NAMM 2019 offered a close look at Tree Audio’s new tube-based studio gear. Ian from Tree Audio walks through the company’s all-tube console, monitor controllers, and new 500 Series modules, explaining how they can fit into a real working studio. The focus is simple: useful tone, hands-on control, and gear that earns its place in the signal chain.
Key takeaways
- Tree Audio presented a new all-tube console at NAMM 2019.
- The console is designed for tracking, mixing, and shaping sources without making the workflow complicated.
- The new 500 Series modules bring Tree Audio’s tube approach to a smaller, modular format.
- Input impedance and gain choices can change how a source responds to the hardware.
- A working engineer should judge the gear by how quickly it helps a song, not by the parts list alone.
A closer look at Tree Audio’s all-tube console
The main attraction is Tree Audio’s new all-tube console. Rather than treating the console as just a place to connect microphones, the design puts tone and control directly in front of the engineer.
That matters in a working session. If a vocal, bass, or guitar needs a little more shape, the engineer can make a move at the console instead of building a complicated plugin chain later. The goal is not to process everything heavily. It is to make useful decisions early.
The console also appears aimed at keeping the workflow direct. There are no endless menus or layers of software controls. You reach for a knob, listen, and decide whether the source is moving in the right direction.
For a professional engineer, that is the real test. Tube gear can sound impressive in a short demonstration, but it needs to stay practical when the room is busy and several musicians are waiting.
How a working pro would use the console
A sensible approach would be to start with the cleanest signal possible, then add color only where it helps. For example:
- Set the input level so the source has room to breathe.
- Check how the input impedance affects the microphone or instrument.
- Add compression only until the performance feels more stable.
- Compare the processed and unprocessed sounds at the same volume.
- Keep the setting that makes the part easier to place in the mix.
The input impedance control is especially worth paying attention to. Changing impedance can alter the way a microphone interacts with the preamp, which may affect the weight, brightness, and overall feel of the recording. It is not a magic button, but it can be a useful first adjustment before reaching for EQ.
This is the kind of decision that works well during tracking. If the vocal already has the right size and presence when it reaches the recorder, the mix engineer has less repair work later. For tracking a full band, the Rock Room at Paradise Studios is built around that same idea: capture strong sounds in a relaxed setup, with the engineer and gear included.
The new 500 Series modules
Tree Audio also showed new 500 Series modules. The format is useful because it lets engineers add one piece of hardware at a time instead of committing to a full console immediately.
The modules bring Tree Audio’s tube-focused character into a compact rack system. Depending on the module, an engineer might use it for a vocal preamp, bass, drum room, guitar, or a mix-bus color stage. The important point is flexibility.
A 500 Series module can sit right beside more familiar solid-state preamps, compressors, and EQs. That makes it easier to compare tones and choose the right tool for each source. One channel may need a firm, clean response. Another may benefit from the extra thickness and movement of tube circuitry.
For a small studio, this approach can also keep the setup focused. Instead of buying a large collection of similar equipment, you can build a rack around the sounds you actually use.
Monitor controllers and the mixing workflow
The monitor controllers shown at NAMM are another important part of the presentation. Monitoring is often overlooked, but it affects every decision in a session. If the volume is inconsistent, or the switch between speakers is awkward, it becomes harder to judge balance and tone.
A good monitor controller should make the basics easy:
- Accurate volume changes
- Quick speaker selection
- A clear mute function
- Easy switching between stereo monitoring options
- A layout that can be used without breaking concentration
This is not about adding more equipment for its own sake. It is about making sure the engineer hears the same thing from one decision to the next. When working through a Mix & Master session, that consistency is more useful than another flashy processor.
Where tube hardware makes the most sense
Tube equipment is not automatically the right choice for every track. A working engineer would normally use it when the source needs more body, softness, or harmonic character. Vocals, bass, guitars, room microphones, and certain stereo bus applications are natural places to try it.
That does not mean pushing every signal through tubes. Sometimes the best setting is subtle. A small amount of color during recording can help a part feel finished without making it difficult to mix.
The Tree Audio demonstration makes a strong case for thinking about hardware as part of the creative process. The console, monitor controllers, and 500 Series modules are not just technical products. They are tools for making faster, more confident choices while the performance is still happening.
That is the useful lesson from the NAMM 2019 presentation: choose the signal path that helps the song, keep the controls within reach, and avoid adding complexity unless you can hear a real benefit.