All in all, an incredibly desirable, great-sounding little lady.

TAB Telefunken Console

PIECE: 1

This 12 channel desk has been build for the “Deutsche Grammophon” & used for classical music recordings.

It includes V72, V76s, U70 tube preamp modules (even one V72 for the talkback microphone…), U71 level meters, Eckmiller W86 high/low pass filters & the Eckmiller PF 5/8h filters.
It was used as a mobile recording console by the “Deutsche Grammophon”.

This mixer consists of 5 individual pretty heavy boxes: the center section, two boxes with build in preamps & meters and two boxes for wiring & microphones.

Two of these boxes had to be placed one on top of the other and the resulting two “packages” then had to be connected with metal rods.

This created a mobile table, in the middle of which the central unit was placed. The individual “boxes” were then quickly connected to the main section using Tuchel cables and the mobile tube mixer was ready for use.

Direct siblings or at least blood relatives of this console are the well-known REDD consoles.

A slightly modified version of the V72 modules, the V72S, were found in the famous REDD.17 and REDD.37 consoles as standard channel amplifiers. The V72S isn't much different from the standard V72. It is modified for EMI's 200 Ω standard and provides 6 dB higher output gain. The original V72 wasn't supposed to be replaced because the quality wasn't good, EMI simply wanted a cheaper replacement because the original amplifiers were so expensive.

UNIVERSAL AUDIO CUSTOM

PIECE: 1

An unbelievable sounding custom console.

10 channels, with historic Universal Audio 610 mic preamps, Universal Audio 508 (A & A.V.) inductor 3 band Eq’s,  3 aux/echos, 3 busses, direct out per channel and a left - center - right master section - everything fully tube driven.
This beauty is specially built for use at Prime Studio with originally parts out of the Bill Putnam era - late 1950´s-1960´s.

Unlike today, in 1960 there were very few recording studios and they were mostly owned by the major record companies. Almost all recording consoles of the day were custom built using lever key switches, transformers and vacuum tube amplifiers & thats exactly what was achieved and implemented for Prime Studio with this console.

Completely custom made with originally parts out of the Bill Putnam era.

While the 610 was never sold as a complete console, the 610 modules were used as a basis for many consoles used at Bill's studios.

The UA 508 Envelopmental Equalizer is another of UA's earlier commercially available EQs. It is a no-loss, high- and low-frequency passive EQ designed to be used with modular amps like the 1008 tube amplifier or the 1108 solid-state amplifier.

Avalon Design U5

PIECE: 1

Since its introduction in 1995, the Avalon U5 quickly became the go-to active DI for bass among studio professionals and top-shelf musicians.

The U5 high-voltage DI-preamp combines a unique passive tone selector with a variable gain preamp and filter.

The high input impedance accepts a wide variety of signal levels and instruments from acoustic guitars to high-output active bass guitars and keyboards.

The U5 direct box is loaded with sonic character and user features professionals demand.

EAR 825 Q

PIECE: 1

The EAR 825 is a stereo equalizer for studio use where sound quality is the top priority.

Enter the genius of Tim De Paravicini, who knows a thing or ninety-nine about recording studio gear and vacuum tuber electronics. His EAR 825 Q vacuum tube amp is a five band pure valve circuit equalizer.

There are adjustable attack points and it is fully balanced. Tube compliment is six 6DJ8 / ECC88. Esoteric Audio Research Ltd was established in England in 1976.

EAR products have a history of winning a long list of awards in a range of different product categories.

Focusrite Forte ISA 110

PIECE: 1

The first commercial Focusrite product - a combined equaliser and mic preamp designed by Rupert Neve, who set up Focusrite back in 1985 after parting company with Neve Electronics. He called his creation the ISA 110, a comprehensive preamp built with a Lundahl transformer and a Neve EQ circuit.

It became the keystone product for which Neve founded his newest business venture upon, a boutique audio processor company he called Focusrite.

The circuits within the preamp were meticulously designed, and each unit was sourced and outfitted with military-grade parts. It was built with the intention of it being the best preamp money could buy, and Martin loved the module so much that he had Neve outfit his entire mixing console, in AIR Studios London, exclusively with ISA 110s.

It should be noted that these original consoles were not cheap. If you were to buy a pair of ISA 110s in the late 1980s, along with the required power supply and mounting rack, they would run you upwards of $7,000 (around $22,000 today).

George Massenburg Labs 2030

PIECE: 1

Our “go to” mastering compressor - quality & sound without any compromise.

Twenty-two years of progressive research into loudness perception resulted in a limiter/compressor unlike any other. The 2030 Dynamic Range Controller was intrinsically developed to react to loudness (rather than volts) like our ears do.

The 2030 Mastering Dynamic Gain Control is the precision tool for mastering and other critical applications where the utmost in calibrated control, flexibility, and audio transparency is required.

Based on the proven GML 8900 Series III audio and control topologies, this no-compromise dynamic range controller continues the GML engineering tradition and expands the familiar capabilities of the Model 8900 to include flexible multi-channel, multi-controller deployment.

George Massenburg Labs 9500

PIECE: 1

Brought to you by George Massenburg, the man who invented, together with Burgess Macneal, the very concept of parametric equalization, the GML 9500 Mastering Equalizer is the mastering-grade version of the industry-standard 8200.

For over twenty years engineers have relied on Massenburg equalization to create sonic perfection, and both the 8200 and the GML9500 can be found on virtually every major recording studio's racks.

It's that clear! George Massenburg created the GML9500 for no-compromise audio environments in which the wrong master EQ could mean the difference between a Grammy and an also-ran.

The 9500 is the Mastering Version of the 8200. The Gain, Frequency, and Q controls are fully-detented for absolute precision and repeatability.

With 1/2dB steps of Boost and Cut and 24 different frequency choices per band, the 9500 is a powerful and comprehensive workhorse for Mastering Engineers around the world.

Locomotive Audio Model 286A

PIECE: 1

From beautiful glowing vocals, natural acoustics and punchy drums to overdriven and saturated classic tube warmth - Locomotive Audio Model 286A Dual Preamp offers a huge sonic palette for engineers and producers to explore.

Its single-ended Class A tube signal path is what makes this preamplifier so special. Inspired by the great vintage Ampex 601 vacuum tube tape recorder, the 286A features two tubes per channel, one EF806 and one 12AY7.

The 286A can play nice by acting clean and natural with gentle even-order harmonics for a smooth, sweet touch. Get more aggressive with the "Gain" knob and drive the first 12AY7 stage for a warm and coloured thickening effect.

Go all-out and slam the final 12AY7 stage and output transformer through the "Level" knob for a fully-driven, saturated tube amp sound! Clean and natural to overdriven and fuzzy warm; your choice!

Millennia TD-1

PIECE: 1

The most complete and comprehensive D.I. on the market and also THE one for Bass and Guitar players.

The Millennia TD-1 combines an instrument/amplifier/DI input with mic and line recording paths and preamp outputs.

The sturdy, handcrafted, 15-pound tabletop unit incorporates many critically acclaimed design elements from other Millennia products, including alternate FET and tube circuit paths (the latter for instrument or speaker/amp input only), two bands of NSEQ-2 equalisation and the HV-3 solid-state mic preamp.

The ultimate D.I.!

Neve 1064

PIECE: 1

One of the most musical sounding preamps and EQs ever.

The Neve 1064 is a Class A discrete Mic Pre/ 3-band EQ - originally designed for Neve 80 series consoles. The preamplifier and equalizer are the same as a 1066, but in a longer module to fit 1081-size slots.

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 1081

PIECE: 1

The Neve 1081 Classic Microphone Preamp/EQ is one of the most desired pieces of gear in the entire world. The 1081 made its first appearance in 1973 for Decca Studios in Paris and later starred in the Neve 8038 and 8048 consoles and is still being used on today's platinum-selling albums.

The 1081 has incredible sensitivity, fast and musical response to transients, as well as distinctive Neve equalization featuring effective high- and low-pass filters created to separate unwanted signal outside the passband. It uses the older grey, red and blue Marconi knobs on a faceplate of RAF (Royal Air Force) blue-grey paint.

Formed in 1961, Rupert Neve & Co. was focused from the beginning on designing and building the highest quality professional audio components. After establishing itself in the marketplace, and moving from Rupert's house to a newly built factory in Melbourn, England, Neve went on to create three of its most iconic products: the 2254 Compressor/Limiter in 1968, the 1073 Mic Pre/EQ in 1970, and the 1081 Mic Pre/EQ in 1973.

Aimed at the broadcast market, these units were found in numerous custom-built Neve consoles of the day. And because so much of their work was customized, there are many variants on the basic 2254 Compressor and 1073 Mic Preamp, including different form factors, cosmetics, components and features.

Neve 1093

PIECE: 1

Same preamp as 1081 but extra mid band on the EQ. The EQs have different frequencies and the output transformers are also different, with a faster transient response that makes drum recordings sound bigger.

The most elaborate EQ of any original "vintage" Neve module, and specially built for the EMI NEVE recording consoles. Only seven of those consoles were built.

The EMI Neve series of audio consoles were designed and produced by Neve in the early 70’s to the exacting standards of EMI’s engineers, to be utilised worldwide in EMI studios.

They are considered by many, including then Head of the Electrical Design Drawing Office at Neve, Geoff Tanner [Aurora Audio] to represent the all-time pinnacle of audio console design, and have been described as an 8078 on steroids, amongst many other superlatives. 

Neve 33115

PIECE: 1

The Neve 33115 is a Class A/B Mic Pre with 3 band EQ and hi pass filter. The 33115 is essentially one half of the EQ points of the 33114. Tight and punchy!

Designed to 1974-1975 by Mr. Rupert Neve and his associates in Cambridge.

This amp uses the same technology, the same topology and the same electronics as its illustrious big brother, the 1081. This model, and the accompanying series (3114, 3117, 33115, 33114 and 33117), is simplified and more compact than the infamous 1081.

He equipped the "small" Neve consoles of the time (Melbourn) or Broadcast consoles (5315, 5316), while the 1081 equipped the 80 Studio Series consoles (8048, 8058, 8068 ) from the same period.

With a 3 band semi-parametric equalizer (against 4 for the 1081), it also has a high pass filter, a phase reverse switch and an on / off section of its correction.

The various names for the same model, 33115 - 3115 for example, designate electronically identical preamps but with slightly different cosmetics: "3" designating a different paint color : grey in one case, RAF Blue in the other, RAF meaning... Royal Air Force(!).

Sound quality ... Is it really necessary to talk about? It seems that time and history have already said everything about it...

Prime Studio 8x VU Meters

PIECE: 1

Equipment without meters is just great - trust your ears ;) But sometimes there could come a moment when you inexplicably need a few meters.

In the event of that strange, disturbing moment, our Prime Studio VU meters can be used wherever you need them. Input - Meter - Output -> Simple & effective.

Prime Studio® MP 7077 - LPO 7073

PIECE: 1

LPO 7073
CLASS A Line Preamplifier & DI Vacuum Tube Saturator

• Dual mono line / instrument preamplifier
• Fully discrete circuit design
• 500 series format
• 12AX7 vacuum tube
• Line preamp gain 45 dB
• Instrument preamp gain 50 dB
• Dual input architecture
• Flexible TT inputs and outputs
• Output level LED VU meter
• +48V switchable phantom power
• -20 dB switchable PAD
• Switchable distortion effect
• Switchable phase reverse
• Switchable simultaneous line and DI functionality
• Handcrafted with selected components
• Op-amp design by Charly Bohaimid

MP 7077
CLASS A Microphone Preamplifier & DI

• Mono microphone preamplifier / instrument / line preamplifier
• Fully discrete circuit design
• 500 series format
• Mic preamp gain 64 dB
• Instrument / line gain 50 dB
• Dual input architecture
• Flexible TT input and output
• Output level LED VU meter
• +48V switchable phantom power
• -20 dB switchable PAD
• Switchable Hi Z
• Switchable phase reverse
• Handcrafted with selected components
• Op-amp design by Charly Bohaimid

Sontec Parametric Disk Mastering Equalizer

PIECE: 1

Sontec MES-432C/6 is considered by many top engineers as the BEST Parametric Mastering Equalizer. The absolute standard in mastering equalizers.

Created by the co-inventor of the parametric EQ Burgess Macneal (the other one is George Massenburg). According to him, 430/432 units since being introduced in the late 60s early 70s, have been used on more hit records than any other outboard mastering EQ.

It was over 51 years ago (1972) when the first ITI MES-430 Parametric Disk Mastering Equalizer appeared on the scene. Manufactured as a tool to assist ‘cutting engineers’ - you remember those guys, they cut the masters that were used to press weird-looking flat black round disks back in the day, called records.

Quote from Burger Macneal: “We could have written a book entitled; ‘Three hundred ways not to build an equaliser’...”

TAB / Siemens V72

PIECE: 1

Widely considered by some of the worlds handsomest audiophiles to be the greatest mic-pre of all time, and the crowning glory of the V series line.

The old V72 preamps have become collectors items and one of THE Holy Grails for high-quality studio recordings. In other words: "The really hot shit!".

The V72 was a self contained amplifier with a fixed gain level of 34 dB.  It was originally used as a microphone amplifier. By 1955 it was the standard pre-amplifier in German radio stations.

The North West German Radio (NWDR) working in cooperation with the Institute of Broadcast Technology (IRT) of Hamburg developed a complete new equipment standard for the German radio network.  This led to the development of the historic V72 module.

The V72 was developed by the NWDR under the technical supervision of Professor Nestler between 1949 and 1952 as a microphone and main studio amplifier.

Urei LA-3A

PIECE: 1

The UREI LA-3A was designed by Brad Plunkett in the late 1960s.

The LA-3A leveling amplifier made its debut at the 1969 NY AES show and marked the departure from the tube design of the Teletronix LA-2A leveling amplifier.

The LA-3A - like its tube-based papa - derived its response characteristics from the legendary T4b opto-isolator, which consisted of an electro-luminescent panel paired with a photo-sensitive resistor. The louder the signal coming in, the brighter the electro-luminescent panel. The photo-resistor reacts to this light and the signal gain is reduced.

The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favourite of engineers and producers worldwide for its unique compression characteristics and sonic signature.

WSW Dynamikbegrenzer

PIECE: 1

Brand: Wiener Schwachstrom Werke (WSW)
WSW Siemens WSW 601431 A Compressor / Limiter.

One of the finest vintage compressor / limiters you can find.

The built quality is superb German engineering the highest level possible.

It sounds very musical, warm and unique. It is transistor based but can kill tube Fairchild.

WSW (Wiener Schwachstrom Werke-> Vienna Lowcurrent Plant) was the Austrian branch of Siemens audio division and made similar looking versions of the Siemens and Klangfilm gear that was mostly identical in electronic design and circuit.

There are some WSW version of the V72 as well as the Movie EQs. During the late 60 early 70s WSW build am entire line of audio equipment that was mostly for the Austrian broadcast market. So, WSW is even better version of Siemens!!

Diezel Herbert

PIECE: 1

The Diezel Herbert is a mighty 180-watt head with three completely independent channels, including separate EQs, for perfectly dialled sounds at any output level.

The Herbert started out as a clean sheet of paper. Peter Diezel began with a different set of parameters. This time, the goal was to produce an extraordinary performance amp, capable of delivering delicate, dynamic shimmer; detailed, focused crunch and aggressive, soaring solo tones effortlessly – right out of the box – with the knobs at 12 o’clock - not 12!

Marshall JTM 45 Combo

PIECE: 1

Handwired and ready for action, this reissue of Marshall's classic 30-watt amplifier has rich and creamy overdrive that will burn the hair off your eyebrows.

Sporting twin 12" Celestion G12M-20 Greenback speakers, tube-powered tremolo circuitry and two EL84 power tubes, the Marshall 1973x 2x12 is a hand-wired, all-valve combo designed to summon the classic tone and power of vintage Marshall. Based on the original 1973 combo.

Marshall SL-X

PIECE: 1

This is a pumped up version of the much more common JCM 900 model, with extra tube on the preamp section. After the short lived run of the JCM900 Mk III, that amp was redesigned into the SL-X series in 1993. The two amps lines share the same control panel layout as well as model numbers, but they are quite different in sound and function.

The main principle is the same - a single channel amp, with two master volume controls, and more gain provided to capitalise on the popular hot-rodded and modded Marshalls of the time.This amp delivers classic sweet “Marshall sound” if you just know how to tune the gain settings. Kiss used these amps on their first reunion tour.

MESA Engineering Express 5:50

PIECE: 1

The Mesa Boogie Express 5:50 1x12 Combo packs the dominating tube amp power the company is praised for into a easy to transport, dual-channel package. Sporting a baseline Clean channel for open, transparent tone, the Crunch channel comes armed with even more tonal options through a Tejas-style Blues mode and punishing harmonically-saturated Burn mode that pushes your tone to the front of the mix. Topped off with the signature five-slider EQ section in addition to the hi/mid/low knobs, this hand-built titan brings big presence in a small package.

Prime Studio® LPO 7073

PIECE: 1

Prime Studio® MP 7077

PIECE: 1

VOX Night Train

PIECE: 1

Offering 2 Watts of pure tube tone, the Lil’ Night Train is the ultimate compact amplifier. Whether you be rehearsing, recording, on the gig, or practicing quietly at home, the all-tube design offers a diverse range of authentic, authentic VOX sounds.

The exterior features a durable mirror-finished chassis, cut in the familiar VOX diamond pattern. Matched with the dedicated V110NT speaker cabinet, the Lil’ Night Train Set is the perfect rig!