By Dave Hunter
Guitarists love amps—really love them. Amplifiers may well glance uninteresting to the remainder of the realm, yet to guitarists they're packed with mystique, romance, and rockin' sound. And whereas there are lots of strong-selling electrical guitar histories to be had, here's the 1st illustrated historical past of the electrical guitar’s ally, the amp. World-famous guitar and amp historian Dave Hunter tells the tale of 60 of the best amps ever outfitted, together with classics from Fender, Marshall, Vox, the weird EchoSonic that created Elvis' sound, and the final word esoteric $75,000+ Dumble amps. the tale is illustrated with thousands of technical photographs, infrequent machines, catalogs, memorabilia, and the amps of the celebrities, from Jimi Hendrix to Stevie Ray Vaughan to Eric Clapton. This is a ebook guitarists will drool over.
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Extra info for Amped: The Illustrated History of the World's Greatest Amplifiers
Since you are pushing just one output tube, a 6V6GT in the Champ’s case, this amp has no choice but to run in pure class A, as defined by the tube amplifying the signal during the entire wave cycle. Hit it short of the freak out, and the Champ issues that chiming, harmonics-laden tone that feels so chewy and three dimensional and that so many players chase incessantly in larger amps and rarely find. In front of that 6V6GT we get two stages from the amp’s single 12AX7 twin-triode preamp tube, one for the first gain stage, another for the output driver, and fewer than ten solder joints from input to output transformer.
Newell 1/17/12 11:35 AM (Text) (RAY) (Fogra 39) Job:12-27525 Title:MBI-149852 Amped #175 Dtp:204 Page:52 1958 Magnatone CustoM 280 • Preamp tubes: Three 12AX7s, three 6CG7s, one 12AH7 • Output tubes: Four 6973s, fixed-bias • Rectifier: 5U4GB • Controls: Loudness, Bass, and Treble for each of two channels; Vibrato Speed and Intensity, plus switches for Stereo/Normal and Remote (Instrument/foot switch) • Speaker: Two Jensen P12Ps, plus two 5-inch tweeters • Output: Approximately 25 watts RMS per channel released before his death, but original takes featuring the Magnatone were uncovered for the mixes of posthumous releases such as “Love Is Strange,” “Smokey Joe’s Café,” and “Slippin’ and Slidin’” from MCA’s The Complete Buddy Holly.
This was done in the same spirit as the four 10-inch Jensens in the Fender Bassman in a bid to shelve the low fundamentals of the notes of these two bottom-heavy instruments and to avoid “farting out” the speakers. Notable but minor differences—and yes, the GA-45T can easily be reverse-engineered into a GA-40T. The cliché “poor man’s Fender” (too often completed with the word “Deluxe”) gets slapped on unsuspecting Gibson combos far more often than deserved. But in this case—despite the use of a 5Y3 rectifier and a pair of 6V6GT output tubes to spew around 15 watts—you’re looking at two amps that really couldn’t be more different in 1957.