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AMPLIFIERS, AMP ACCESSORIES and CABS:

 

ATTENUATORS - "The Ultimate", 6 THD Hotplates, Marshall Power Brake, Dr. Z Airbrake - take your pick:  

• Marshall PB-100 Power Brake Attenuator, For you guys who don't have a master volume or, more importantly, for any tube amp.  A tube amp only sounds great when the POWER tubes are pushed.  There are some other attenuators or load boxes available on the market that don't provide the right type of inductive load that makes your amp think it's connected to a speaker. At best, these other devices cause your amp to sound thin and feeble. At worst, they can blow your valves output transformer.  The Marshall Power Brake is one of the best sounding, and safest, on the market.  While it might lack a degree of snob appeal, it's super reliable, very good sounding, and, most importantly, very safe - all of which make it probably the most popular attenuator on the market.  Selectable to 8 or 16 ohm load with built-in fan cooling, 100W power capable, and attenuates via 12-position rotary knob in 3dB increments with Position 12 = speaker muted, making a load box and with attenuation at -33 you would likely be happy with that setting as a line out. The 12th step on the knob is the "dummy load" position, permitting use without a guitar speaker.  List on these is currently $778 and they sell in stores or online for $549.  This one's in perfect condition and just $375(HOLD-George D 8/6).  Click here for Marshall's specs.  

• THD Hot Plate 2 Ohms Attenuator, for 2 Ohm load and works best for amps rated at 2 ohms or are selectable down to 2.  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 $299, a sweet deal for $209.  For full specs click here for THD's site.  

• 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 $299, a sweet deal for $209.  For full specs click here for THD's site.  

• Dr. Z Airbrake, (bottom).  Works great with the Dr. Z above, Trainwreck amps, or any other amp.  Made in association with Trainwreck Amps, the Airbrake is a versatile and great sounding attenuator.  Works on virtually any ohm load from your head or cab.  Works great in clubs, studio, or home in fact there's a setting for "bedroom" and when that is selected, a second dial is engaged which will take it down to around 1 watt.  It can also be tweaked internally (text here) to suit your taste.  For a good GP mag review click here.  Sells new for $329 but this nice used one's just $265 (HOLD-Steve G).  

New Specials:

1. SWR WORKINGMAN'S 2004 HEADS:  (pic2), upgraded version of the Workingman's 160, this 200 watt monster comes ready to rock, mounted in its own carpeted rack (which includes an open rack space for the effects unit of your choice).  160W at 8 ohms; 200W at 4 ohms, with typical SWR quality and features including a great limiter, aural enhancer, semi-parametric mids, and loads more.  For complete specs check out SWR's Site.  With a MSRP of $642 these sell in most stores at $449 and are an excellent buy, new in the box, at $325. I also have one available in Baltimore.  
2. Epiphone Studio-10EQX practice amp, nice little practice amp with 3-band eq, overdrive switch, headphone output.  I bought around a dozen of these because they're actually pretty good sounding clean - and an excellent breakup at low volume.  Lists at $95 and I have them new in the box for $49 or $39.99 as part of guitar & amp package. (Available in Baltimore MD)
3. Alesis Spitfire 30, more pics to come, . 30 watts with digital modeling, and just a ton of features in a small package.  The SpitFire's DSP provides 80 presets that can be easily edited & overwritten. Nine effects modules let you pick multiple effects for a huge variety of combinations. There are over 40 different effects to choose from, including distortions, cabinet emulation, EQ, compression, filter, modulation, reverb, and delay. There is also an auto-chromatic tuner built in. SpitFire amps feature a 1/4 in. stereo headphone output on the front panel that disconnects the speaker when in use, plus a 1/4 in. expression pedal input for control of effects, an external speaker output jack, and stereo RCA inputs for connecting a CD or tape player. A specially dedicated "Right Channel" output allows a second guitar amp to be connected for separated stereo amplification and at this price, you can probably afford to run two of them for true stereo.  List price is $249 but I have them new in the box for just $145.   (Available in Baltimore MD)
4. Behringer "Blue Devil" GX112 Combo, (pic2), (pic3), typical Behringer story here - just a lot of features and good quality sound - at a great price.  The Blue Devil packs 60 watts RMS through a single 12" Jensen with dual channels and 99 quality digital effects.  Features "Virtube" technology and midi-compatible.  For all specs, check out Behringer's Site here.  Remarkably, list price is a workingman's dream at just $329 and I think these are a great buy at $189, new in the box.  Includes footswitch and manual.   (Available in Baltimore MD)

1. Bogner Shiva 2X12 6L6 Combo with Reverb, (top), (back), (front/back panels), (accessories).  In Bogner's classic green tolex with cream grill and gold panel - the Shiva is quite possible the ultimate 6L6 combo and like all Bogners, hand-built in Los Angeles.  Cranking out a very loud 60 watts through a pair of Celestion Vintage 30's, the Shiva is equally capable of shimmering clean tones - or a very sweet overdrive with complex tones that will let you throw away your stomp boxes.  The Shiva is offered in an EL34 model, or this 6L6 with more of an American tone that covers more of the frequency spectrum than the punchy mid-range accented EL34's.  This one also comes with the sweet/rich sounding Reverb option, with separate controls for each channel, located on the back panel.  It also features a tube-buffered series FX-Loop which, I understand, requires a special cable to be effective.  Other features include: footswitchable 2 Channel All-Tube Design,  Footswitchable Boost which is variable on Ch.2.   Channel 1 features Bass, Treble & Volume controls while Channel 2 features an extra Gain control as well as Bass, Middle, and Treble. Both channels share a Master Volume and Presence control.  This particular amp was factory voiced for a little extra headroom over their stock spec and is fresh from the shop, fully tuned, with new tubes including Svetlana 6L6GC's.  For more info and mp3 samples, click here for Bogner's site - and click here for Harmony-Central where it received an incredible 9.9 Sound Quality from 11 reviews.  The new *discount* price on this amp is $2798 but this nice used one, set up and ready to gig, is just $1999.  Includes felt-backed cover and footswitch to activate channel select, boost, and reverb. 

2. DST Engineering MarWatt 2X12 Combo, (pic2), (top), (panel), (back).  Another great Class-A combo and clearly one of the best of the lot as far as 18-watt clones on the market.  Touted as the "last word in British sound from a portable amp, one of its proponents is the Rev. Billy Gibbons, who has plugged it in a few articles in ToneQuest.   It features two individually voiced channels for 2 very distinct sounds.  Channel 1 features Hi and Low inputs with simply a Volume and Tone - Channel 2 features High and Low inputs with Volume, Bass, Mid, and Treble.  The two channels are voiced very differently which adds some versatility and ensures that you'll be able to get the classic British tone that you're looking for.  Tube compliment includes three 12AX7, a pair of EL84/6BQ5, and a 6CA4/EZ81 rectifier.  In addition to top grade components, the cabinetry features solid core Baltic Birch plywood with 3/4 inch dovetail corner joints.   With a decidedly vintage look, along the lines of Vox including the top vents, this one is finished in green vinyl covering with gold trim and outfitted with a pair of Celestion 70th Anniv. G12H30's, which is spectacular speakers.  Of note to the back-weary, it weighs in at under 60 lbs., featherweight when compared to some 2X12 combo's.   Click here for a DST's Marwatt Page including full spec's and sound clips and for a great in-depth review in Guitar Player Mag click here.  New cost on this amp was $1899, very reasonable for a hand-built 2X12.  Better yet is this mint used one, collector owned and barely used, for just $1450.  

3. 2004 Fargen 2X12 Bordeaux, (back) (click to enlarge both pics).  In cool green tolex with black panel and white knobs.  This is a killer deal on a very good quality boutique combo - hand made in Sacramento Calif. - and this is an early model for the company, serial 173, back when all of Ben's amps were custom orders.  Recently Fargen has begun selling direct to the public and I'm sure the quality is still top notch, but there's something about early models from any maker...built when they had something to prove.  There's also a certain quaintness with these small builders and the case in point, for example, is the panel on this amp.  Although it is labeled with a "Reverb" knob, it's actually a factory non-reverb model and the Reverb knob is actually the Master Volume, with the "Volume" knob being the Gain control.  Confused?  It's simple and the very basic layout:  Gain, Master, Treb, Mid, Bass, left to right.  To reiterate, this amp was built as a non-reverb from the ground up and the only oddity is the incorrectly labeled knob.  This one has an excellent Marshall crunch and at 40 watts, you can get these power tubes singing without being insanely loud.  It's currently biased with installed 6L6 power tubes but will also run EL34's if you want an even truer Marshall tone.  Speakers are excellent sounding Eminence Read Coat "Tonkers".  Cost on this amp almost 4 years ago was $1800 and while I don't know what the prices have done since Ben started selling direct, it's a killer deal on this early model with at $1150. 

4. 1962 Fender Tremolux Head & Cab, (pic2), (pic3), (circuit), (top chassis date codes), (label, retailer's label, service label - just serviced by LA Amps Jan 05).  Model 6G9-A in beautiful shape, needing nothing except plug in and go.  When it was last serviced, owner asked for it to be tube/biased for early break-up and while this isn't the loudest 35-watter I've heard, for a vintage Fender it does break up nicely at a moderate volume. All components original, except for, perhaps, filter caps, which I forgot to check.  All tranny codes correct for this year, original pots, original point-point solder joints, all collector approved.  The only mod I'm aware of is a stand-by switch added to back panel, which makes it a lot more friendly for your power tubes (see arrow in this pic), and speakers are 1972 CTS.  Cosmetically, the whole setup is in very nice vintage condition, with the worst flaw being some circles on top of the cab, barely noticeable with the head sitting on top (pic here), which may be removable with some cleaner - picture also shows the speakers, CTS, 42nd week of '72.  If this were a new boutique hand-wired head and cab you would expect to pay to $3K or more for a head&cab.  Blonde Fenders have really taken off in recent years but you can still find clean ones at a pretty good price, like this one at $2150.  If you'd prefer, I'll also offer it with a NOS pair of Mojotone speakers for $1999 in place of the 1972 speakers that are currently installed.  

5. Dr. Z Stangray 2X12 Combo, (back), (pic3).  Collector owned - as new condition.  The Stangray was designed around a VOX AC30 in conjunction with Telemaster Brad Paisley, who is one of the hottest country players I've heard and has been a Dr. Z user for years.  After the success of their first partnership, the Prescription Extra Strength, Dr.Z and Paisley wanted to develop an amplifier that offered an additional pallet of tonesatts, the new Stang Ray tip to work alongside the Prescription, thus the Stangray.  Using the classic setup of a quartet of el84's biased close to true Class A at 30 ws its hat to classic British tones, but like all Dr.Z amps, has its own unique voice.  The preamp uses an EF-86, and it has a 12AX7 phase inverter. Tone shaping is accomplished with Volume, Tone, and Cut controls, giving you the ability to dial up a warm tone, but with sweet 3k range brilliance for beautiful upper treble and nice low-midrange control. The output transformer was designed by the late, great Ken Fischer (Trainwreck).  Like most Z's, not a whole lot of bells and whistles on this amp; nothing to get in the way of your guitar and pure tone coming out of the speakers.  Speaking of speakers, some top shelf 12's on this baby with a pair of Celestion Alnico Blues with bell covers.  You really can't get anything better.  For more specs, accolades, and sound clips (courtesy of Mr. Paisley), go to Dr. Z's site here.   As with any quality USA amp that's all tube and point-to-point soldered, this amp isn't cheap, but with a new one costing $2299, this one could be sold as new except for one small dent on the edge - and it's just $1799.  

6. Clark Tweed Reverb, (back), (top/panel), (label).  Excellent choice for all the non-reverb vintage amps, or vintage clones, which don't offer reverb.  Like the old Fender Reverbs, this unit also offers much more control over your tone with separate Dwell, Mix, and Tone controls.  Current models are offered in black but this earlier model is in a vintage tweed that will be a perfect mate to your tweed reissue such as the Beauford above (as shown here).  Four-tube circuit, including 3 genuine GE tubes.  Offered at Clark's site in black only, for $825, this vintage tweed is in perfect shape and a wonderful sounding reverb unit for $629.  

7. Ear Candy Sovereign 112 Cab, (pic2), (pic3).  Custom Shop 112 cab built for a local collector in mid 2006.  Description:  The Sovereign 112 is a cube-shaped, front-loaded cab with removable front panel with wheat grill, dual-ported - closed back design, loaded with excellent quality 75W Red Coat "Wizard" speaker.  For some good unbiased opinions go to Harmony-Central where this cab received a 9.9 rating (link here) and the Wizard  (Link here) was rated 9.2 overall).   For more info, click here for Ear Candy's site.  New cost was $380 but this one's immaculate and just $289.  

8. Mojave Coyote Head, (panel), (back).  For the few of you who wanted the Coyote I had a month or two ago - here's another - except this one is serial #6 for any of you guys and gals who like the lower serials.  If you're looking for clean headroom - look elsewhere - this amp has none.  If you're looking for excellent crunch and rich distortion at all sound levels - you'll likely be very pleased.  In my business low watt boutique amps are about the hottest thing on the market right now - even more than most vintage amps.  They generally sound as good, or better, and don't have 30-year-old components just waiting to fail.  In fact, most of these have better components than many of the original models.  The Coyote is a dual-EL84, cathode-biased amp that features dual independently voiced channels, labeled 'Bass Volume" and "Treble Volume."  Each controls the two triode gain stages of a 12AX7, and the idea is that you use varying levels of each to obtain not just the amount of overdrive you want, but also the balance of bass and treble needed for your particular guitar.  The dual-function system eliminates the need for separate tone controls - and the only additional EQ on the Coyote is a Tone knob and 2-position Mid Cut/Emphasis switch.  Don't be fooled by an lack of knobs and switches; as many of you know, less is more.  To quote one review online: Elements of its sound are reminiscent of an old Marshall 20 watter’s, but the Coyote has a broader palette of textures to play with, and it seems to instinctively want to sound good with just about any guitar. Bottom line: If you like the idea of exploring very interactive control nuances for precise tailoring of your tones, you’ll find the Coyote fun and exciting.  For full details and reviews, click here for Mojave's site - or click here for sound clips. If you've been thinking about getting a new Coyote, they sell pretty much at their list price of  $2100 but this one is dead mint, one of the first ones built, and just $1450(HOLD-Ed L 7/9).  

9. Mesa Boogie M-Pulse 360 Bass Amp, (pic2), (Stock Pic).  Hand-built in USA and another fine Boogie amp from the original boutique amp builders.  Features 360 watts Simul-State power, 12 tube-driven Mos-Fets, dual 12AX7's.  Other features are active/passive inputs, 4 stage tube preamp with gain - active treble and bass - passive mid and footswitchable 5-band semi-parametric EQ with 15db cut/boost from 30Hz to 12K Hz.  Footswitchable compressor with independent threshold and ratio controls, footswitchable solo level control, balance line out with pre/post switch, bass tuner out, dual speaker outs, slave out w/level control, fan cooled, four-button footswitch with Parametric EQ - Compressor - Solo - and Effects Loop on/off.  For full specs see Boogie's site here.  These sold new for $999 to $1199 and this one is in perfect shape, with manual, footswitch, and optional long 30' cable for just $650. 

10. THD Bi-Valve with Cabinet:  THD Bi-Valve, (pic2), (pic3) AND Top Hat 1X12 Cab.  Very unique amp with some cool features including self-biasing with two output tubes, wired in parallel and combined through a special output transformer, you can use almost any output valve you like without touching any kind of bias adjustment, and the BiValve you can use them in any combination as well.  Along with the capability to take almost any preamp valve, this makes the BiValve even more of an amp-tweakers dream than its predecessor, the Uni-Valve.  Like the Emery Sound, you can just experiment and have fun finding all the killer combinations available.    In addition to the usual volume, bass, and treble, note the "Attitude" control, which works on the driver valve to change its response, and does more or less what the name suggests: either smoothing things out or making them more aggressive.   A The hi/lo power switch is like having a built-in Variac; switching to low voltage adds a squashy dynamic feel and reduces clean headroom, essential for valves like the 6V6 which can't handle high plate voltages.  Perhaps the nicest feature, THD's famed "Hot Plate" power attenuator, built right into the amp.   Lets you run this baby full out, saturating the power tubes, letting you get that creamy response and natural sounding distortion.  This amp is built like a tank and the circuit and overall construction, impeccable.  For full specs, click here for THD's site. The Bi-Valve sells online for $1529 ($1795 list) with the Top Hat with Vintage 30 at $499 but you can get BOTH pieces for less than a new BiValve - $1400 takes the pair.  

11. Clark Beaufort "Tweed Deluxe" with Vibrato, (back), (top/panel), (circuit), (label&optional vibrato).  Second one of these great amps I've had in 2 months and rather than give you a brief opinion on tone, read a report from a true expert, Gerald Weber, reporting for Vintage Guitar Mag click here.  Clark builds accurate Fender tweed era replica amplifiers without compromise.  Finger jointed pine cabinets covered with aged sealed tweed, triple chrome plated steel chassis, the best in the industry custom wound paper bobbin transformers, eyelet boards point to point wired with cloth covered solid wire, custom manufactured, Sprague, and SoZo, Allen Bradley carbon composition resistors, CTS potentiometers, Weber Classic Alnico 12" speaker, Carling switches, military grade tube sockets, and quality tubes.  Clark amps are all about quality and exactness to Leo Fender's tradition.  The Beaufort specifically is a Twelve watter with 5E3 circuitry, one twelve combo with Voltage corrected power and custom wound output transformer.  Normal and Bright channels with common tone control.  The cabinet is built to the stock size 5E3 cabinet and lacquer coated to a perfect orange amber patina.  The Beauford is the perfect size and power level for practice and small club use.  One option on this one is the Vibrato unit, which uses a pair of preamp tubes and is housed on the left-hand side of the cabinet, and controlled via footswitch.  The Beauford with Vibrato option will set you back around $1600 but this one was collector owned, with very limited home use only, and just a wonderful little Deluxe for just $1250(HOLD-Chip L 5/30).  More details at Clark's Site here.  

12. 1940's? Rickenbacker M-12 Electro, (back/panel), ((inside).  I finally got around to cleaning up the grill and what a difference 2 minutes can make to the appearance.  Looks to be late 40's and pretty nice shape for it's vintage, other than the which was taped over broken leather.  Most importantly, it sounds great and needs no attention.  Finished in 2-tone brown, with a brown panel, bakelite knobs, the panel is in very clean shape with all lettering intact.  Features quality RCA/GE tubes putting out 15 watts through a 12" speaker in a bass reflect design, with 2 instrument inputs plus a mic input, all with their own volume control.  I don't know a lot about the design of this amp but each input has a different voice and breaks up, quite nicely, at different volume levels.  The speaker looks to be a newer one but otherwise this amp looks to be all original.  There aren't many Rick amps on the vintage market and this is somewhat of a find for me.  Harp players really like these M-series and it sounds equally nice for guitar.  Good value for a vintage amp at $439. 

13. Bogner Metropolis Head, (pic2).  As new - never registered and a killer boutique 30-watt head via quad of EL84's.  Much more traditional than the Shiva head on my amps page - but at the same time not really traditional - is the Metropolis.  Forever classic, the chimey EL-84 tone blossoms into an extremely touch sensitive and dynamically expressive voice.  Metropolis features a single channel circuit that responds remarkably to nuances of your attack and shift of the guitars controls.  A kaleidoscope of tonal colors can be found in Metropolis's two distinctly voiced inputs and the five position Schizo control, really a sonic blender control the Schizo switch alters the voicing of the amps Gain and EQ structure, combined with the individual tone, gain and master volume controls many stellar sounds await.  For more details and sound clips, check out the Metropolis here.   Lists at $1850 and sells at minimal discount.  I got this brand new from a local Bogner dealer, sold it briefly to a collector and was happy to take it back in trade, still in mint condition, and to many this is the ultimate EL84 amp at just $1499.  

14. ADA Quad Tube Programmable 2X12 Combo, (front panel - pics pieced together), (3/4 view), (back panel).  The Big Boy - the baddest amp ever made by ADA.  It was also the most expensive, selling for $2399 15 years ago.   This amp is super RARE - try to find another one.  I found one on the web which was actually a NOS model that a store was selling for the same $2399 but has sold since I looked it up a month ago.  I have not one but TWO of these babies.  One of them works perfectly - the other one has a glitch on some of the patches and is priced accordingly.  Looking through the 62 page manual it's clear that there are too many features to list here so I'll just do a brief overview.   Features 150 watt output (true stereo - 75W/Side) with complete digital control of an all-analog signal path, 128 user and 39 factory patches, four low-noise 12AX7A tubes with 10 voicing options an overdrive, onboard compressor, four-band tone controls nine-band graphic EQ, powerful effects, including "Varicab" (programmable cabinet emulator), tremolo, stereo chorus, noise reduction, stereo effects loop with programmable mix control, front panel volume and room compensation EQ, cabinet-emulated XLR output with ground lift s well as unbalanced 1/4" outs for recording, complete MIDI with real-time MIDI for on the fly changing of parameters, rack holster for mounting single rack space to the back, accepts ADA 4X4 MIDI controller.  As I mentioned, one of these works perfectly, priced at $1399.  The other one works perfectly on some patches, while other patches have a low rumble which runs away if you tap the top of the amp - could be an easy fix - it's never been benched.  This one is totally useable on most of the patches and is selling "as is" for 1/2 price; $699.  If you're an ADA fan, this might be your only chance to get your hands on one of these rare and great sounding amps - and a piece of ADA history.   Includes 62-page owner's manual but if you're familiar with the MP-series, you will find it easy to get around on without the manual.  Note:  If this is too much amp for your needs, I have another rare bird - the ADA Viper, at around 1/2 the power and size as the Quad.  

15. 1966 Fender Vibrolux Reverb, (back), (panel-click2enarge), (top).  One of the ultimate club and studio amps, highly sought out by players for it's superb tone and portability, and at 35 watts it's perfect for most stages - you can crank it up to where it sings and it's not unmanageably loud as a Twin, Pro, Showman, etc., would be.   Features Fender's normal layout with an Normal channel with volume-bass-treb, while the Vibrato channel features those controls plus vibrato speed and intensity, and reverb controls.  This is a wonderful sounding amp which responds to player's dynamics very well, has plenty of headroom, plus a nice breakup starting just over half-way.  Appears to be all original other than a few minor changes:  on the top back panel it had 2 small holes in back panel which we covered with a strip of the same '66 tolex (pic here) so it matches perfectly - plus one replacement speaker -  Speakers include one original Jensen C10N (7th week; '66) and one replacement Jensen C10Q.  Tubes (pic) compliment includes 6 preamp tubes and a matched pair of Philips JAN 6L6's and a NOS Dumont 5U4 rectifier.  If you've never played one of these you're in for a treat. Such a pure tone in a nice little package, which is one of the reasons that some boutique shops build clones of this model.  But...why pay $2500 or more when you can get the real deal for just $2200 or if you'd rather have a matched pair of NOS Mojotone speakers, $150 cheaper, just $2050.  

16. 1968 Fender Bassman Head with Bassman 2X15 Cabinet, (Head-1), (Head-2), (Head-3), (Cab-1), (Cab-2).  Great sounding bass--or guitar--amp and 50 watts of 6L6 power makes it a good club amp for medium size venues.  Sort of outdated, power-wise, for bass but still capable of delivering some killer lows if you're in a small bar - or other clubs if you DI or mic the cab.  The 1968 Bassman, easily identifiable by the chrome trim around the grill, has the exact same circuit (AA165) as the 1967 blackface model and is a very desirable model.  Although I personally think the later silverface models sound pretty good, they're often slighted by many critics but, again, this one is the blackface circuit which many believe is the best post '59 Tweed Bassman made.  Accompanying the head is a later, ca. 1972 Bassman 2X15 cab, which is a more reasonable size than the earlier models.  At 30"X28"X12", it's much easier to fit into the back seat of your car than the huge earlier models.  Casters are included for portability and also features handles on both sides of the cab.  The head has the sliding hooks to connect to the cab but I didn't get the thumb screws which are available as aftermarket products from Fender and other makers.  This setup is extremely clean other than discoloration to the grill, primarily on the cabinet.  Tolex, panel, and grill are otherwise quite clean and this would be a nice setup for the collector but priced within reach of the working player.  $899 takes both pieces.  

17. 1984 Marshall JCM800 Master Volume Mod. 2204 Head, (back), (chassis), (top).  Throw away all your OD pedals and enjoy the pure overdriven tone of a fine vintage Marshall.  This one is set-up for EL34's and is full of singing sustain, loads of crunch on your rhythm parts, and at 50 watts it's very loud but tame enough to use on a club stage.  It's also in beautiful shape as you can see in the pics.  This one has a pull/boost on the Master Volume pot with special lettering "Pull/Boost" on the pot and "Custom Amplifier" under the JCM800 lettering as shown here in this close-up of the panel.   I don't know if this was a pro mod added later, a factory mod, or perhaps even a transition or test model amp.  When engaged the amp goes into high gear, boosting the output into overdrive with a pronounced mid-range boost.  It really sounds incredible and, in fact, this amp sounds incredible.  I'm a big 800 fan and this is certainly one of the best I've had.  Best of all, it's been serviced it's entire life and spent most of its life in a flight case so it's super clean.  This is a no-frills amp with no effects loop, no reverb, no dual channels, all of which seem to suck some of the tone anyhow.  If you're looking for pure vintage Marshall tone - this is your amp.  All original Drake transformers, with no issues such as crackle, dirty pots, etc. - it's ready to gig tonight.  With the 100W reissue JCM800's at over $2K, here's the real thing and although it's "only" 50 watts, it's extremely loud and I can't imagine how you would control 100W in a club setting - the sound guy would be going crazy trying to get some control.  Just a killer MK 2 head for $1099(HOLD-Tim 5/14).  Note:  Flight case below can be included for $75 if desired.  

18. 2002 Marshall 1960A Vintage-style 4X12, Your basic 300-watt Marshall stereo cab with a vintage look including checkerboard grill cloth, gold piping, and small logo.  Runs 300W mono or has separate inputs for stereo operation at 150W/Side.  This is a killer looking cab with the Plexi reissue below.  $550 for this cool looking slant cab.  

19. Marshall "3/4" Stack (click to enlarge), When a 1/2 stack isn't enough...  A Marshall JCM800 head, 1960B 4X12, and 1936 2X12 cab gives you more flexibility.  For small gigs the 1936 will do nicely or for larger gigs take the 1960A - or both when you want or need this awesome looking backline setup.  Both cabs are stereo so if you're running a rack system or stereo head you can send your signals to 3 speakers on both the left and right sides. Both cabs are listed elsewhere on this page priced at $399 and $499.  I don't really have a reason to list this as a package other than it's sitting stacked this way in the warehouse and I though, "cool looking setup", and shot the pic.  

20. Marshall 1960B Straight Cab, (pic2), minimal home use only and dead mint condition.  Come on...you know you want it...that FULL stack.  It's hard to feel like Jimi, Page, or Slash when you're reaching down to adjust your knobs; you should be reaching up.  Seriously, whether you're using this as a bottom cab of a full stack - or the only cab in a 1/2 stack setup - you're getting the evolution of one of the mot noted icons in the history of rock.  Roots of the 1960 go back to the year 1962 when Jim Marshall designed the world's first 4X12 guitar cabinet.  The current 1960 cabs are 300 watters loaded with GT12-75-watt Celestion speakers, switchable between Mono (4 or 16 Ohms) and Stereo (8 Ohms per side).   The two Mono modes provide extra amp matching capability while the stereo option makes it ideal for rack systems which typically run in stereo.   List price is $1180, heavily discounted to $799.  This one has zero flaws and could be sold as new - but the cost is $250 less than new, just $550.  Note: I just got in a pair of mint Marshall covers for straight cab at $22/ea.  

21. 1987 Marshall JCM-800 Super Lead Mod. 2205, (back), (top).  Another great JCM800, original series, insanely clean, and another monster sounding 80's Marshall.  If you noticed the 100W 2203 head I posted a week or two ago, this one is from the same year, except this 2205 is a 50-watter (dual EL34'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 (and 2210, the 100W version) 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 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.  They have reissues some of the JCM800 line, with street prices starting around $2K - but why get a reissue when you can get the real deal, 20 years old and in beautiful shape, for just $1199.  Original 2-button footswitch is included.  

22. 1987 Marshall Lead 100 Mod. 2203 (aka Mk II Master Lead), (back), (top), (inside).  Beautiful Shape - *KILLER* tone.  A true classic in Marshall history, this is the model made famous by, among others, Eddie Van Halen and his famous "brown sound", and countless other rock idols from that era onward.  The 2203 has its roots in the JMP era and other than cosmetic changes (wider panel, larger logo, and grill cloth on front baffle), this JCM800 is identical to the earlier JMP Model 2203.  The 2203 was Marshall's first use of the Master Volume design, enabling the player to overdrive the preamp stage, thus getting distortion at lower volume levels, i.e. not having to drive the power tubes into overdrive levels.  The was initially a mod done for Ritchie Blackmore but soon thereafter, in 1975, they started producing it as its own model, the 2204.  There are no frills on this amp whatsoever.  No channel switching.  No effects loop.  No reverb.  Nothing extra in the circuit to get between your guitar and the beautiful tone that comes from the output jacks.  The one feature it does have is a D.I. output that doesn't suck any of the tone but, quite honestly, is outdated and there are much better ways to get your sound directly to a mixing console.  Controls are straight ahead and classic Marshall  with Presence, Bass, Mid, Treb, Master, and Preamp, with a high input for passive guitars and a "low", buffered input for you EMG type fans.  This one is set up for the British tone with a quad of EL34 power tubes.  I don't know what kind they are but I do know that they sound great so they don't need replacement.  This circuit has been so wildly popular that the evolution of the JCM900, JCM2000, DSL's, TSL's, etc., Marshall has reverted to this wonderfully simple design and reissued it as the 2203 Reissue.  The 2203 Reissue sells for $2039 but why by a reissue when you can get the original for less; much less.  Just $1299(SOLD-Laszlo HU) and, again, this amp sounds perfect right out of the box - needs nothing and ready to take to your gig or studio.  It's also in beautiful shape for a 20-year-old amp - one of the cleaner 800's I've had. 

23. Marshall 1936 Lead 2X12 Cab, (back), sized to perfectly fit full-size Marshall heads (as shown above) and the perfect choice for club gigs when you don't need the power or intimidation of a 4X12.  Loaded with a pair of 75W Celestion G12T75 speakers = 150W rating.  It's even wired stereo (eight ohms mono; sixteen ohms stereo), automatically directs each input to a single speaker(75W/side)  unless the mono side is used, in which case the output goes to both speakers.  Constructed with locking joints; smooth ABS plastic corners; and heavy-duty recessed grab handles.  Sells new for $575 ($820 list) but this nice used one is just $399.  Note: This cab has stock caster sockets installed (pic) and I have a set of casters, two of which with locks, available for $24 if desired.  

24. ATA Flight Case, (pic2), (pic3).  Fits JCM800 above and other full size Marshall head and others.  Birch plywood with aluminum edges, recessed twist-lock latches, recessed spring-loaded handles.  Interior foam is in great shape.  A case with these specs is around $250 new but this used one is just $125 - or $75 with purchase of a matching amp.  

25. 1962 Gibson GA-19RVT Falcon, (Back), (Panel click to enlarge), (Top).  I've had this amp before and was ecstatic to have it come home to roost last week.  Word has gotten around that these tweed-era Gibsons are some of the finest amps--and best buys--on the vintage market.  Last year VG magazine did a feature on them, confirming what most owners already know:   They're simply outstanding sounding amps, with a very smooth tone, a beautifully smooth break up, and some of the best tremolo and reverb you'll hear on a vintage amp.  The reverb is very lush and, get this, the amp was engineered in a way that you can turn the volume all the way down, the reverb turned up, and you'll get a "wet only" signal, sort of like a delay pedal with the mix turned all the way to effect; sort of like playing with a digital delay, lagging behind the original note.  This allows you to totally wash your tone in lush reverb - or use any mix you desire.  The tremolo also is very warm sounding and unlike a lot of vintage amps, the effect is very strong, not one of those effect where you wonder if it's turned on or not.  Although these amps have shot up significantly over the past few years, they're still around 1/2 the price of a comparable Fender.  Like tweed Fenders, this amp is all hand-wired, point-to-point soldering throughout (pic of circuit - click to enlarge).  I don't think you can get a new hand-wired combo for under $2K.   Other than proactive maintenance such as caps and 3-prong cord, this amp is all original except power transformer replaced with a Ruby in 1998, other trannies are dated '61 and '62. Original reverb tank dated 2nd week of '62 plus includes original footswitch for reverb and tremolo on/off.  Original Jensen C12R dated 2nd week of '62 and sounds fantastic.  Cosmetically, it looks like an old tweed amp, with all the wear and discoloration you'd expect from an amp that's been enjoyed for 45 years.  It's also missing the logo from the front grill but repro's are available if you're so inclined.   If you're looking for an amp with super mojo - it doesn't get any "mojoier" than this - and tone that easily rivals a tweed/blonde/blackface Fender, here's the ticket.  This amp needs nothing and will be ready to gig right out of the box.  Still a good value in my opinion and just slightly higher than I see the later black tolex models going for.  $950.  

26. Top Hat Portly Cadet, (top), (pic3).  Very cool little 5-watter that's different from most of the lil' boys on the market, i.e. not a tweed Champ or Vox AC-4 clone but rather it's voiced like the vintage Supro's with more available gain than most of the other low-powered clones.   The Portly Cadet is a single-ended Class A circuit powered by a single 6V6 tube with a 12AX7 preamp and 5Y3 rectifier.  Very simple to use - not much confusion with simply a volume knob.  The PC, however, also features Boost & Bright switches.  Very cool vintage looks on this one, burgundy leather-grained tolex, art deco lettering, chicken head knob, blue jewel light, black plastic amp corners, and a clear acrylic handle.  Quality tubes installed with a JAN rectifier, GE preamp, and EH 6V6GT power.  Speaker is a custom designed Tophat 8" G8C-5.  You'll find the Portly Cadet new online at $724 but this one's immaculate, sounds great, and a sweet lil' amp for $579. ...or if you want an extension cab we can include a Top Hat 1X12 Cab, $950 for both pieces.

27. Vox Scorpion 4x10 Combo, (pic2), (pic3).  Vox was the best at refining a solid state design into an amp that had the warmth and feel of tubes and this is another good example.  Fairly rare model and a good value in a vintage Vox combo.  Lots of features including bi-level control panel with Normal and Brilliant channels, each with its own volume-bass-treble.  On the lower level there's footswitch input, reverb, tremolo depth, tremolo speed, line reverse switch, and Aux speaker out.  Classic Vox looks with Diamond grill cloth, vertical logo, and top/back control panel.  Overall nice shape for a vintage amp and, again, very affordable at $699.  Please read the following opinion on  VOX SOLID STATE AMPS:  I have long stated the opinion that Vox nailed the solid state tone long before Fender and other makers, and thanks to Robert B on his explanation of this, basically Vox had a decade or so head start through their organ manufacture:  "As far as I know the Thomas Organ Vox amps were the first commercially produced solid state line, beating Fender’s mid-1966 solid state line by a few months –and  the 1966 and 1969 Fender attempts were pretty much failures. People ask “why Thomas Organ?” and the long forgotten answer is that the keyboard companies like Thomas and Wurlitzer were early into solid state – the first Thomas all solid state organ was 1958, and Wurlitzer had solid state keyboard amps by at least 1962, so those companies had more solid state experience than anyone, so it was natural that Vox would have them designed by Thomas. Plus all the crazy effects probably originated in organ circuits anyway.  

28. Alessandro Hound Dog Red Bone, (pic2), (pic3).  No bells and whistles here, just great tone.  Made of modern audiophile components such as high-purity, grain-oriented copper and silver conductors and combined with time-tested circuit designs which have been refined and improved upon.   This particular amp I was told was a pre-injunction model as I gather Gibson threatened some sort of action regarding their amps, made in around '96 (serial no. 33), with "Hound Dog" branded in the front and "Redbone" painted on the back panel.  This amp is for the true connoisseurs of tone - not for the guys who like to constantly tweak, although these few controls are very tweakable. Controls are volume, treble, mid, bass, all unmarked, I'm told because they are truly interactive.  Rated at 55-watts class A, handwired on thick turret board with very neat wire runs, meticulously built.  Chassis is aluminum, power tubes are Svetlana EL34's, preamps are 12AX7 & 12AT7, plus Philips 6SL7 rectifier.  Tonally this amp sounds very huge, which defies it's minimal size, with extraordinary bottom end nice round clipping starting at 1/2 way up.  This is the second Alessandro I've had and they are definitely among the best boutique amps I've had in stock--and I've had just about every brand made.  It is rare to find any of these on the used market.  People tend to keep them plus not many were made in the first place.  At $1399, you can't go wrong.  

29. Palmer TriLine and E-Frog, (Stock Pic).  ONLY the E-Frog is available as the TriLine has been sold.  If you're playing one guitar over two amps, but you want to send both amps through the same speaker cabinet - here's the answer, the  Palmer E-FROG. (PGA-02).  This unit is "as new" in original box and available for $79.   Again, this is for the E-Frog ONLY.  

30. Fenton-Weill Porta-Bass 15”, ultra rare early 60’s British amp, pair of 4C1 power tubes with Mullard EZ81 rectifier, preamp tubes are a pair of Mullard 12AX7 and an ARS 12AX7, vintage Goodman 15” speaker is probably original, not terribly loud, 18 watts or so, but cool guitar tone and the coolest looks, $699

31. Fenton-Weill  RARE-RARE-RARE late 50’s/early 60’s combo, this thing sounds GREAT, 220V but will supply a new external transformer, orig 12” Goodman bell speaker, nice shape overall, Tubes are G.E.C.U709, Mullard EF86, and a pair of Brimar 6BW6, $650

32. 1982 Mesa-Boogie D-180, (pic2).  Rack now included (see below).  When's the last time you saw one of these?  Maybe...never?  This is a unique amp for several reasons including it's design as either a guitar amp or bass amp, with one channel voiced for bass - the other, with overdrive, voiced for guitar.  The same idea as the old Marshall Lead&Bass 50.  It was also a very LOUD amp for the time, with 200 watts RMS, which beat just about any other tube guitar amp in its era.  It was also Boogie's first rackmount amp and the first with dynamic "Dual Differential" drive circuitry.  With its cascaded inputs (a Boogie patent) distortion can be created via channel one running through channel two.  If you crank the volume while playing through channel one, you will get a nice, adjustable distortion.  I recall the Laney did the same thing years later with it's "cascading preamp".  Also notable, Boogie recommends running the master volume at 10 because there is a preset, optimized EQ at this volume and you'll get the most out of it in this fashion.  Want loads of headroom with your guitar?  This amp has it.  Also you can get a very fat and punchy tone for your bass, at around 1/2 the weight of an SVT.  A look inside (pic2) reveals a very neat layout, hand-wired of course.   Also features all tube circuit with six 6L6 tubes in the power section with 4 preamp tubes.  You can read about this and more features via the online manual (view or download here).  I'll try to add more info but the pics show that it's in very clean shape, I've installed all new Russian tubes, and this baby is ready to rip.  Now included is a carpet-covered rack, included for free, with an extra rack space at the top for your guitar effects.  Priced at $1199 for this rare one, which is a nice price for a hand-wired 200 watt head.   

33. Mesa Boogie Nomad 100 Head, (pic2).  100 heart-pounding watts of Class A/B power via a quad of 6L6’s with five 12AX7’s in the preamp.  All the features you could want in a world-class amp including 3 Fully Independent Channels w/6 Modes (Channel 1=Clean or Pushed, Channel 2=Vintage or Modern Gain, and Channel 3=Modern or Vintage Gain), Bias Select (6L6/EL34), 100/60 watts switchable, Independent controls for each channel, Spring Reverb, Parallel FX loop w/mix, Record/Headphone out, and much more.  Includes 6 Button Footswitch (Channel 1, Channel 2, Channel 3, EQ, Reverb & Solo).  This is an absolutely killer amp for the rock/metal player and offers more versatility than just about anything else on the market.  Note: missing aluminum pole that goes across the back = no biggie.  Sold new for $1499 but this one is in beautiful shape, sounds perfect, and is just $999.  Includes original 4-button floorboard with cover.  (Note:  Boogie 1X12 cab, as new, has just arrived which will be posted this week).  

34. Polytone 102, ca. 70’s, very cool stereo amp with a single 12” and dual 8” speakers, plenty of power, stacked pots for each channel, mono/stereo switch, reverb, some sort of  “octave” switch that acts somewhat like vibrato (only cooler), light-up panel, one of the more unique amps I’ve had and I give it two thumbs up for tone and features, $450

35. Weber 5F6A '59 Tweed Bassman, (note - color is as show on the pic of the back side - front somehow "washed" out).  (pic of panel).  Believed by many to be the best sounding guitar amp ever made and essentially the same circuit as the early Marshall amps.  Two channels with two inputs per channel, Two Volume, Treble, Bass, Mid, Presence, Power, Fuse, Standby, Pilot light. About 45 watts of power from two 6L6GC power tubes, four 10" Weber speakers, with the lower 2 having dust covers - and very loud.  Features an American made 200ma power transformer with internal hum shield and copper flux band and a monster American made 50 watt output transformer.  This was one of the Weber kits, available online at $900 and a good project for the do it yourselfer.  This one has been perfectly assembled (click lower right to expand) with very neat work, is in perfect condition, and a very sweet amp for $950.  Vintage Fender logo has been installed as shown.  

OTHER AMPS

1. 1996 ADA Viper Combo, (panel-click to enlarge), (top), (back).  Museum Condition!  Very rare and killer sounding amp.  This was the last amp that ADA produced before going under in the late 90's and features a hybrid design with tube preamp and solid state power amp.  The viper is a 70 Watt, Celestion-loaded 1x12 with six tube voices for unlimited tonal flexibility and instant on-stage control.   For more details/specs, click here for the press release.  Loaded with features but one of the most notable is ADA's own "VariCAB", which allows the Viper to emulate the tonal complexity of much larger speaker cabinet configurations such as 2x10, 2x12, and 4x12. Built for the road with 3/4" plywood and nickel hardware.  Very few of these were produced, thus you'll wait a long time to see one pop up for sale.  This one is clean enough to be a new floor model and a killer amp for $599, way  under its 1996 price tag.  Includes "Snake Charmer" footswitch.  

2. Ashdown Electric Blue 180, (panel - click lower right to expand).  Ashdown, previously associated with high-end bass amplification, has introduced a series of quality, lower priced gear, designed in the UK but manufactured in Asia.  While the price may be moderate, it isn't a stripped down amp and is as loaded with features of amps costing 3X the price.  Features include 180 watts RMS output which is plenty for club gigs, fan-cooled fast-transient power stage, and a fully-featured bass preamplifier with inputs for both active and passive instruments, a very retro ‘VU style’ LED input level meter, 5 band EQ, Bright switch, Deep switch, a front panel-mounted balanced DI output for connection to a PA or recording deck, an FX loop, a tuner/line output and the classic Ashdown sub-harmonic generator.  Offered in mint condition with perfect carpet covering, and immaculate panels.  For a powerful 180W head, this has got to be the bang for the buck winner at $179, less than $1 per watt!  

3. ATA Grade Amp Case, (pic2), by Alum. Road Case Co., best quality you can get and this one was formerly owned by the Army Band where, sadly, money is no object when purchasing band gear.  Interior dimensions are 24X17X12 which is sized for a small/tall combo amp like an acoustic guitar amp.  Flip up handles, very thick stiff padding, built for abuse.  Note: This case does not have casters.  This thing will be around long after we've quit playing.  Original cost on these is over $300 but this one's in nice shape and just $99.  

4. Ampeg SVT-IIP, (pic2), bass preamp, this one does it all and quite nicely, personally used it for a few jams I can can attest to the quality tone and excellent versatility – and I was playing through a cheap-o Peavey power amp, just add a power amp and you’ve got a killer set-up, nice shape, $325. 

5. Behringer BX600 Ultrabass Bass Combo.  I *found* this in my warehouse yesterday, part of a Behringer order I got in over a year ago and somehow I've never posted to the site.  Never retailed and perfect condition.  The BX600 is small enough to toss into the trunk or even on the passenger seat but posts a very punchy 60-Watt RMS amp and the patent-pending Dynamizer circuitry and sounds much louder than other 60W's I've had. The 4-band EQ plus innovative Shape function give you plenty of tone-shaping power, and you get connections galore including separate inputs for passive/active basses, Stereo inputs for tape/CD, power amp in, preamp out, headphone out, line-out that's post-eq so your preamp settings are in line.  This is a very useful amp for personal practice or practice amp with a band.  Packing a special designed 12" speaker, it's much bigger than most in its class at 22" tall and a deep 12" deep.  The extra size cabinet definitely adds to the overall deep tone of this unit.  Good value in a mid-size bass amp at $159.   

6. Carvin TS100 Tube Rackmount Power Amp, (pic2).  2 weeks old and "as new" in the box with manual.  From the input jacks to the speaker outputs, the TS100 stereo amplifier incorporates an all-tube signal path to deliver 50 Watts per channel or 100 Watts bridged. Each channel can even be independently biased to use EL34, 6L6, or 5881 output tube types.  Carvin advises that because the TS100 is so true to its all tube design and performance, it also makes an ideal high power audiophile home entertainment tube power amplifier.  That's quite a claim but the specs on this amp are top-notch and the pre-clipped tone is crystal clear.  Tube configuration as currently set up is a matched quad of EL34's in the power section, with four 12AX7's in the preamp.  This amp sells new from Carvin's site for $549.  This one is "as new" in the box, and can be the heart of your rack system for just $399(HOLD-Scott B 5/30). 

7. Carvin V3 and V412-30 Half-Stack, (front), (back), (panel).  Dead mint - 5 hours of use - ships in original cartons.  One of the most highly regarded amps in Carvin history, the V3 is an all-tube circuit with three channels, and 100 watts - plus MIDI control which allows for storage of your Channel Number, Boost ON/OFF, and Smart Loop selection.  The 412V-30 is a 240W cab, loaded with Vintage 30's and is a perfect match for the V3 - or for the MTS3200 head I listed last week for $375.  This cab was a few hundred dollar upcharge over their 412V cab with G12T-75 speakers.  Carvin sells covers and footswitch ($80 total) as options but they're included with this set-up.  Accessories include:  Casters, manual, 4-butt footswitch, and covers.  Rather than put a lengthy description here, I hijacked some info from the web - for full specs and Q&A, click here for more info.  $1199 takes it all, with a discount for local pickup or shared expense if I'm shipping. This is an exceptional sounding backline setup and it should please anyone who is serious about their tone. 

8. Crate CR-110, original wooden “crate” model, neat little screamer for the studio and a vintage example of an original Crate when they were made to look like a “crate”.  This amp has been Martin's bench amp for around 4 years and works perfectly.  He doesn't want me to sell it thus, $99 is the price.  

9. Epiphone Valve Junior Head & Cabinet, includes the new 1X12 Extension Cabinet (pic1) (pic2) .  These heads and combo's have been getting rave reviews since they came on the market a year or so ago and now Epi is offing a 3rd option with this matching extension cabinet.  In addition to obvious cool looks, it's an extremely well-built cab with a high quality Eminence 12' speaker.  Built with solid birch plywood, and loaded with a 70W Eminence Lady Luck speaker (16 ohm), this cab sounds great with the little Junior or it's also easily capable of handing a 50 watt head.  The famed 5-watt Valve Junior is a single-ended tube amp with an EL84 power tube with a 12AX7 in the preamp section.  Controls are as follows:  Volume.  That's it...volume.  It has a nice clean sound at low volume but gets a good saturated tone starting around 4 and attaining increased breakup at virtually every number above 5.  It features outputs to run in 4, 8, or 16 ohms (rear pic).  There are a number of mods available for this amp, including a very popular one by Mercury Magnets which guarantee boutique tone at around 1/2 the cost of a boutique amp.  There's even a site devoted to this cool lil' amp, http://www.valvejunior.com/.  While I'm sure these mods are nice, it actually sounds very good in stock condition.  I'd love to get a guitar trade on this setup so please email me if you've got anything in mind.  Otherwise, $119 for either piece, perfect shape and never retailed.  

10. Epiphone SC-28 Amp, tweed covering, nice shape and upgraded with steel corners and leather handle, stereo chorus via two 8” speakers, footswitchable overdrive and chorus, nice little practice or studio amp for $150 (available in Baltimore).

11. Fender Pro Junior, (top), (panel removed).  Another great sounding lil' Fender, designed for players who want simplicity and pure tube tone.  With simply a volume and tone control, the Pro Junior won't waste any of your time trying to dial in the "perfect" tone.  Just crank it up and rip.   With a pair of 12AX7's in the preamp, the Pro Junior is powered by a pair of EL84's putting out 15 watts, but 15 *tube* watts is quite loud, along the lines of a 35 watt solid state, only better sounding.  With a fairly heavy Fender/Eminence 10" speaker, this amp carries the guitar spectrum very well, with sufficient lows as to sound like a "real" amp, not just a practice amp.  Put one of these on a barstool, put a mic in front of it, and you'll have the whole club jumping.  Designed to work with your guitar's volume - sounds clean with your guitar turned down and gets dirtier as you turn up your axe.  The look is very much vintage Fender, with classic black tolex, vintage style badge, vintage style handle, chrome panel, and chicken head knobs.  This is a remarkably nice sounding amp for the money, just $339 ($485 list) for a new one.  Better still is this used one in perfect condition for just $259. 

12. 1993 Fender Concert, (front panel), (top), (back), (back panel), (chassis).  Another road warrior that's a 3rd generation Blackface that looks like a ca. 1965.  One of Fender's Pro Tube series, the Concert features an all-tube circuit with a pair of 6L6's cranking out 60 watts, with 5 12AX7's and a 12AT7 in the preamp section - with a non-tube rectifier.  This series has more of the modern features than the old Fenders with updates such as effects loop (with 3-position level control), Line output, effects mix control on the front panel which is a great idea, dual channel select via push/pull, and gain boost push/pull, the latter two being also selectable via 3-button footswitch which I *think* is included if I have the proper one.  It is, essentially, a 3-channel amp with clean/distorted/boost.  Speaker is an Eminence Legend, an upgrade from the stock Eminence.  This amp should appeal to anyone who wants the classic Fender clean tone but needs the versatility of an amp that sounds good when overdriven - both with the classic tube-driven Fender reverb.  It has seen its share of road use but if you're into vintage vibe, this thing just oozes it at only 15 years old.  Lots of features and versatility and a lot of amp for just $550.  Includes 3-button footswitch (pic). 

13. Fender Hot Rod Deluxe, (back), (top), (control panel).  One of the most popular all-tube club amps and capable of a wide range of applications for a Fender.  The unique blend of vintage and modern tones, combined with Fender's classic narrow panel styling, made the Hot Rod Deluxe a classic almost from the day it was released.  It does the Fender clean very well with natural sounding tube-driven reverb, but has lot more gain than your average Fender and does the Rock/Metal tones very well.  At 40 watts, it's perfect for medium/large clubs and 3 selectable channels (Clean - Drive - More Drive) give you a good selection of tones selectable via included footswitch - and perhaps best of all, at 45 lbs., you can tote it from home to a gig with ease.   Mint condition and accessories include cover, footswitch, manual, and tags.  These sell for $699 pretty much everywhere but this one's perfect, never used out of the home, and just $549.  

14. Fender Squier 15, you  might remember this is a beater with a painted cabinet, replaced grill cloth, no logo, etc ("before" pic) but it's received a total "face lift" and we switched all the components over to a near pristine Frontman 15 cabinet.  We sold a ton of these at Hotlicks back in the 80's and at $79 in 1986 money they weren't cheap but they were a good little practice amp with 3 gain stages and 3-band eq, capable of loads of gain or they cleaned up for a nice glistening Fender clean tone if desire.  Features headphone out for private practice.  I have almost $100 into it now, parts and labor, but at least it looks great now and I feel better selling it.  $65.  

15. Fender Diminsion IV, 70's, for your non-vibrato equipped vintage amps, this give you some very cool vintage vibrato tones via an "oil can" design.  Easy to install - just plugs into reverb jacks on Fender tube amps $175

16. Gibson GA-5 Les Paul Junior Amp, 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" speaker with hardwood cabinet covered in cream tolex.  Looks good inside with a polished chrome chassis and a remarkably large power transformer (pic2).  Every studio needs an amp like this and with a list price on new of $1150, this one's just $SOLD.  For Gibson's specs, click here. 

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. Hartke Model 1400 Bass Amp, (panel - click to enlarge).  Very diminutive in size but this baby cranks out 140 watts of fat bottom bass with enough tone shaping to give you plenty of adjustment to EQ just about any room, cabinet, or bass.  All controls and patching are front mounted including choice of passive or active inputs, 4-band EQ, with Contour and Compressor switches, front-mounted effects loop, and headphone output.  Around the size of a large hard-cover book and weighing perhaps 10 lbs. this baby is perfect for small club gigs or practice and combined with a small 1X12 or 2X10 cab and you've got an excellent sounding setup you can fit on the passenger seat of your compact.  We just went over the amp, cleaning all the pots and installing a better power cord so it tests out perfect.  It's not enough power to play a huge club but, hey, I used a Randall 140W head and matching 2X15 cabinet for years and back in the 80's that was enough power, even for the rock/metal band I was in at the time.  Good sounding bass amp for just $165.  

19. Hartke 1X15 Transporter Cabinet 200 watts, $250(mgr)

20. Hartke 4X10 XL cabinet, terrific punch with sufficient bottom, XL badge is missing but make no mistake, this is the road-worthy XL series and not the lightweight Transporter, $325(mgr)

21. Hartke Transporter 210 Cab, sealed cab, carpet covered, ¼” input, good choice for use with a 15” or 18” bottom or stand-alone for light gigs, $145.

22. Hughes and Kettner Edition Blue 60R, (panel off or panel lit up).  As new in the box - 60W combo with a 12" Celestion.  Immaculate condition with only an hour or two of use and ships in original box with manual, etc.  A very straight ahead, 2-channel amp, but the current Feedback power amp delivers not only 60 watts of punch, but it was also engineered to deliver the actual essence of a classic tube amp.  I will admit, it emulates and all tube amp better than most and both its clean and overdriven tones are excellent sounding.  Channel selection is via pushbutton on panel, or on optional footswitch.  Other features include 3-band EQ, Master Volume which controls both channels, and Master Reverb on both channels.  One of the coolest aspects, although strictly cosmetic, is the cool-blue light-up panel which works great on dark stages.  Also features CD input, effects loop, and a very good sounding reverb.  Although 60 watts on a solid state amp isn't excessively loud, this one will have no trouble keeping up with the drummer's volume and sounds better the more you crank it.  The 12" Celestion sounds very good and carries loads of bass, if that's your thing.  Would make a great gift since it's "as new" in the box or for the player, the perfect amp for practice for club/party gigs for small stages.  $275(HOLD-John B, local 7/10).  

23. Ibanez Troubadour Acoustic Amp, (pic2), built in chorus and reverb with hi-z guitar input, and XLR input for mic, at 25W it's great for practice, portable vocal PA, or small gigs. Nice features including sweepable mids to dial out annoying feedback, 3-band EQ, separate volume controls for guitar and mic.  Nice little amp in nice shape for just $139.  

24. Laney A3012 Series II combo, AOR series with cascading preamp, push-pull on 4 of the knobs, seriously one of the best sounding 30-watt 6V6-powered combo’s I’ve had and a bargain in all-tube amps at $350

25. Laney Pro-Tube 50 Head, (pic2), killer British amp, all-tube, and one of the best rock/metal amps ever made in my opinion.  This model has the cascading preamp section with three stages, controlled by 3 individual gain controls and master as well as push pull boost on bass, mid, treb.  The bass is an amazing 20dB boost which will make your pant legs shake when engaged.  Boost channel is engaged by push/pull Preamp-1 knob or footswitch.  Classic British tube tone via a pair of EL34's in the power section.  Nice shape overall, but missing the pointer caps on the knobs which is common on these amps.  Many players prefer these over Marshalls, especially in light of the price.  (Note:  This amp is in the shop getting a new output transformer installed.  Price will be $499, fresh off the bench and working perfectly).  

26. Marshall 100V Valvestate, Mod 8100, clean channel w/boost plus overdrive channel, reverb, many more features, classic Marshall crunch and vibe at a bargain price, $275 - Model VS100 available in Baltimore.  

27. Marshall G100RCD Head, (close-up - click to expand).  Marshall does great solid state and, in fact, in my opinion I think they're generally better for metal music than tube amps; there, I said it.  The G100RCD features 100 watts of Marshall power, plenty to power a pair of 4X12 cabs or any other cab that fits the venue.  Features include: channel switching, dual channels each with their own controls, effects loop, reverb, and CD input for practice.  This amp listed for $550 but even at that modest price it has a number of pro users, most notably Riggs from Rob Zombie.  this one is "as new", showroom condition, in original box, and a lot of Marshall power for just $275.  If you're a rock or metal guitarist, it very well may blow you away.   I might have a mint-in-the-box Marshall 1960A 4X12 inbound and if it arrives, this will be a killer setup.  

28. Marshall VS2000 AVT20 Valvestate, ECC83 tube, 1X10 Celestion, clean and boost channels, nice reverb, CD input, DI output, headphone out, ext speaker out, 1” snag in grill cloth but otherwise very clean, this baby has classic Marshall tone in a compact package for $185(available in Baltimore)

29. Marshall Mosfet Lead 100, top end to the 80's "mini stack" with scaled down 2X12 cabs, head only, $250 (available in Baltimore)

30. Park G10R, cool little practice amp - much like the Marshall 12, except with more features including 2 gain controls PLUS master volume, 3-band eq, and reverb.  Gets enough gain to please any metal head.  A few glitches - you have to find the "sweet spot" for the reverb to kick in, plus missing the back panel.  Selling at cost at $60 but this thing really smokes and I think it's worth it.

31. Peavey MK-VI Bass head, these Mark series are good sounding amps and they simply run forever.  This is one of the big boys, at 400 watts through 2 ohms (250W 4 ohm), tons of features, perfect companion to the 1820 cab, $250

32. Peavey Studio Pro 40, (pic2).  Mid-power solid state combo with a good clean sound and as much gain for rock/metal tones as you will ever need.  At 40 watts, it's a loud little booger and the 12" Peavey heavy magnet speaker takes it easily.  Back panel has effects loop and footswitch jacks.  Formerly owned by "Peace Train", it has locomotive painted on the grill and on the top, by someone with obvious artistic ability.  For bang for the buck it's hard to beat this one at just $139. Chassis removed and all pots cleaned so no scratchiness or issues of any kind. 

33. Sunn Studio Lead, 1970's, nice sounding solid state combo, USA made.  It features 50 watts output through a pair of Sunn 10" speakers, with Rhythm and Lead input channels plus reverb.  Overall nice shape for an amp that's 30+ years old - has that aged "patina" that you would expect from an amp that has seen some time in smoky clubs but that just adds to the vibe of these old Sunns.  Tolex covering is in great shape and overall this amp is a well preserved example on the whole.  Is missing one of the back panels which gives it less projection but a fuller tone - no problem performance wise.  If you're a collector but find the $1000 Fenders out of your price range, here's a nice Sunn for just $199.    

34. SWR Studio 220 Rackmount Bass Amp (click to enlarge pic), (back).  The Studio 220 has its roots in SWR's very first amp, the PB-200, and played a major part in SWR's reputation as industry leader in bass amplification.  This amp is packed with features and virtually everything you really need in a studio or stage rig.  I used a 210W Peavey in 500-seat clubs for years but if you need more power, combine this with, for example, my Crown Power Base 1 and you'll have 455W additional power, while keeping all the preamp controls from the Studio 220.  As I mentioned, the 220 is loaded with tone-shaping features such as a 4-band parametric EQ (picture), where you select the frequency via the rotary pot and use the slider to dial in the amount of cut/boost that suits your needs.  The tube preamp (preamp section) has a 12AX7 to warm up the tone, and features a clipping LED, with Gain control, Limiter with LED indicator, a Bass control with +/1 15dB, and an Aural Enhancer that you'll never want to turn off.  Once you hear it, you'll feel like you're hearing "color" tones compared to black&white tones without it.  The power amp is solid state, (picture), and features Treble control with pull "Transparency", selectable crossover frequency if you're running a bi-amp set-up, and master volume with clip indicator LED.  Other features include effects loop, XLR record out with pad and ground lift, preamp out/power amp in jacks, and footswitch for EQ in/out.  This is a lot of amp in a small, 2-space package, weighing in at just 13.5 lbs and it had a rather long run, '87 to '98, selling for a grand when they were discontinued.  There is nothing about this amp that is "dated" in my opinion and it's a super amp for smaller clubs, churches, and especially the studio, at $350.  

35. SWR 8004 T/O/P, (controls), (back), (back panel), (side/top).  This is a newer model from SWR, without much of the studio features of the Studio 220, but at 750 watts @ 4 ohms, all the power you'll need for just about any gig.  The top dog in SWR's Workingman's series, the 8004 T/O/P sounds different than anything SWR has ever offered before. Designed in conjunction with the legendary "Rocco" Prestia of Tower Of Power, it's noted for delivering huge, pillowy walls of bass. Features include a "Shape" control (a new spin on SWR's Aural Enhancer circuitry), five-band EQ section, 1/4-inch unbalanced line out, tuner out, side-chain effects loop and patch point (post-master preamp output and power amp input) for the most flexible input/output section on any Workingman's Series unit.  The 8004 had a price of $1142 when discontinued in '04.  If you're looking for a bass amp with loads of headroom and enough power for virtually any stage your professional career may take you, this is a nice amp for $479. 

36. SWR Workingman’s 160, I’ve been lucky enough to get in a bunch of this great series recently and this rackmount amp is the latest, excellent tone shaping with Aural Enhancer, EQ (Bass, Sweepable Mid, Treble, “Transparency”, Gain and Master Volume, Effects loop Blender with “pull” limiter defeat, passive/active inputs, balanced DI output, tuner output, speakers on/off switch, just a ton of features in a 2-space rackmount and a featherweight for a unit that cranks out 160 watts RMS, barely used and near mint, if you wanted a Workingman’s 160 but wanted to run your current speaker cabinet, save around 50% and get just the amp for $299

37. Power Amp - Tech 21 Power Engine 400, (pic2), "As New" in the box - The "big daddy" of the Power Engines, Model PW400 with 200 watts/side at 8 ohms which is basically two of the PW300's built into one amp.  It features an oversized power supply with a toroidal transformer that delivers a lot of punch with pure and uncolored tone.  Guaranteed reliability with top-quality Toshiba power transistors and a heat-sensor equipped cooling fan.  Other features of this 2-space unit are XLR and 1/4" inputs and outputs, dual parallel outputs, and ground lift on each channel.  For full specs click here for Tech 21's Site.  This unit lists for $899, discounted to $498 but this one has seen literally 1 hour of use, never been in a rack, and is "as new" in the box for just $375.  

38. Trace Elliot GP7SM 130 Bass Amp, (pic2), (pic3), classic Trace tone in a compact rackmount head.  They make this unit as a preamp only, or with a power amp integrated like this one, that features 130W RMS, which is enough power for practice or small to medium stages. If you need more power, just hook up a separate power amp and you're ready to play stadiums.  Preamp features include passive and active inputs, 7-band graphic EQ defeatable via Shape control, Series effects loop, tuner output, DI output, and more.  Nice shape and a good deal for quality Trace gear at $299.  

39. 1967 Vox Royal Guardsman, includes head - cab - trolley.  (pic2) (pic3) (pic4) Get the Beatles look and, trust me, Vox did solid state better than anybody else during this time.  It's actually a very good sounding amp and plenty of knobs and switches to get a variety of cool tones and plenty of versatility.  Rated at 60 watts, it's plenty loud for stage use and the look of these old Vox's really is an attention getter.  I'll let the speaker experts decide, but speakers appear to be replacement Eminence and horn might be a replacement as well.  Trolley is a new replacement from Northcoast ($349) that fits the head and cab perfectly.  Head is in nice shape overall, cabinet is missing a small patch of tolex on the back, covered with black tape but otherwise in good condition.  All knobs/switches work properly and this thing is ready to gig.  Get the whole deal for $1199.  

40. Vox Rigid Amp Stand, NC056, by Northcoast Music, authorized Vox parts distributors (specs here).  Fits the following:  Vox AC-15CC1, AC15CC1X, AC-30CC1, AD50VT, AC15TBX, or AC15TB amp, for $150/shipped.  This one was only taken out of the box to shoot pics and is priced at just $99(HOLD-Jerry 2/2).  

 SPEAKERS:

1. 1966 Jensens C12R Pair, barely used and beautiful shape.  Removed from a closed-back Cordovox accordion amp cabinet that looked as if had never been used which is likely if the owner never had the "brain" that worked this complicated unit.  These are the real deal, 41 years old, made the 14th week of 1966 and are original spec for Ampegs of the era including Jet, Reverbojet, and Reverberocket - or would be an excellent choice for many other vintage amps compared with most new replacement Jensens.  Look on Gbase (link) and you'll see these reconed for $125-$150 each.  These are original cone, beautiful shape, and priced at just $199/pair.   

2. EVM 12L in Cab, (pic2), (pic3), 8 ohms, rated at 200W so you're not going to blow it and served up in a Peavey Futura cab - with an EVM Series II 12L, with removable back for open/closed back operation.  Nice compact design and this one even includes rack rails for rackmount transport.  Put this with a boogie MK series head and you have the essence of a Boogie combo in two lighter packages.  $199. 

3. EVM Series II 15B, ex cond.  I used to use a pair of these in my bass setup and there is nothing like them - apparent volume is much louder and they never fart out or sound loose on the bottom.  Great for DJ or Pro Sound PA as well.  Rated at 200W RMS and at least 400W Program - and they're very hard to blow.  SPL 1w/1m is an impressive 103 dB which is around 6dB higher than your average Peavey, JBL, Eminence, etc., making it sound more than twice as loud.  Re-cone specialists sell these for $175 but this one is original cone in really nice and just $115.   

4. EVM-15B Speaker, Some of the best tone I ever had from my bass rig was through a pair of EVM-15's.  Apparent volume is around twice as loud as comparable Peavey, Fender, etc., due to a more efficient design that's 3-6dB higher.  They never fart out or sound loose on the bottom.  Great for DJ or Pro Sound PA as well.  Rated at 200W RMS and at least 400W Program - and they're very hard to blow.   Re-cone specialists sell these for $175 but this one is original cone is in nice shape and just $99.  

5. Celestion G12T-75, straight out of a 1936 2X12 cab that shipped out, mint condition, direct replacement for your Marshall 2X12 or 4X12 300W cabinet, $99/pair

6. Fender 12" Speaker, from Hot Rod Deluxe, good shape, $39

7. New Crate 12" Speaker, very good quality replacement speaker, Eminence made, 50W, heavy voice coil, 8 ohms, new in the box and never installed, $35.

8. Eminence Speaker, 1971, 12”, 8 ohm, correct equipment for some Fenders, Ampegs, and others (please do your research), sounds great, $75.

9. Fender 10” speakers, 1965 Oxford vintage speakers from a 4X10 Bassman, cones are in bad shape but all of them work, $99/all

10. Fender 12” Speaker, 1987, made by Eminence for Fender, $65

11. 1998 Jensen P12N Pair, highly regarded speakers which were removed from my Victoria Twin before it shipped out this week.  These speakers were a $400 *upgrade* over the C12N's when the amp was built.  In perfect condition, cosmetically and functionally, and include the bell cone dust covers.  I knocked $300 off the price of the amp so I just want to break even thus $300(HOLD-Carlos B 11/1) takes the pair.  

12. Line 6 Speaker, from a Flextone 60, 8 ohms, works perfectly, $49

13. Mesa/Boogie Speakers, pair of 90W Celestion Black Shadows with one needing a recone ($99 for pair) and pair of 50W Vintage Black Shadows (one cone has dimple repairs) ($150 for pair)

14. Mojotone M121660, 12", 2" voice coil, 20oz magnet, 60 Watt, 8 Ohm, last of my new Mojotone stock, discontinued as Jensen is making their speakers now but Mojo’s were stock in many boutique amps such as Budda back in the day, anyhow, new in the box for $65/each.    

15. Peavey Blue Marvel 12" speaker, original equipment on Classic 30and many others, works perfectly and a definite upgrade to most Jensen or Eminence for just $39. 

16. Peavey Scorpion 12" Speakers, one is a regular Scorpion, the other is the heavier Scorpion Plus.  Both 8 ohms.  The Plus has a very small glue spot but works perfectly.  These are excellent speakers and upgrades over cheap Jensens.  $40/ea.  

17. Toa 2-way Speaker, dual cone, 8 ohms, rated at around 75W, from KB amp but good for monitor or other amp, $50

ACCESSORIES/PARTS/FOOTSWITCHES:

1. Fender Amp Footswitch 2-button 1/4", Vibrato and Reverb, stereo 1/4" jack for reissues including Twin, Vibroverb, Deluxe, Custom Vibrolux, Vibrasonic, etc.  Still has factory bands on it.  $35

2. Fender Amp Footswitch 2-button RCA, Vibrato and Reverb, dual RCA jacks (90 degree with plastic caps) for reissues including Vintage Twin, Deluxe, Super, Vintage Vibrolux, etc.  Still has factory bands on it.  $35

3. Fender Amp Footswitch 2-button RCA, Vibrato and Reverb, dual vintage-style RCA jacks for reissues including Vintage Twin, Deluxe, Super, Vintage Vibrolux, etc.  Still has factory bands, in original box.  $39

4. Fender Amp Footswitch, two button with different colored LED's for use on dark stages, labeled "Channel Select" and "Drive/More Drive".  Uses a stereo cable and you can use this on many amps that use a 2-button footswitch.  2 available at $25/ea

5. Marshall 2-button footswitch, new, for Marshall amps, $29

6. Marshall channel selector switch, $29

7. Marshall footswitch, Marshall #2, new, for Marshall amps, $29/ea

8. Mullard 12AT7 Tubes, new-old-stock and many agree these are best preamp tubes on the market, $19.99/ea

9. Peavey Footswitches, choice of 2-button or 3-button, both use multi-pin connector, 3-button $29/$25

10. Randall 2-button footswitch, for Randall amps, new in box, $29

11. Fender 2-button Footswitch, uses stereo ¼” cable, labeled chorus/channel but should work with channel/boost, led indicators, $25.

12. Peavey 1-button switch, for channel switching on most amps, $15

13. Marshall Cover 1X12 JCM Series, new, plastic, for handles on sides, approx 19x19x11, $15

14. Marshall Cover 1X12 Valvestate, new, plastic, for handle on top, $15

15. SWR Cover, around a cube size, new, appears to fit Workingman 12, $15

16. Vox AC-30 Stand, not many of these on the market. around $165 new - this one's just $99.  

17. Vox AC-30 Upgrade Kit:  Convert your Crate, Fender, etc., to AC-30 specs - or build your own AC-30:     

    AC-30 Hoffman board (see site description) with oil caps and original JMI circuitry available for converting a tube amp to point to point JMI Vox ac30 wiring.  Includes upgrades for cloth wiring and foil caps and is assembled by "the airtight garage".  Never been installed and will be shipped in original packing with full documentation.  Sells off their site for $232 but this one's cheaper, $179.  

    JMI-30C and VXO-30A Mercury Magnetics hand wound transformers, upgrade any AC-30 type amp.  "Albion" Axiom line of clones and includes the output and power trannies (choke is available anywhere for around $25).  These quality transformers will run you around $250 but this pair is brand new, never installed, and just $175.  They're also a great upgrade to any stock reissue AC-30.  Check out Mercury's Site here.