Only were produced. Neck width at nut: Rating Its old but good. Tastes were changing and Epiphone's products seemed traditional and out of step. The remaining 3 or 4 digits are the date code.
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Little is known to us so far, anyway of the very early Watkins amps c. I believe the logo is one of the last block logo types just before the parallelogram was used. Of course we shared an interest in Watkins guitars and amps and exchanged spares whenever possible but Geoff had wider musical interests and was extremely knowledgable about all makes of guitars. Dashboard re-done with new speedometer, tach, temp, fuel, water, pressure and volts. It's built like a tank with the biggest output transformer I've ever seen.
This tube need not be especially quiet, but its heater-cathode insulation must be very good. If the heater shorts to a cathode in this tube, the amp will not work properly. Some earlier Fender models used a 12AX7 or 12AX7 for the phase inverter--recommend a good-quality tube for such amps 12AT7s will usually work as well.
The power tubes in almost all Fender tube amps were either 6V6s or 6L6s. They drive the output transformer, then the speakers. Small amps like the Champ had one power tube and no bias adjustment. Larger amps had two or four power tubes in push-pull, which work like a see-saw -- when one tube is decreasing in voltage, the other is increasing.
Most push-pull Fender tube amps have a tube bias adjustment inside, which varies the idling current in the power tubes all at once. Bias should be adjusted when tubes are replaced. Matched pairs are recommended to keep the amplifier balanced from side to side -- if you amp uses 4 or more output tubes, you can use groups of matched pairs, and you do not necessarily need to buy a matched quartet, sextet or octet. So long as one tube from each pair is on one side of the transformer, and the other is on the other side, the amp will balance.
It is VERY dangerous to blindly plug different tubes into a guitar amp. If you have a later silver-face or blackface Deluxe amp, the plate voltage will be very high--plugging low-cost Russian or Chinese 6V6s into such an amp is risky. Since this article was written Tung-Sol, Electro Harmonix and JJ Electronics have released 6V6 tubes suitable for high plate voltages making them a great option for these amps. Many earlier Fender tube amps used rectifier tubes. These were almost always at the extreme left of the chassis, when looking at the rear of the amp.
DO NOT blindly swap different rectifiers, some consume more heater power than others and might damage the amp. After , most Fender tube amps switched to solid-state rectifiers, until recent Custom Shop models reintroduced tube rectifiers. Solid -state rectifiers do not wear out as tubes do, nor can they be replaced by the user. The solid-state diodes used in older Fender amps are rather primitive compared to modern devices--if you wish slightly better performance, suggest speaking to a service technician about replacing the diodes with modern fast-recovery epitaxial FRED diodes.
Some early Fender 6L6 tube amps can use any of these types. Finally, meant a special high-quality tube in the past--it no longer means much today. True NOS s are scarce and costly. If you really want to know the differences, we recommend you consult past issues of Vacuum Tube Valley magazine. In all cases, if you are not certain which amplifier version you have, do not experiment! You might damage the amplifier and the tubes.
See an experienced technician. Click a Fender tube amp in this list to jump to its description below Any 12AX7 type will work here. NOS s recommended if lower gain is desired.
Power tube middle socket is 6V6. Recommend using glass 6V6GTs. NOS metal 6V6s run too hot. DO NOT use other types. Rectifier tube is 5Y3GT. Avoid using NOS metal 5Y3s, only glass. You may also use 5V4 types or 5R4 types if they fit physically. Inexpensive Russian 5Y3GTs are readily available and suitable. Second tube-- 12AX7 specified. This is the vibrato tube. Power tube is 6V6.
A low-noise, low- microphony 12AX7 or is recommended. Second tube is a 12AX7. This is the phase inverter and vibrato tube. This tube need not be low-noise or low-hum, nor does it need to be tested for microphony. It must have good quality heater insulation.
We understand that some technicians recommend Ei or Preferred Series for this duty. Power tubes are a pair of 6V6. Recommend using matched pair of glass 6V6GTs.
This tube should be of good quality. Do not attempt to use 5Y3, 5V4 or 5U4 types. Second tube is the reverb driver. This tube does not need to be low in noise, however it should have good quality cathodes in order to handle the load. This tube tends to wear out faster than the other preamp tubes. Third tube is the driver and reverb recovery amplifier.
Suggest a 12AX7 with high gain and reasonable quality, though very low noise or hum is not required. Fourth tube is a 12AX7. Rectifier tube is 5U4. Any 5U4 type is acceptable. Inexpensive Russian 5U4Gs are readily available and suitable. Princeton 6G2 First tube is preamp, is specified.
A low-noise, low-microphony 12AX7 or is recommended. Harvard model 6G10 First tube is preamp, 6AT6 is specified. Only NOS is available. Do not use other types. This is the phase inverter tube. Second tube is the driver and tremolo modulator. Third tube is the tremolo. Any 12AX7 or is usable here--it need not be low-noise or low-hum, nor does it need to be tested for microphony. Fourth tube is a 12AT7. Second tube is the driver and vibrato tremolo modulator. Third tube is the reverb driver.
Fourth tube is the driver and reverb recovery amplifier. Suggest a 12AX7 with high gain and reasonable quality, though very low noise or hum might not be required. Fifth tube is the vibrato tremolo oscillator. Sixth tube is a 12AT7. Do not attempt to use 5Y3 or 5V4.
The AB version uses a 5U4 type. Deluxe 6G3 First tube is preamp, is specified. This is the tremolo vibrato oscillator and driver. Any 12AX7 or is usable here- -it need not be low-noise or low-hum, nor does it need to be tested for microphony. Third tube is a 12AX7. A low- noise, low-microphony 12AX7 or is recommended. Second tube is second channel preamp, is specified.
Third tube is the driver and vibrato oscillator. Fourth tube is 12AT7. Power tubes are a pair of 6L6GC. NOS metal 6L6s run too hot. Fourth tube is the phase inverter. Owners of LP-type guitars can install the GK-3 pickup safely using a special attachment plate included in the box. Affordable guitar synthesizer with new sounds, easy interface, and GK-3 pickup Easy to use: The Yamaha NSM studio reference monitor speaker aka NS10M is widely popular amongst audio professionals, and is notorious for its very flat frequency response.
The wants and needs of the audio engineer are different than the typical consumer, so this is a welcome thing as the NSM monitors will reveal the truth of mix. The NSM studio monitors have been an industry standard for mixing and are easily recognized by their standout white mid-range driver. In spite of being discontinued, the NSM are still widely used in studios and even won Yamaha Corporation a Grammy in for their technical excellence and impact on the recording industry. Blue with slight amount of micro-flake and white gelcoat colors.
Dashboard re-done with new speedometer, tach, temp, fuel, water, pressure and volts. Transom saver for towing with no engine bounce. Very solid and rides like 19 foot boat. Can tow with most front wheel drive vehicles! Noise and hum dB aux, dB phono. Output impedance ohms. Center channel output 1. Bass trim controls boost up to 6dB below Hz.
Voltage gain 20dB aux, 62dB phono. Input selector with indicator lights: Mode selector with indicator lights: Volume with power switch. Separate treble and bass controls each channel. Pushbutton switches with indicator lights: Headphone jack, Tape input jack, Tape output jack. Bass trim, Headphone level, output level, phono 1 and phono 2 level controls, center channel level, power amp switch: Speaker remote control socket.
New retail price then. Bridge Pickup Position 2. Bridge and Neck Pickups Position 3. Neck Pickup , Volume 2. Not only does this driver deliver crystal clear highs, it beautifully reinforces the mid range frequencies as well. With the rear mounted L Pad turned to zero, the Nighthawk delivers a rich, smoky jazz tone, much like that of our Twin 8 cabinet. The tonal personality of the Nighthawk changes dramatically as the L Pad is dialed in. In addition, you will smile every time you transport the Nighthawk.
Here is your chance to buy one of the earlier models. It's been around the block with alot of paint chips on the edges of the pedal, but it works perfectly. Early serial number, This is truely one pedal, that if you don't have with all your other favorites, your missing out. Owners manual can be viewed here: For Harmony Central Reviews: Pictures of each game box can be viewed at: A jumbo string that is balanced and resonant.
Upping the ante with a sleek Venetian cutaway and the Expression System pickup, the CE performs well onstage, in studio, or at home. The quick, articulate response of Sitka spruce is combined with the warmth and sparkle of ovangkol, giving this 12 string an expressive and pleasing tone.
The Jumbo delivers the extra-deep resonance and volume that come with a larger sound chamber together with its own signature subtleties. With a huge presence, the Jumbo is perfectly suited for aggressive strumming.
The finish used to create this guitar's textured satin back and sides and lustrous gloss top was developed at Taylor for maximum durability and resistance to cold-checking.
This ultraviolet-cured finish is also more environmentally friendly than traditional lacquer finishes. Designed to faithfully reproduce your guitar's native tone, the Expression System utilizes patented Dynamic Sensors to capture top and string vibration like never before. Created in partnership with renowned audio pioneer Mr. Rupert Neve, the Taylor ES is seamlessly integrated into the design of the guitar from the ground up.
Onboard tone controls provide added flavor, or can be set flat for an uncolored, exceptionally clean amplified sound. The hood now sported a scoop, unique to There was also another feature added to the rear of the pickup. A pocket was added to the underside rear of the bed that, when used with a pin, would hitch a trailer. The example on the left features the front end of the Hi-Way pickup. Note the black bumper. Except for the Hi-Way series and the Allied Van Lines semi, all other trucks sported the familiar bright finish bumper.
With its stunning good looks and poise, the GAM will simply take your breath away. Finished in luscious Amber Flame Maple Stain. Tiger Maple Amber Stain Category: Hollow Body Guitars Body Style: Single Cutaway Scale Length: Laminated Maple Body, 16" Wide, 2.
Ebony, 12" Radius mm Bridge: Spruce top Gloss finish Black pick-guard Lacewood back and sides Rosewood fretboard with dot inlays Dreadnought body shape Hardshell case included http: The decades-long standard for bass tone and playability.
The Fender American Jazz Bass approaches Custom Shop quality with its premium ash or alder body, slim graphite-reinforced neck with rolled edges, highly detailed fret and nut work, and U. It also features an S-1 switch that changes the pickups from parallel to series when engaged, creating a fatter, wider, almost humbucking tone similar to that of a Precision bass. The bass has an alder body; the one-piece C-shaped maple neck thin has a maple fingerboard with black binding and black rectangular position markers.
Power at clipping, single channel, Hz: This special-edition Jazz Bass features a bound basswood body with a cream-bound carved top and no pickguard. The maple neck has a rosewood fingerboard, matching painted headstock and dot position inlays on the side only.
Here are some great url's on this power amp: Here is a great url on this Marshall Pre Amp and Marshall in general! Ibanez, new ideas for today musicians. Here a few of many great urls on this Ampeg V I will pack over the top for a safe and sound trip to you! More than ever before, musicians are mixing sounds and musical styles from all over the world.
This often involves the mixing of Eastern and Western music, such as using a Sitar in a western musical setting or using western instruments to imitate the sounds in eastern music. The Glissentar was inspired by a similar desire to mix elements of East and West, but in this case, in the instrument itself.
The Western part of the equation is easy to recognize as a variation on the guitar. The Eastern influence in the Glissentar comes from the Oud, an ancestor of the Mandolin that dates back to the seventh century. The Oud is also an eleven-string fretless instrument and is still in use today primarily in Armenia and Egypt.
Adapting to this new instrument is actually a great deal easier than it appears. The shape and scale of the neck and the easily visible side position markers help to give the Glissentar a very familiar feel. The Glissentar opens the door to microtonal playing as well as some incredible and unique new sounds for adventurous guitar players. Rated continuous power output: Colors available constantly changing Pictured in: Unique styling and unprecedented access.
Sumptuous rosewood back and sides look fabulous and add sonic projection. Fishman Classic IV electronics provide amazingly accurate amplification with high feedback threshold. A baritone electric guitar with retro looks and features. The Dead-On '67 Baritone Electric Guitar from Danelectro features a long scale length for lower tuning, a satin finish, nickel hardware, a truss rod that adjusts at the headstock, the original swivel rosewood bridge that intonates, and souped-up Lipstick pickups.
The "Dead-On 67" guitar also features the original Danelectro tremolo and split pickguard. Product Description The vintage sound of an analog OTA-based phaser melded with contemporary parameters out the wazoo.
No doubt the Whetstone can do things that your current phaser can't. That famous GK clean and GK chunk. Two channels, stereo output, watts per side, reverb, chorus and compression. Two space rackable, Includes 5 button footswitch. Room for that 5th peg, if you add one! A unique Tribute model with a lightweight body and a wide range of sounds. The voice chamber in the guitar's semi-hollow body adds roundness of the tone that is great for playing jazz. Both pickups are operated by a 3-way selector switch, plus Volume and Tone controls.
Other enhancements include Semi-hollow, single-cutaway Body wood: Swamp ash Neck wood: Hard rock maple with maple fingerboard Neck shape: Traditional boxed steel bridge with individual machined brass saddles Finish: Clear Orange with maple fingerboard Pickguard: Pearl Tortoise shell Other: Specifications for RT Name: AM Amber Body Body material: Gotoh 12 String Hardware color: Tortoise Neck Neck type: I appreciate all that are interested in this cool synth!
Sorry, the Ibanez RT string electric from is not included But it is for sale! I was not thinking this day when I launched this auction. But was notified by a kind e-mail that Gibson did not own Epiphone till the buy out in But they definitly were not "Gibson Owned" when this lap steel was made. And thanks for all the interest Before the bombing of Pearl Harbor in , Epiphone was a consumer favorite and industry leader.
By the end of the war in , the company had lost its greatest asset when Epi died of leukemia. Epiphone shares and control went to younger brothers Orphie and Frixo. Problems emerged slowly at first. Epiphone continued to clash with Gibson, each introducing electric cutaway versions of their top archtops. Pickups continued to be refined and players continued to appear onstage with Epiphone guitars.
From the outside, it seemed to be business as usual. But cracks soon appeared both on the production line and in the boardroom. The Stathopoulo brothers argued over the future of the company and in , Frixo sold his shares to Orphie. The company's reputation for craftsmanship and innovation that Epi had built in the '20s and '30s did not survive the war years. Tastes were changing and Epiphone's products seemed traditional and out of step.
The Epiphone factory moved from Manhattan to Philadelphia in to avoid a union clash but many of the company's craftsmen refused to leave New York. Les had been perfecting his solid body guitar design in the Epiphone factory and when Fender emerged with their Telecaster, Gibson President Ted McCarty made Les Gibson's first solid body electric guitar endorser.
McCarty took the advice and reached out to Orphie, expressing Gibson's interest in Epiphone's critically acclaimed upright bass division which Gibson had not picked up again after World War II.
McCarty accepted on behalf of Gibson. The Stathopoulo family was out of the instrument business. Though McCarty's original intention was to bring the Epiphone bass models into the Gibson catalogue, by , he changed his mind. Instead, as McCarty wrote in a memo that year, the Epiphone brand would be revived with a new line of instruments. McCarty's marketing plan was to offer Gibson-made Epiphones to dealers who were keen to win a Gibson contract, but had not yet proven themselves as profitable dealers.
The right to sell Gibson models was hotly contested between dealerships at this time. It was the perfect solution. Dealers would get a Gibson-quality product without treading on the toes of dealers who already sold the Gibson line. The entire Epiphone operation was relocated to Kalamazoo, Michigan. Epiphone was back in business. I got this strat in the early 90's. After playing it for awhile, I was curious what was under the blue finish.
I removed the pickguard and was surprised to find not only the blue, but a yellow and a white. And then, Wow under that the knock out shimmering green. I decided I wanted to see more, I had a feeling that the original green had not been sanded before other paint was added. I sanded a small spot on the back with grit wet sand paper, and after alot of work, there it was! I almost fell over and sanded for hours and hours, not wanting to damage that original paint.
Most of the blue, yellow and white paint is now removed, and it wouldn't take long to finish the job and fully expose that beautiful green finish. The guitar is otherwise the way I got it, I never changed a thing. It must have a history, I'd sure like to know it. This guitar plays fantastic and sounds absolutely tremendous. I am older now and my life has changed and decided to pass it on for others to enjoy and be inspired.
Take to the skies! Battle-tinged fighter graphics with camo and bullet holes broadcast the fact that this is one screamin' demon. Duncan Designed pickups and 3-way electronics deliver a fierce sonic payload while Grover tuners keep it on course. Raymond designed an electro-mechanical echo unit that used a rotating disc inside a small metal drum filled with electrostatic fluid. This echo unit made it possible for musical performers to re-create echo effects in a live performance without using echo chambers or unreliable tape devices.
The Lubow brothers went into business as Tel-Ray Electronics, manufacturing their new "Adineko" echo device for many companies including Fender. Raymond also designed another device that simulated the sound of a Leslie rotating speaker cabinet in use by organists and other musicians.
Shortly thereafter, Tel-Ray shifted their emphasis away from OEM manufacturing and began marketing their own line of pedals under the Morley name.
A new treadle and case design consisting of a rather large and industrial-looking chrome-plated housing and rubber-covered treadle was used universally throughout the entire Morley line, which included volume pedals, wah pedals, a Rotating Sound pedal the original "Morley" , and a pedal version of their echo device dubbed the Morley EVO Sound stacking, step editing, stereo samples with reverb and ambience Dynamic Articulation: All-analog bucket-brigade circuitry Create classically lush, liquid textures Ultimate tone control.
Rate, Level, and Depth controls, as well as knobs for cutting High and Low frequencies allow ultimate tone control. Like all MXR pedals, the M comes in a heavy-duty housing with durable jacks and switches for a lifetime on the road. The RY30 is an elegant Drum Machine with advanced synth-like features that give it a really great sound. It's sounds are bit, 48kHz PCM with digital multimode filters. It can store up to user patterns and 20 songs, plus it comes with preset patterns in various styles for instant drum accompaniment.
The RY30 has 90 waveforms, most of which are acoustic drum and percussion samples. There are an additional 6 analog waves including sine, triangle, and saw waves.
Two oscillators can be layered per voice, and the voices can be pitched and played via MIDI. It has note polyphony, but loses one voices to the metronome. There are eight touch sensitive pads dedicated to a certain type of drum sound. There are 96 drums sounds built-in 12 banks of eight. Additional sounds and patterns can be brought in via Sound Cards for the RY There are no effects except internal samples can be played in reverse. It also has four outputs that you can assign any drum sound to kick, snare, hihat, etc.
A nice little Modulation Wheel can adjust the pitch, decay time, pan, filter cutoff and the balance of the oscillators.
As far as drum machines go, the RY30 is one of the nicest! Mullard Limited was a British manufacturer of electronic components. The Mullard Radio Valve Co. Mullard, who had previously designed valves for the Admiralty before becoming managing director of the Z Electric Lamp Co. The company soon moved to Hammersmith, London and then in to Balham, London. The early versions of this tube had a metal collar around the base, and a mica spacer below the getter.
These tubes are RARE and command high prices. Later versions had a brown micanol base, and a production series indicated by "XF" codes which are printed in black ink near the bottom of the glass. All of the Mullard tubes I have seen have a small hole in the very bottom of the octal centering pin.
This will be down low on the side, on the second line of code below the XF type designation, beginning with a capital letter "B". Another trait is the often very dark top getter flashing, sometimes with a rainbow-hued "oil slick" appearance. This is normal, as the gettering was done at high temperature at the factory. Some use will sometimes make the getter thin, brown, or patchy. This is also nothing to be concerned about, as these tubes will usually still test very good with no gas, and operate normally for years with faded getter patches.
These are, overall, just awesome tubes. These usually have the old "shield" logo, sometimes with the "BVA" in a circle below that. These are rare, and their scarcity has pushed up the price. They are worth seeking out! Again, these may be the "shield" logo, with or without the "BVA" logo.
These are still great tubes. These are not Mullard UK made tubes, although they were made in a Japanese factory that Mullard helped set up and are decent tubes. They are at an attractive price, and you may wish to try these fine tubes as a very cost effective way to get the Mullard sound without having to worry about finding pairs of vintage Mullard tubes that match, and being able to find spare tubes.
D Fret Cutaway Top: Solid Sitka Spruce Rosette: Two Ring Top Bracing Pattern: Hybrid ''X'' Scalloped Top Braces: Solid East Indian Rosewood Endpiece: White Boltaron Top Inlay Style: Select Hardwood Neck Shape: Performing Artist Profile Nut Material: Solid East Indian Rosewood Heelcap: Black Richlite Scale Length: Style 28 - White Corian Fingerboard Binding: Polished Gloss Finish Neck: Black Richlite Bridge Style: White with Black Dots Pickguard: Delmar Tortoise Color Case: Deluxe Hardshell Interior Label: Compact stereo acoustic amplifier with pure, natural tone and excellent projection 2-Channel design: The AC is a marvel of amplifier design, using the latest DSP technology to deliver a pure, rich acoustic sound with projection far beyond its compact size.
A Marvel of Convenience! This makes it the perfect companion for coffeehouses and small club gigs. The Guitar channel gives you a choice between piezo and magnetic pickup inputs, plus powerful Anti-Feedback controls. Rounding out this package is a Mute switch for silent tuning and a Stereo Line Out for connection to mixing consoles and PA systems. Expression pedal, footswitch Display: SEP 21 S. The NF-1 is just a simple noise gate that cuts off the signal once the level falls below the threshold set.
It's simple to use: Adjust the Sens ivity knob to the threshold level where you want the pedal to cut off and adjust the Decay knob to how fast you want the signal to fade out. Nevertheless the long form reads "Noise Gate". Power your entire pedal board from one unit. It gives you 8 - 9V outputs, and 3 - 18V outputs, provides short circuit protection, and is housed in a roadworthy heavy-duty aluminum casing that mounts easily to most pedal boards.
Includes 9 - 24" patch cables. Features 32 amp and 15 speaker simulation models, independently selectable. High-resolution bit stereo multi-effects processor.
Effective 3-band EQ with amp-model dependent characteristics. Balanced stereo line out with speaker simulation plus stereo headphones out and stereo aux line in. Comprehensive MIDI implementation for real-time control, automation, data transfer and access to additional parameters.
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I am told it may need some work on the tubes cost about same as amp itself. One is high-gain, the other seems to be low-gain. In addition, the V-AMP 2 features 5 practical configuration modes for various applications and a presence control that simulates the negative feedback of tube amps.
All models came in a single finish, described by Martin as Honey Burst, and were offered with an optional bigsby tailpiece. Features two channels, each with volume, bass, middle, treble controls, treble boost switch; channel two has reverb and tremolo; master gain; effects are footswitchable? Retirement was apparently an option which never seemed to have occurred to him.
Sumptuous rosewood back and sides look fabulous and add sonic projection. It shared a lot of great memories with me. Thanks and will check in now and then If you want send me marshall amp serial dating jonathanlharris comcast. I had one of these when they were new marshall amp serial dating number about 17and basically found it too loud and hard to distort for my style. Balanced stereo line out with speaker simulation plus stereo headphones out and stereo aux line in.
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