AMPLIFIERS, AMP ACCESSORIES and CABS (SEE BOTTOM OF PAGE FOR SPEAKERS, ACCESSORIES, TUBES, ETC.)
1. THD Hot Plate 2.7 Ohms Attenuator, for 2.7 Ohm load and works best for amps rated at 2.7 ohms such as Fender 3X10 combo's. Offers Bright and Deep switches for tailoring your sound - Bright switch gives you two different high frequency levels to compensate for an overly bright, or dull speaker cabinet while the Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end. Has built in noise reduction up to 10dB, line out, and a fan to keep it cool. Perfect shape, works flawlessly, and with new ones going for $369, a sweet deal for $249. For full specs click here for THD's site.
2. THD Hot Plate 4 Ohms Attenuator, (front/back). Hotplates have been our most popular attenuator thanks to THD's top-notch engineering and superb build quality. This one is built for a 4 Ohm load and works best for amps with a 4 ohm output and 4-ohm speaker load (including 8 ohm combo with 8 ohm extension cab - or a 4 ohm combo or head). Features Bright and Deep switches for tailoring your sound - Bright switch gives you two different high frequency levels to compensate for an overly bright, or dull speaker cabinet while the Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end. Has built in noise reduction up to 10dB, line out, and a fan to keep it cool. Super clean shape, works flawlessly, and with new ones going for $329, save $100 on this very near mint one; $239. Ships in original box with manual. For full specs click here for THD's site.
A Big thanks to UPS!: Check out the latest damaged amp courtesy of the UPS gorillas. This was a wonderful-sounding Premier B-160 Club Bass, an especially good sounding Blues amp for guitar. Original ’65 Jensen C15N is totaled beyond repair, speaker baffle is in many parts. It was wrapped in 3 layers of the large bubble wrap inside a triple-wall box. Think they would pay off on insurance? Think again. I insure everything I ship for full value, however, I do that only in the event of loss or in the event of obvious carrier damage such as tire tracks across the box. I took care of my customer - but unfortunately nobody will take care of me. If this happens to you, the only tip I can give you is they will pay off if: (1) you spend many hours on the phone and impress upon them that you’re not going to go away; (2) you send them a letter on a lawyer’s letterhead threatening legal action and reminding them that it’s illegal to receive payment for insurance and not pay off when there is a claim.
RARE, BOUTIQUE, VINTAGE, COLLECTABLE
1. Budda Verbmaster 30 2X12 Combo, (panel), (top), (back), (tubes), (footswitch/manual), (chassis). Rare 30W model with 6L6 power! Serial number VG3-018, this is one of the early 30-watters from Jeff Bober and Budda. Before he sold Budda, Jeff had a small company that did some of my repairs and built some killer little amps called Budda, all hand-wired and built in small numbers. After gaining a reputation as the amp guru of the Baltimore area, doing Marshall mods and various repairs and hot-rodding, his extensive knowledge went into designing some of the best boutique amps ever made. After Jeff sold his company, he stayed on at the Maryland factory, aka "Budda East", building both his original designs plus the new "Superdrive" series, which initially were still hand-wired. The hand-wired series, which offered little profit margin, soon fell victim to corporate thinking and was discontinued in favor of the "Superdrive II", which were strictly circuit board designs. The 30-watt Verbmaster was one of Jeff's hand-wired prior to the sale (this one's a 2001 model). Most of these featured a quad of EL84's but a few, like this one, were built with a pair of 6L6's. This amp delivers complex tone characteristics, rich in harmonic structure and organic in nature. The tone can be described as a cross between a Deluxe and an AC30, with the aggressive attack of a Plexi. It's a fairly complex amp for Budda, which generally featured 3 knobs and no frills, not even an fx loop. The Verbmaster features an excellent sounding reverb with two distinct sounds, "sand" and "surf"; Hi-gain and Normal inputs, each voiced differently; and the usual bass - treble - volume controls. The high-gain input adds a tube stage to overdrive the normal input's gain stage, which in turn drives the unique tone-control stack. The back panel features an effects loop; slave output with level control; parallel speaker outs with a 4/8/16 ohm switch. Tubes are a pair of Russian EH 6L6's power tubes, Russian Sovtek 5AR4 rectifier, with two 12AX7s, a 12AT7, and 12AU7 in the preamp/reverb. The dual reverb circuit features a darker sound with high-end roll off in the "Sand" setting, with "Surf" being a more over the top brighter tone. This amp breaks up very early and isn't recommended for anyone looking for clean headroom - but for a non-master volume high-gain amp, you get a beautiful tube breakup at a relatively low volume. For many players, this will be the perfect amp for larger clubs. In typical Budda fashion there's nothing conservative about the wattage rating. This amp will stand up against many other tube amps rated at 50 watts or more. Here's a sample of the versatility of the smaller 18W Verbmaster (1X12), using only a guitar's volume control (no effects were used), click here for a YouTube demo. Budda is know as much for their touch sensitivity and players who appreciate this characteristic will especially love this amp. OEM speakers are made by Eminence for Budda and sound very good. Budda hand-wired amps remain some of the best values on the market, and one of the few that weren't clones of Fender or Marshall. I read where Budda is starting up their hand-wired series again, including a Verbmaster. I don't have any reports on them yet but I can't imagine sounding any better than this original model, built by the master himself. A killer amp for $1499.
2. Budda Verbmaster 18 4X10 Combo, (panel), (top), (back), (back panel), (footswitch), (chassis). 90's model - Serial VMD-0003, the 3rd Verbmaster built! Back in the day Jeff Bober had a small company that did some of my repairs and built some killer little amps called Budda, all hand-wired and built in small numbers. After gaining a reputation as the amp guru of the Baltimore area, doing Marshall mods and various repairs and hot-rodding, his extensive knowledge went into designing some of the best boutique amps ever made. Jeff eventually sold his company, but stayed on at the Maryland factory, building both his original designs plus the new "Superdrive" series, which were great amps but not hand-wired. The hand-wired series, which offered little profit margin, soon fell victim to corporate thinking and was discontinued. They came out with a 10th Anniversary hand-wired but at $5K list, the amp was essentially a Twinmaster with a commemorative badge. The Verbmaster was a fairly complex amp for Budda, with more than 3 knobs and an effects loop. The Verbmaster features an excellent sounding reverb with two distinct sounds, "sand" and "surf"; Hi-gain and Normal inputs, each voiced differently; and the usual bass - treble - volume controls. The high-gain input adds a tube stage to overdrive the normal input's gain stage, which in turn drives the unique tone-control stack. The back panel features an effects loop; slave output with level control; parallel speaker outs with a 4/8 ohm switch. This amp breaks up very early and isn't recommended for anyone looking for clean headroom - but for a non-master volume high-gain amp, you get a beautiful tube breakup at a relatively low volume. For many players, this will be the perfect club or practice amp. Although 18 watts may seem rather tame, this is a deceptively loud amp. For a good example of the versatility of the Verbmaster (1X12), using only a guitar's volume control (no effects were used), click here for a YouTube demo. Other than the Anniversary model, which is great but overpriced, Budda hand-wired amps remain some of the best values on the market, and one of the few that weren't clones of Fender or Marshall. Dealer cost on these was over $1500 on my last price list that had the hand-wired and it's an excellent amp, in nice shape, for $1399. See lower down on this page for the same era handwired Budda Twinmaster Ten.
3. Dr. Z Mazerati GT Head, (front panel), (top), (back). Who does't love Dr Z's, the ultimate in simplicity and pure tone that's characterized by their smooth overdrive, tight bass, and quiet operation, even at full volume. One of the main characteristics of the GT, even more than other Dr Z's, is it's interaction with a guitar's volume control. Crank up the amp and go from full tube saturation to clean and articulate by rolling back your volume. Guys like Brad Paisley, who could easily opt for any type of high tech gain device, rely on this simple method of voicing their amp. The distortion never gets muddy or too fuzzy, just a very fat, with plenty of harmonics. From what I understand, this newer GT model is a major revamp of the original Mazerati, which was essentially a Ghia with double the output (4 EL84's instead of the Ghia's two). The GT is voiced for much more gain, providing more of the singing quality players love about Z's. Players compare the tone to Trainwrecks so it isn't surprising that the GT uses the time tested output transformer designed for us by Trainwreck's own Ken Fischer. Cranky out 38 watts, the GT utilizes two 12AX7s, a quad of EL84s, and a 5AR4 rectifier. The GT is cathode biased so output tube changes are a breeze. With just a volume and tone you won't get lost in a futile attempt to dial in a perfect tone. Perfect tone is its preset. There are outputs for 4/8/16 ohms so it's compatible with any cab you want to use. Also, this one is a 10th anniversary model, with a commemorative badge on the top. Here's a good thread on The Gear Page (link) devoted to the GT and YouTube demo's here and a list here. If you're looking for incredible amounts of touch dynamics, in the highest gain amp Dr. Z has ever produced, this amp's for you. New price was $1649 but this one's mint and just $1149.
4. Dr. Z Galaxie 1X12 Combo, (top), (panel), (back), (spkr), (footswitch). After years of primarily EL84 powered amps (and a few 6V6), Dr. Z has produced their first ever 6L6 powered amp. In addition to a pair of 6L6', the Galaxie has three 12AX7's in the preamp and a 5U4 tube rectifier. It also features a Triad output transformer, which is original spec for Fender's classic tweed amps including the low-powered Twin, Super, and Pro, which is part of the magic of this fine amp. The Galaxie is a dual-channel amp, with channel 1 voiced for clean tones; channel 2 is the overdrive/dirty channel. Channel 1 is the perfect clean with crisp highs, fat lows, and a very throaty voice overall. Channel 2 is the OD channel with excellent sustain with a beautiful break-up. CH-2 reaches full volume at around 9'oclock and from there on it's more of a gain knob, with more overdrive, sustain, and compression as you turn it up. Both channels share the same EQ (bass/treb/pres) knobs. The tone knobs are very interactive with the volume controls and really act like gain controls as much as EQ knobs. Turn up the bass or treble and you'll notice an increase in gain at the same time. The tonal possibilities aren't as simple as the layout appears but there really isn't a bad sound on this amp, regardless of settings. Rather than the vintage style separate inputs for the two channels, the Galaxie uses a footswitch to change channels, which is a nice touch for live bands, with an indicator light to let you know when you're on CH-2. Output is rated at 30 or 40 watts, selectable via the pentode/triode switch on the back panel. This features wasn't really to offer an appreciable difference in output rather than different voicings. Although it has a very slightly higher output, the 40W setting is a bit tighter and slightly more high fi sounding; while the 30W setting gives the amp and earlier breakup. For more info go to Dr. Z here. There are a number of good demo's on YouTube including this one by Frankie Starr, playing what appears to be an earlier version with a different layout. The Galaxie 1X12 sells new for $1849, which is right in the ballpark for a hand-wired 40W combo. This one is dead mint and a killer combo for $1299.
5. Dr. Z KT-45 Head and Z-Best 2X12 Theile Cabinet, (Head - Panel - Top - Back - Tube chart), (Cab - Top - Back). It's hard to believe that Dr. Z amps have only been around a little over a decade. While most companies are still struggling for name recognition at 10 years, Dr. Z. is a widely-known and have distinguished themselves among the top of the hand-built amp market, largely due to top players like Brad Paisley being loyal users. Although casual fans know Brad as a singer/songwriter, he's also the hottest Tele player on the scene today (according to me) and could easily make it as a first-call session musician. His unmistakable tone is due in large part to Dr. Z. To paraphrase Z's site, if you want to know about the sound of the KT-45, just listen to The Who's "Live at the Leeds" album. The KT-45 is a completely original design with the basis of this amp's design being the EF-86 preamp tube front-end and Tone Stack also used on the Z28 and Route 66 models. The unique timbre of the EF-86, along with gain that's 50% higher than the hottest 12AX7, virtually inhales the tone straight through your guitar cord. The KT-45's tone stack allows control of the gain in three separate parameters- gain and amount of distortion in the treble registers, clear to swelling bass in the lower registers, and overall volume and drive. This allows you to dial in a Thick Top End, with a clean punching bass, or a swelling bottom end with crystalline highs. This is all done with plenty of clean to satisfy a Country picker, enough crunch for Rock & Roll, and tough singing sustain for British R&B. Tube complement includes the EF86, a 12AX7, and a pair of EL34 cranking out 45 watts. With just three knobs there isn't a lot of superfluous junk sucking tone out of the signal but just as the one-knob Mini-Z (below) isn't a one-trick pony, with these 3 knobs you can coax a lot of tones from this baby. With outputs for 4/8/16 ohms you can run virtually any cabinet but you'll be hard-pressed to find one better than this "Z-Best" 2X12, loaded with a Celestion Vintage 30 and a G12H30, a popular and great sounding combination. The unique thing about the Theile design which allows design to compliment the full frequency range of your guitar. Low end is determined by the port thickness, Mid response by the shelf depth, and Top end by choice of speakers. Placed vertically, the Z Best delivers a tuned focused sound, yet with the airy qualities associated with open back cabs. When placed horizontally, you pick a bit more low end as the port is then coupled with the floor. This is a long throw cabinet that will get the sound to the back of the room. With the head selling for $1699 and the cab $779, this setup will run you $2478 new. Better still, consider this mint used set up for less than the cost of just a head alone. Just $1679 takes both pieces. (HOLD-Nic A3/16)
6. Dr. Z Galaxie Head and 4X10 Cabinet, (Head - Panel - Top - Back - Cover), (Cab - Top - Back). After years of EL84 or 6V6 powered amps, Dr. Z has produced their first ever 6L6 models. In addition to a pair of 6L6', the Galaxie has three 12AX7's in the preamp and a 5U4 tube rectifier. It also features a Triad output transformer, which is original spec for Fender's classic tweed amps including the low-powered Twin, Super, and Pro, which is part of the magic of this fine amp. The Galaxie is a dual-channel amp, with channel 1 voiced for clean tones; channel 2 is the overdrive/dirty channel. Channel 1 is the perfect clean with crisp highs, fat lows, and a very throaty voice overall. Channel 2 is the OD channel with excellent sustain with a beautiful break-up. CH-2 reaches full volume at around 9'oclock and from there on it's more of a gain knob, with more overdrive, sustain, and compression as you turn it up. Both channels share the same EQ (bass/treb/pres) knobs. The tone knobs are very interactive with the volume controls and really act like gain controls as much as EQ knobs. Turn up the bass or treble and you'll notice an increase in gain at the same time. The tonal possibilities aren't as simple as the layout appears but there really isn't a bad sound on this amp, regardless of settings. Rather than the vintage style separate inputs for the two channels, the Galaxie uses a footswitch to change channels, which is a nice touch for live bands, with an indicator light to let you know when you're on CH-2. Output is rated at 30 or 40 watts, selectable via the pentode/triode switch on the back panel. This features wasn't really to offer an appreciable difference in output rather than different voicings. Although it has a very slightly higher output, the 40W setting is a bit tighter and slightly more high fi sounding; while the 30W setting gives the amp an earlier breakup. There are a number of good demo's on YouTube including this one by Frankie Starr. For more info go to Dr. Z here. For a companion piece, the Dr. Z 4X10 cab with the Galaxie nails the tweed Bassman tone to a tee. The 4X10 is an open-back, loaded with proprietary "Z 10” speakers, that utilizes the classic floating baffle design found on the great 4x10 amps of the 1950’s. The entire front of the cabinet comes alive to deliver an outstanding wall of sound. Rated at 4 ohms, it works great with the Galaxie head or any amp you want to put on top of it. With the head selling for $1649 and the cab $679, this setup will run you $2328 new. Better still, consider this mint used set up for less than the cost of just a head alone. Just $1629 takes both pieces. Includes a quality padded case for the head
7. Dr. Z Mini-Z 1X10 Combo, (back). Fantastic little 5-watter, all tube, handwired, made for the player who wants one thing - high gain, power tube distortion at a studio/bedroom volume. Very few of these in circulation. Be forewarned, this is a loud little bugger, but much more manageable than an 18-watter. Clean headroom? Basically there isn't any to speak of and Dr. Z recommends turning back your guitar's volume control to clean it up. It's really designed to start breaking up almost right away, at around 9 o'clock, crunch sets in at 10-11 o'clock, sustaining lead tone straight up 12, ZZ top tone around 2 o'clock, and just crank it all the way for full blown saturation. The amp gets both louder AND more distorted as you turn it up. Features include just a volume knob...that's it....no line outs, headphone out, or anything else to complicate the circuit. It runs an EL84 power tube and 12AX7 preamp tube run through a Weber C8R ceramic 8" speaker, with the same quality construction and perfect fit/finish as Z's high-end amps. It sounds equally at home with humbuckers or single coils and a great choice for anyone looking for a 5-watter with a lot of tonal variety in the volume control. Click here for Dr. Z's site with some great video demo's at the bottom of the page. Dr. Z now makes this as a 1X10 combo, and added a built-in attenuator. I'm not sure how much attenuation a 5W amp needs but I guess it comes in handy in a small home when everyone is asleep. The new 1X10 sells new for $949; this earlier model is immaculate and a great little amp for just $599(HOLD-Steve D 6/30/15).
8. 2004 Eden CXC112 Time Traveler with WT330 Head, (panel), (top), (back), (back panel), (stock pic). Eden makes some of the best bass amplification around, falling between the mid-line SWR and high-end Aguilar gear. The choice of many studio pro's and top touring acts, they make great touring amps, over 1000W, in various enclosures, all the way down to some small practice amps in their Nemesis series. The CXC112 is a lower powered amp compared to their World Tour series, but it doesn't scrimp on features. One of the cool things I like about this amp is the cabinet design. At around 30"X15"X14", it has a narrow design, but tall enough that you don't have to bend down to adjust the controls. It's perfectly tuned and the design makes the low end sound absolutely huge. With a 12" LF driver and a horn, crossed-over at 4K ohms, it's got plenty of thump, while retaining the high end clarity. Frequency response is 42Hz to 20KHz, which handles the lower notes of a 5/6 string with ease. It's characterized as a warm, throaty mid-bass with good low end and a mellow upper register. A few of the features of the WT330 head, World Tour series, include 3-band EQ with the mids switchable from 550Hz to 2.2KHz, dbx-style compression, optically coupled dynamic booster system for bass and treble, an assortment of patch points, balanced DI output. The compressor on this amp is really impressive, and you can use it to smooth out the overall tone, or completely squish the sound, nearly down to zero output if turned all the way up, plus it's much more quiet than most comp's. The Enhancer adds sparkle to your tone and will make it stand out in the mix; I would never turn it off completely. They Dynamic Boost switches add a new twist and with the Bass switch engaged you get thundering lows that shake the windows, even at lower volume. On the back panel you have speaker outs - choice of Neutrik or 1/4" pair; effects loops; tuner out that can act as an extra instrument send if desired; stereo Aux in/out; balanced recording out with XLR jack and level control plus ground lift switch. The cabinet is carpet covered with heavy duty side handles, a fan located on the side, and plastic corners. Although Eden says they would prefer a 4 or 8 ohm load, they also state that you can safely run the WT330 head down to 2 ohms. RMS output at 2 ohms is 420 watts; 330 at 4 ohms; or 200 at 8 ohms, as is the rating of the CXC112 cabinet. It's Plenty of power for club gigs or if you need more, just add another cab and jack it up to 330. One of the cool things about this set up is that the WT330 can be removed and used with other cabinets, or by itself if you're using it for a studio gig. The amp is in clean shape while the cabinet is in normal used condition with some carpet wear and two of the plastic corners are missing a small corner piece. Performance is perfect, pots have been cleaned and it sounds fantastic. If you're looking for a fairly compact amp that's equally at home in the club or studio, this set-up is hard to beat for $579, $100's less than the new cost on the head alone.
9. 1965 Fender Princeton, (top), (panel), (back), (chassis). Great sounding Model AA964, 45-year-old Princeton in nice vintage condition. When I got this from an employee at a major boutique amp company they had switched it over to 6L6 power but I took it to our tech, had it returned to 6V6, rebiased, and tremolo gone over. It now has that classic Princeton tone with nearly all clean headroom (breakup doesn't start until 9-10) and a very strong tremolo circuit. Tube complement includes a pair of Mesa 6V6's for power, GZ34 rectifier, and a pair of 12AX7's in the preamp. At about 12 watts these are very popular studio amps, and I've heard some club gigs with a Princeton on a barstool and mic'd through the house system. It sounded great. Everything sounds perfect - it's quiet at idle when turned up all the way, bass and treble knobs are strong as is the Vibrato speed and intensity. Two minor mods include Vibrato jack has been changed from RCA to 1/4" and speaker changed to a Mojotone 10" - plus power cable has been changed to a long 3-prong type for safety. It's in very clean shape as these go and would make a wonderful addition to your collection, or a nice studio/practice amp. Selling for $879 with the Mojo, or if you want a more vintage sound, we can replace with a proper 8 ohm 1972 Fender/CTS 10" (pic) for $950.
10. THD Hot Plate 2 Ohms Attenuator, (pic2). A "must have" for a Bassman if you want any break up due to the massive clean headroom the amp has and you really have to drive it to painfully loud levels for power tube saturation. This model is made for 2 Ohm load and works best for amps rated at 2 ohms such as the Fender 4X10 Bassman. Offers Bright and Deep switches for tailoring your sound - Bright switch gives you two different high frequency levels to compensate for an overly bright, or dull speaker cabinet while the Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end. Has built in noise reduction up to 10dB, line out, and a fan to keep it cool. Brand new condition with original box and manual. With new ones going for $329, a sweet deal for $229, or $199 with the Bassman above, and if you buy it with the Bassman, I'll include two custom made cables to connect to the 4 output jacks of the Bassman. For full specs click here for THD's site.
11. 1969 Fender Princeton Amp, (panel), (top), (back), (label/speaker). Highly regarded AA964 model, this 43-year old Princeton in beautiful vintage condition and sounds like a Princeton should. Dating Fenders during this era isn't precise, but the AA964 circuit was used from '64 to '70 (AB1270 from '71 onwards) so the lack of a chrome drip edge makes it a '69//'70. Since the transformers are dated mid-'69, I'll call it a '69. At about 12 watts these are very popular studio amps but you can also place it on a bar stool and mic it through the house PA, and you've got a great club amp. The AA964 is an all-tube circuit with three 12AX7's in the preamp, dual 6V6 power, and a GZ34 rectifier. If you're looking for more of the Fender clean tone, the Princeton has more of it than the Princeton Reverb and it stays clean until around 7-8, where it goes into a very smooth overdrive. Everything sounds perfect - it's quiet at idle, even when turned up all the way, bass and treble knobs are strong as is the Vibrato speed and intensity. All original other than 3-prong cord and speaker changed out with a Weber C10Q. The Weber C10Q is felt by many to be the perfect replacement speaker that sounds better than stock. This amp is in lovely vintage condition with no noteworthy flaws and a nice buy in a very useable vintage amp at $750. (Note: I also have a nice blackface AA964 for $879 on my amps page).
12. Fender 2X12 Blonde Custom Made Cab, NOTE: HEAD IS SOLD. (cabinet), (cab back), (extra panels), (speakers). Both head and cab (30"X20"X11")are in matching blonde tolex, identical to factory original except not yellowed out like an original - and grill cloth is slightly different with oxblood on the head; wheat on the cab. The quality of work on these is outstanding, done by Brian Bradshaw at BLB Sound. The cab features a killer combination - Celestion Vintage 30 and Electrovoice EVM-12L - the best of both worlds - wired at 4 ohms. Additionally, the cab includes additional back panels (top and bottom) in case you prefer the tone of an open-back design. The previous owner sunk a lot of money into restoring/building this setup. The cab matches well and the quality is as good as anything being built by the bigger builders and with the open-back option, you can try it both ways and stick with the tone that works for you. With around $400 in speakers alone, this custom cab is a sweet deal at just $499.
13. 1968 Fender Bandmaster Head, (panel), (back), (top). The famed AB763 circuit - this is identical to the Blackface model, except with early Silverface cosmetics with the drip-edge trim (pic) around the grill. Excellent sounding in very nice shape, with less than an hour on it since benched and tuned up, including a new pair of pricey Svetlana 6L6's power tubes. This amp sounds perfect and needs nothing - ready to take to a gig tonight. No snap, crackle, or pop from tired components, all the pots and switches work perfectly. If you've ever heard a properly tuned Bandmaster, you know what I'm talking about. 45 watts classic Fender tone make this a nice choice for a club amp, although it might be a tad loud for bar gigs. Cosmetically it's very clean with the worst flaws being some corrosion to the straps and handle caps on top, and some minor finish reaction on the panel. Grill cloth and tolex are in very clean shape. All original except for grounded 3-prong wire and a small corner of the back panel was cut off to allow space for the power cord. With Blackface Fenders commanding top dollar, these early Silver's gives you the exact same tone at a lower price. For a clean '68 that sounds perfect, an excellent value at $599(SOLD-Phil J 7/19).
14. Fuchs Lucky 7 Head - Purple, (panel), (top), (back). I get a lot of requests for hand-wired low-power amps, as more and more players are becoming informed about tube amps. Quite simply, a tube amp that's cranked, with the power tubes running hot sounds a lot better than a higher powered amp running at lower volume, getting the preamp distortion by cranking up the gain. More players are doing studio work out of the home, where a 50-watt tube amp will alert the entire neighborhood that you're recording a new track. The Lucky 7 is the perfect amp for studio's, back stage, or even clubs if mic'd and run through the house system. The output is a very nice, and deceptively loud, 7 watts via a single EL34 tube - or change to a 6V6 (no user biasing required) to lower it to 5 watts. The Lucky 7 has the high build quality and awesome tone of Fuchs' bigger amps, although in a more affordable price range. It's based on a dual 12AX7 preamp stage and a unique single ended 7-watt EL-34 fixed bias output stage. The Lucky 7 also has a full compliment of flexible tone controls to tweak your tone. This amp has a remarkable amount of clean headroom before distorting into a sweet, decidedly rock, overdrive. Voiced like its bigger siblings the Train 45 (which I just sold) and Blackjack 21, the Lucky 7 has a classic rock voice similar to a vintage Marshall or Trainwreck, with a cutting rock edge that's filled with harmonic richness and chime. The circuit design also is attenuator friendly - it has a preamp stage designed to allow clean-to-mean from the guitar volume control. The chassis is aircraft grade aluminum with an internal construction of mixed PC board and hard wired. The preamp tubes and power supply circuitry are on the circuit card, while the power tubes and transformer are mounted direct to the chassis. Single point grounding keeps it free of hum at all levels. Other features include: ¾ solid wood cabinet with durable tolex covering, anodized aluminum chassis with long-lasting silk screened labeling, heavy duty Cliff brand jacks, solid metal shaft Alpha potentiometers ultra-long-life neon pilot lamp and heavy duty AC power switch, and simple user adjustable fixed bias. Again, output is 7 or 5 watts (EL34 of 6V6), into 4 or 8 ohms. For full specs and sound clip, click here for Fuch's site or here for several YouTube demo's. The Lucky 7 head in purple sells for $1114, with no discounts that I've seen. This one is barely used in extremely nice shape, for $799.
15. 1966 Gibson GA-20 RVT "Minuteman", (panel), (top), (back), (footswitch). This amp has been in stock for around 2 years and I finally got it out to our tech to get it sounding "right". I thought about posting it as it came in - an okay sounding amp that could benefit from some tweaking. I'm glad I decided to wait to get it benched so I can offer it as an excellent sounding amp with a fairly crisp clean tone and an excellent breakup at low volume that should appeal to blues players. Everybody loves vintage Fenders and during this era the comparable model would have been a blackface Deluxe Reverb. I honestly don't know why Fenders are so expensive compared to Gibsons. Both are very solidly constructed with comparable transformers and other components and point-to-point soldering. Fender smartly stuck with generally the same models from year to year while Gibson tended to turn out different models every few years. Most of these were good designs but the market never got familiar enough with any of them before a new line was released. The GA-20RVT is a low wattage amp, perhaps 8-12 watts but, regardless, not the 20 that the model suggests, with reverb (RV) and Tremolo (T). Most American amps, and British for that matter, weren't using Fender's 6L6 or 6V6 power tubes and this model uses a pair of 6BQ5S power tubes 5 preamp tubes (3 12AU7 and 2 6EU7). It's 2-channel amp with Volume, Treb, Bass on Ch-1; Loudness, Treb, Bass, Reverb, Tremolo Depth, and Tremolo Speed on Ch-2. Effects are footswitchable via a 2-button footswitch (included) with a long cord attached to the amp. All components are original; trannies dated 1966, CTS 12" speaker dated '66, original 2-prong power cord. Cosmetically the panels and covering are in good shape and the worst flaws are some rust on the centers of the knobs and on the handle, plus one of the back panels is missing. If you're looking for a quality tone in a hand-wired USA amp, for around 1/3 the cost of a Fender, this might just be the ticket. In fact this amp scored an overall "10" on Harmony-Central (link). Everything was just tweaked and the amp works perfectly. A good value at $499. Includes schematic and original footswitch.
16. Gibson GA-5 Les Paul Junior Amp, (side/back). 5-watt lil' screamer! Oh man, what a monster this baby is. If you're looking for an overdriven tube tone for practice or studio, this could be just what you're looking for. Very little clean tones - starts to break up around "3" and around "5" it achieves what most amps achieve wide open. Turn the knob past 5 and you get more saturation at every number, unlike some amps where there is little difference between initial break-up and full volume. I am very impressed with this one and hat's off to Gibson for coming up with a reissue that's even cooler than the original. Not a cheap amp, but comparable to most of the boutique Champ clones in that it's hand-built with point-to-point solder - with single-ended Class A circuit with an EL84 power and a 12AX7 preamp. Excellent sounding 8" "special design" Goldtone speaker with hardwood cabinet covered in cream tolex. Looks good inside with a polished chrome chassis and a remarkably large power transformer (pic2). Other than 3 small nicks in the tolex in back (shown here), flawless cosmetics. Every studio needs an amp like this and with a list price on new of $1150, this one's just $429. Ships in original box with manual. For Gibson's specs, click here. Note: I have this identical amp except in yellow tolex, also made by Mojotone (pic here) on my amps page for $399.
17. Gibson GA-5 by Mojotone Amp, (pic2), Identical to the Gibson amp above (side by side), other than a different speaker and yellow tolex but identical case, chassis, and same quality components. I've heard that Mojo built Gibson's GA-5's but also built a few like this one without the Gibson logo and "Les Paul Junior" screened on the control panel. It's an excellent sounding amp with the same tone and response as the GA-5 above and in perfect shape. Any studio needs an amp like this. $399.
18. 1978 Marshall Super Lead, Mod. 1959, (panel), (top), (back), (bottom), (chassis/tubes). Few amps have attained "holy grail" status, and by this I don't mean the rarest of the rare, rather an amp whose reputation is so iconic that it tends to be the most highly sought after for certain seekers of tone. Other amps that fall into this category are the Blackface Deluxe Reverb, Tweed Bassman, Boogie MK IIC+, and some of the truly rare like Dumbles and Trainwrecks. If there is one amp that defined the sound of Rock music, it is the Super Lead, Model 1959. This model achieved benchmark status beginning with Townsend and Hendrix and carried on through EVH, with a virtual who's-who of rock players since. While the '67-'69 Plexi, with their Plexiglas front panel is the most highly cherished of the 1959's, clean examples of that model sell for as much as a nice car and, quite honestly, it sounds about the same as these later models. With 100 watts of pure Marshall tone, this amp is way loud and when cranked up, you'll not find a more pure rock tone. Inside this amp and it looks 100% Jake, complete with hand-wired circuit and no evidence of replaced components or overheating. As you can see in the pics, this is likely the cleanest examples on the market. The only noteworthy flaw I've noted is slight oxidation to the polished brass handle (shown here). Tubes are all vintage, with a quad of old EI 6550's and Servicemaster 12AX7's in the preamp. This amp is tuned perfectly and needs nothing to create what might be the finest tone you've ever heard. If you've ever heard a 1959SLP, you know that it's an extremely loud amp. If you're going to play in a club, be prepared to use an attenuator. Amps in this condition are quickly fetched up by collectors and are forever removed from circulation. The beaters make the rounds; the keepers get kept. They also don't come cheap, but with a reissue JMP 1959SLP head selling for $2349, wouldn't you rather have this 33 year old beauty...for less, and one that sounds as good as it looks. $2200 for this iconic amp that can be the centerpiece of any amp collection, or a killer amp to take on tour if you promise to take care of it.
19. Hi-Watt Custom 7 Hand-Wired Combo, (back), (panel), (top), (chassis), (circuit), (manual). Model SA110, designed and manufactured in Hi-Watt's Custom shop in England. The Custom 7 is a little 7-watt Class A with a 10" Fane speaker that features the legendary English hand-wired construction of Hiwatt's Classic Series. Designed specifically for the home and studio environments, where you want to drive an amp into the "sweet spot" without driving neighbors crazy, it is truly the classic Hiwatt sound in a small package. Using a Single-ended output stage with two ECC-83's and one EL-84 together, it features Master Volume control, individual Gain, Bass, Mid and Treble controls, High and Low inputs. The Boost knob pulls out to get a higher gain tone at lower volumes and when pegged all the way, it still puts the amp over the top. It's a very simple circuit but built with quality components throughout. A look inside reveals point- to-point hand wiring, turret tag boards (no printed circuits), and hand laced wiring harnesses. The power and output transformers are manufactured by Partridge, the original 1970's supplier to the original design sheets. The components and wires are the modern available equivalents of the vintage components, 1-watt carbon resistors, and wound polyester capacitors. They even use Fane speakers, just as they did back in the early days. For Hi-Watt's site info, click here. A quality amp of this design isn't cheap. This little baby lists at $2899 and sells at $1969 to $2100 at discount. This amp appears to have seen zero use and could easily be sold s new. Offered here for just $1379.
20. Kendrick K-Spot Combo, (panel), (top), (back), (tube reverb), (Celestion Alnico Gold), (acc.). From one of the all-time amp guru's, Gerald Weber, and hand built in Texas, the home of great tone. The K-Spot is Kendrick's most popular point to point handwired amp, known for it's phenomenal tone, it's aged pine cabinet, and its feather weight 35 lbs. The prominent ‘K’ on the front of the cab (K stands for "Killer"). Well, it's there for a reason; high frequencies come from the center of a speaker, whereas the mids and lows come from the sides and so having what is effectively a baffle over the center of the speaker means that the sound output is more balanced, wherever you are in the room. The K-Spot is all about simplicity and quality tube tone, specifically a wonderful bell-like chime. Just three knobs on the panel - plus another 3 inside the cabinet for the tube reverb. You don't have to spend a lot of time dialing in your tone. At a Volume setting of 3 or even less, it’s loud and clean enough for jazz gigs. At around 5, it’s perfect for hard-driving blues or rockabilly. From 5 on up the K Spot delivers throaty distortion as you go from there, losing its tweed character and assuming a more aggressive, Marshall-like response. Its 4 inputs are eached voiced differently with with #1 being the brightest, #2 slightly less bright, and so on. If you’re into riding your guitar volume to morph between rhythm and lead, this is the amp for you. No matter how hard you’re running it, though, the K Spot always cleans up well when you turn your guitar down, and it stays crisp and articulate. This amp isn't capable of bad tones so all you need to do is tweak the bass and treble to your guitar and the room. The reverb is noteworthy and in the style of the old Fender outboard reverbs features Dwell, Mix, and Tone. It is the most natural sounding reverb you'll find on a combo. It reacts to your pick attack as well as anything I've played. With a soft attack it's crystal clear; pick a little harder and you'll hear some hair around the edges; harder yet and it'll snarl at you; but lay in to that pick attack and she will break into a controlled feedback sustain. Best of all, is the huge sound this baby delivers and you didn't have to lug around a 60 pounder to get it. The K Spot is built with ultra lightweight 100-year-old pine. This one also features an upgraded Celestion G12 Alnico Gold 12" speaker! Although rated at 35 watts don't be fooled. It really cuts through a mix and hold its own with amplifiers rated at 100 watts. For more info, visit Kendrick here. There are some glowing reviews on Harmony-Central (link) where it received almost all 5 stars in every area. The K-Spot sells new for $2895 with a wait time of a month or two - or you can get this one, in mint condition, for just $1999.
21. Marshall Haze 15 MHZ15 Tube Guitar Head, (panel), (top), (back), (optional footswitch (close-up). The Haze 15 combines classic tube tone, with modern day digital effects, the best of both worlds. For players who like to keep things simple, with this baby there's no more hooking up a bunch of stomp boxes - you've got emulated spring Reverb, as well as Echo, Chorus, and Vibrato. With a 12AX7 to warm up the preamp, and a 6V6 cranking out 15 watts of tube power, this amp has the warm, natural sound of a tube amp. It's diminutive size, just 19.5" wide, makes it more desirable for players who don't want the look of a full stage rig, but the vintage styling is straight out of the 60's. Designed in the same style as the big Marshalls, the 2 distinctive footswitchable channels of the Haze offers a variety of tonal possibilities. The Normal mode provides a rich and organic clean sound with loads of headroom, while the Overdrive channel delivers a warm overdriven tone, with a separate Gain control to dial in as little, or as much, grit as you want in your tone. A Bright switch is shared between both channels - when engaged it adds extra bite and sparkle. Both channels also share a shared 3-band EQ. Channel effects are remembered when you return to the channel, meaning you can set up your clean and overdrive sounds and return to them over and over again without having to readjust your settings. The warm emulated spring reverb has its own independent control, allowing you to add as much reverb as required, and it also has a positive off (click) position when you want it out of the circuit completely. Click here for a good YouTube demo from Nevada Music (UK). The optional Marshall PEDL10049 4-button footswitch IS INCLUDED with this amp and has controls for Channel Select, OD Boost, Reverb, and Effect, with an LED indicator for each button. These sell new for $599 but this one is in brand new condition AND includes the optional $69 footswitch, all for $469. Note: They make a cabinet specifically for the Haze, but it should also work great with the C110 below. The width is an identical 19.5", the head and cab share the same wattage, so you would get optimal speaker breakup, and it's rated at the proper 16 ohms.
22. 1984 Marshall JCM-800 Model 4212 2X12 Combo - Master Volume - Channel Switching - Reverb, (back), (top), (panel), (back panel), (sides). I've had great luck finding some killer JCM800's, which are the pinnacle of Marshall amps according to many experts and players. The 4212 is a 50-watter (dual EL34's) with channel switching and reverb. These Master Volume/Split Channel/Reverb amps came in 4 versions, the 100W head and 2X12 combo (2210 and 4211), and 50W head and 2X12 combo (2205 and 4212). Michael Doyle, author of "The History of Marshall", holds the 2210 as his personal favorite of the entire JCM800 line (page 48), which is a sentiment that I share. These were the amps that bridged the old and the new, still with the same basic circuit and quality components of the JMP line, but with all the "modern" features like dual channels, effects loop, D.I. output, and reverb - and all were "new" to the JCM800 line, i.e. weren't previously in the JMP line-up. These came in both 6550 for the USA tone and, like this one, EL34's for the UK tone. The tone is pure Marshall crunch and, typically, not a lot of clean tone on these so your channel switching can be overdrive/move overdrive. Although they don't get a shimmering clean tone like a Fender, few amps will beat this for creamy and crunchy tones and in this amp you'll hear the tone used on 80% of the rock/metal acts from the 80's and 90's. Features include a "Normal" channel and "Boost" channel, the former with only gain - bass - treble controls; while the Boost has a red light when engaged, and has the usual bass-mid-treble-volume-gain. Both channels share a master volume (thus 3 gain stages on the Boost channel - and overdrive ability on the Normal channel - plus a shared Presence control and master Reverb. The rear panel has an effects loop and D.I. output with level control. Appears all original other than speakers changed to a quality pair of Eminence G1's with heavy Alnico magnets. Cosmetically, this amp isn't a near mint museum piece. It has seen some road use so there are miscellaneous flaws to the covering, stains on both sides, a bit of tape here and there, and a replaced knob, but despite cosmetics, there is nothing "tired" about this baby. They have reissues some of the JCM800 line, with street prices starting around $2K - but I'd never consider any reissue when the real deal is available for less. This amp is 27 years old and sounds fantastic. Everything works properly and it sounds well-tuned and read to gig. A killer and complete backline set up for $1199. I probably have a 2-button footswitch (channel/reverb), possibly a later Marshall with LED indicators.
23. 1984 Marshall JCM-800 Model 2205 Master Volume - Split Channel- Reverb, (back), (chassis), (top), (panel), (back panel), (top), (f/s). Another great JCM800, original series, very clean, and monster sounding 80's Marshall. The 2205 is a 50-watter (dual 6550's) with channel switching and reverb. Along with the 100W version of this head (2210), this is my personal favorite of the JCM800 range. The 2205 was one of the few models that were "new" to the JCM800 line, i.e. wasn't previously in the JMP line-up. The tone is pure Marshall crunch and, typically, not a lot of clean tone on these so your channel switching can be overdrive/move overdrive. Although they don't get a shimmering clean tone like a Fender, few amps will beat this for creamy and crunchy tones and in this amp you'll hear the tone used on 80% of the rock/metal acts from the 80's and 90's. Features include a "Normal" channel and "Boost" channel, the former with only gain - bass - treble controls; while the Boost has a red light when engaged, and has the usual bass-mid-treble-volume-gain. Both channels share a master volume (thus 3 gain stages on the Boost channel - and overdrive ability on the Normal channel - plus a shared Presence control and master Reverb. The rear panel has an effects loop and D.I. output with level control. Features original Drake transformers and the original EL34's (UK version) was modded to run 6550's, which made it the export (USA) version. Other than some black paint along the bottom edge of the back panel, this amp is in nice shape with clean panels and covering - definitely nice shape for an 800 which are notorious for road wear. They have reissues some of the JCM800 line, with street prices starting around $2K - but why get a reissue when you can a very nice 27-year-old real deal model for just $1199. Includes recent Marshall footswitch which we can re-label the second button as "Reverb" if desired.
24. Marshall 4X12 - JCM800 Model 1982A Cab, (back). Fairly rare cabinet which was a high-power version of the 1960A, made expressly for the higher powered (250W) Model 2000 (guitar) or Model 2001 (bass heads). When these rare heads were produced in 1981 at the start of the 800-series, Marshall didn't have a cab that could handle the output and thus the 1982A/B, rated at 400W, was introduced around '82 to handle the power. Although you don't see many of these on this side of the pond, they were actually in catalogs from '82 to '87. From what I've read, original speakers for this cabinet would have likely been G12H-100 Celestions. This one is loaded with G12M-70 Celestions which are more noted for being stock in the 1960A/B cabinets early to mid 1980's. This, combined with the fact that these speakers will only handle 280W, makes me fairly sure that they're not original to this cabinet. As you can see, this cab has been roaded a bit and the covering in back has been torn. We can recover the back if desired for around $70 parts & /labor, or less if you just want the center "slice" re-covered. Originality aside, this is a pretty rare cab compared to the common 1960A and, especially if you're into hard rock, these G12M-70's are good sounding speakers. All considered, a pretty nice deal at $599. If you ever come across a 2000/2001 head, you've got a rare bird. The new cost on these was 2X the cost of a 100W head and because of this--plus the fact that they're simply too loud for anything other than a stadium tour--very few were produced.
25. Marshall JCM800 1960B 4X12 Cabinet, (pic2). Bottom cab for your full stack, includes casters. Hard to find mate for your JCM800 head, and the perfect match for my JCM800 1960A on my amps page (shown here). Loaded with original British Celestion G12T-75, 75W speakers, this 300W cab should never blow a speaker and has obviously worked night after night for many years. It has obviously seen its share of clubs in its 20 years as evidenced by a few nicks here and there and a large piece of covering missing from the back which we can paint black at no cost - or spot repair with tolex for $50 - but, hey, this is an old Marshall cab and it looks "right" just the way it is if you ask me. The Chinese made G12T-75's are selling for $109/each so at $435, it's like getting a quad of *British* G12T-75's for the price of Chinese and the cab thrown in for free. Anyhow, $435 and it works perfectly. Discount for local pickup.
26. Marshall JCM800 1960A Cabinet, (back), (speakers). Hard to find genuine JCM800 cab, loaded with original British Celestion G12T-75, 75W speakers. Cab is in typical used condition with a few tears to the tolex on back, but looks pretty good from the audience perspective. If you have a JCM800 and want the proper matching cab, here you go, just $450 plus shipping - or discount applies to local pickup.
27. ca. mid-50's Mullard 5-10 by E.A.R., (sides), (chassis/trannies), (circuit), (front panel), (Mullard), (Wharfedale). Okay, ignore the pea green cab. It's what's inside that counts. What we have here is a very old hand-wired Mullard 5-10 amp, which was a very popular circuit in England as soon as it was published in "Practical Wireless" magazine in 1954 and, in fact, this same amp is being built today. Mullard created this circuit and published it as a means to sell their vacuum tubes ("If you build it they will come....") as well as the recommended Partridge transformers. The amplifier featured five tubes and an output of 10 watts - hence the model name "5-10". Of those tubes, one was a diode-rectifier (an EZ80), one was a pre-amplifier pentode EF86 and one a double-triode ECC83 as phase-splitter. The power amplification was handled by a pair of EL84 working in push-pull configuration. Mullard also had a variation, 5-20, which was a 20-watter that substituted EL34's for the increased power. There is a lot of info on this amp on the web in various UK usegroups. Click here for the best site I found with a blow-up of the original magazine pages which introduced the amp and another useful link is here. Although countless numbers of these were built as DIY projects, this one was produced by "Electric Audio Reproducers Ltd" aka E.A.R. It is a quality made piece with a steel chassis and attractive gold paint including a bottom plate to seal in the circuit. Controls, Bakelite knobs of course, are an input selector switch, bass, treble, and volume. The power input jack is in the back and is the typical 2-post UK type (I probably have one around here somewhere). On the left side of the unit is another power input which I am guessing was to plug in a record player or radio tuner (there's an antenna jack mounted to the chassis) - and small plate with two widely spaced pin holes which I believe was the UK standard for speaker jacks, to be used if you wanted to hook up an extension speaker. The power transformer is tappable with a jumper to select your required power. Unfortunately, it's wired or 220V, 230V, 240V, and 250V, so you'll need a step-down transformer to use it. Since they are painted, I don't know if these trannies are Partridge but chances are many of these component will work on early Vox amps and other UK gear or if you're an audio collector, it's a pretty cool find, especially in the USA. In my search I found that some of the later models had circuit boards, rather than this point-to-point soldering. Personally, I think it would be a pretty cool project to transform it into a guitar amp. Because I don't have a way to test it, it's being sold "as is" but I will offer a refund, less shipping, if you're not happy with it. I'll mention though that this came from my old "UK-connection" and a few dozen other pieces, all guitar amps, I got from him all worked fine. This unit is in very tidy condition for its age, even the old Wharfedale speaker looks clean, although there is a little dark gunk around the trannies that probably needs some goo-gone to remove. $499 for this prize.