Mark Tremonti’s 100-watt signature amp—five years in the making—features three totally independent channels spanning silky, substantial clean tones, responsive, controlled overdrive, and white-hot lead sounds that exhibit incredible definition at the highest gain levels.
The result of many years of R&D and road-testing, the MT 100 is a profes- sional amp for serious musicians. Built on a robust chassis, the MT 100 fea- tures custom transformers and three independent channels with identical controls but truly unique voices.
Each of the MT 100’s three channels is built from its own unique circuit with dedicated preamp tubes to ensure the voicing of each channel is exactly as intended. The Clean channel (like the MT 15) stays pristine and chimey – try it with split or single coils to hear it sing. The Gain channel (also like the MT 15) gets lush heavy tones with massive bass response that is never muddy. And, the added Overdrive channel (modeled after one of Tremonti’s favorite personal amps) brings an incredibly flexible gain structure and musical midrange response to this already versatile amp platform. Select your chan- nel on the amp face or via the included footswitch – both feature matching channel lights so you’ll never lose your place. All three channels share the same preamp tube type (12AX7’s) for ease of servicing.
Mark Tremonti's New PRS MT100!
At a powerful 100 watts, the value of the MT 100 well exceeds its price tag. It is a straightforward, powerful amp full of aggression and articulation, and the onboard effects loop means your pedals are welcome to join the party.
Please note: Mind your master...volume that is. On the Overdrive and especially on the Lead channel, keep the Master down to start. On the Lead Channel, keep the Master below 10 o’clock to avoid dangerous volumes!
A 5-watt affair with a built-in attenuator that aims to cop vintage tweed and blackpanel tones.
There is nothing quite like the sounds of a cranked-up blackface or tweed-era guitar amplifier; but getting those tones at reduced volume levels has been increasingly difficult -- until now.
Introducing the Tone King Gremlin 5-watt all-tube head. Whether you're picking at home or keeping up with a drummer, the Gremlin dishes out enough vintage-vibe to inspire. The amp's two inputs and simple control layout make finding your tone an intuitive process. Plug into the Rhythm channel for a more blackface tone with bell-like highs and increased headroom. Or maybe the Lead input's tweed-style drive is more your flavor. Thanks to the built-in Ironman II power attenuator, you're able to enjoy the saturated tone of a maxed-out power tube at a level that won't wake the neighbors. If you're drawn to the American side of cranked vintage amps, your tone is in the Gremlin.
The variety of tones you'll get from this unassuming tube amp is brilliant. Whether you prefer cleaner tones as a pedal platform, or live for pushing your amp into sweet-sounding overdrive, the Gremlin's got it. Plug in any standard A/B/Y footswitch and make both channels yours on-demand.
● Rhythm and Lead channels are voiced for blackface and tweed tones
● Rhythm offers more headroom, while Lead is a more driven voice
● Select your input or jump the channels with an optional A/B/Y footswitch
Even at 5-watts, the Gremlin is powerful and enough to keep up with most drummers. The onboard Ironman reactive load power attenuator delivers that same sweet tube drive at bedroom levels. Experience the genuine tone you crave, at any volume you choose.
● Onboard Ironman II power attenuator
● Reactive load reacts and feels just like your amp at any volume
● Get the same tone whether performing live or playing quietly
For the Gremlin Head, Tone King has selected two 12AX7 preamp tubes and a 5881 power tube. The 5881 tube provides greater headroom, making it better suited to match with YOUR cabinet. Connect this head to a 4x12 cab and hear just how BIG this little Gremlin sounds.
Dimensions: 8"(L) x 15"(W) x 9.25"(H)
Weight: 14 lbs.
For more information:
How Indigenous’ Mato Nanji gets roaring Hendrix-inspired tones from his Fender 75s.
from his own heart or from that of the Nakota Nation, to which he belongs.
“I learned a lot about guitars, amps, and pedals from my dad," Nanji explains by phone from his home on the Yankton Sioux Reservation in South Dakota, where he grew up and still lives—at least when he's not touring the world with Indigenous or as an essential performer on the Experience Hendrix Tours. His father, Greg Zephier Sr., was also an accomplished guitarist and a member of the band the Vanishing Americans, who opened for Bonnie Raitt and other notables.
“My dad would bring home new gear and new music all the time, and once he brought home a Fender 75 and said, 'Hey, check this out,' and I was hooked," Nanji says of his favorite-model amp. “It sounded different from the other Fenders we had: a little darker, a little warmer, a little fatter, and bigger."
Currently Nanji owns two 75s: a 1x15 combo and a head, which he uses to power a Fender 4x12. “I had a 1x12 combo first, but I got the 15 because it has a little more kick with a bigger low," he relates. “Sometimes I use both of my 75s in the studio along with my Super Reverb, with its four 10s. The combination of all three is really awesome."
The 75 series has more functions than typical early '80s Fenders and were among the last designs for the company by famed engineer Ed Jahns, who spearheaded Fullerton amp building before Paul Rivera took the reins in 1982. Both men had a similar bent for innovation, and their designs are sometimes confused for one another's.
Jahns designed the first Fender amps with push/pull tone controls and was also behind the legendary 435-watt Fender 400 PS. The 75 was made from 1980 to 1982 and can scale down to 15 watts with the flip of a toggle. The faceplate controls, from left to right, are a bright switch, a volume dial for the clean channel, treble, mid, and bass EQs—all with pull-out boost, a lead drive dial, reverb, a lead level, and a master volume. The tube array is three 12AX7s, two 12AT7s, and two 6L6 power tubes, but the rectifier is solid-state. The combos came with 8-ohm Electro-Voice or Fender Blue Label speakers made by Eminence. These amps aren't as collectible as many vintage Fenders, despite their sonic virtues, and can be found for $500 to $1,300, depending on condition.
Nanji likes to use only the lead side of his 75s and sets the dials on 5—all the way across. “Right in the middle is where the sweet sound is," he notes. “I like to keep the core tone clean as much as I can, and then use a few pedals to overdrive it." Although a TS808 is his longtime go-to, he also favors a Mojo Hand Tone Factor and a vintage Fuzz Face for snarl options, and a Prescription Electronics COB (Clean Octave Blend) fuzz for more radical colors.
To hear Nanji's potent tone in full, listen to “C'mon Suzie" from 2003's Indigenous. In addition to his 75s, that track features the rotating sound of a Leslie cabinet—like Hendrix used on “Little Wing." (Onstage, Nanji gets that swirl from a Tinsley Audio Sir Henry pedal.) The guitar on that song is the one that's always over his shoulders: a '60s reissue Stratocaster, which recently got a Custom Shop neck that was a gift from Nanji's Hendrix tour compatriot, Kenny Wayne Shepherd.
That first time I heard Nanji live, he was using his 75 head on two 4x12 Fender cabs, but in recent years he's relegated his 40-year-old amps to the studio. On the Hendrix tours, he powers up the Marshall JCM800 that's provided. “Everybody says it's really loud, so they block it off with Plexiglass, but I can't tell when I'm onstage and feeling it," he says, chuckling. Just before touring stopped, he'd been using a Legacy Steve Vai signature head—a gift from Carvin—with Indigenous, for its reliability and the Marshall-like tone of its EL34 power tubes.
But he's lost no fondness for his 75s. “I'm in and out of the studio working on songs as much as I can, although the studio where I work is shut down a lot, and there aren't many alternatives in South Dakota," he relates. “But I'm pretty close to finishing an album that I'd like to get out next year."