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. Blues Pearl Texas Tornado, (panel), (top), (back), (label), (chassis).  Hand-built in Ft. Wayne IN, ca. 1998, Serial 130, finished in snakeskin covering for a perfect nice blend of vintage and modern.  Overall condition is very clean, other than the snag in the grill cloth.  Blues Pearl was one of the best boutique builders of the 90's, and in the vintage tradition, featured hand-wired point-to-point circuit with top quality components all around.  No "pre-wired components" or circuit boards here and, likewise, they used quality finger jointed pine cabinets and one of the best selling points, a three-knob reverb.  The Texas Tornado was apparently made in two versions with most equipped with dual 6V6 power, but I've seen another review on one equipped, like this one, with dual 6L6's, which gives it around twice the power at around 40 watts.  With a small company like BP, it's quite possible that he used his Diablo (Super Reverb) circuit and simply used a Texas Tornado panel and box.  It features a single channel design with two uniquely voiced inputs, dual 6L6 (Audio Glassic) power, GZ34 rectifier tube, and four 12AX7/12AT7 preamp tubes.  The 3-knob reverb (dwell, depth, tone) is one of the major selling points and it's like getting a free reverb unit with the amp, offering much more control than a single-knob which tends to sound like a bucket brigade in comparison.  Looking around the web you might see some negative comments about Robert Hudson and Blues Pearl's business practices as he eventually ran into financial difficulty and eventually stopped building amps.  The quality of his amps, especially his earlier models like this one, is universally acclaimed.  For reviews on some of the earlier Texas Tornado's, click here for Harmony-Central, where it receives almost straight "10" scores.   Despite the later part of his career, Robert's amps remain highly regarded and their quality is on par with almost any boutique amp built today.  If you're a fan of vintage Fender tone, and especially a vintage Fender reverb unit, you'll likely love this amp, snakeskin and all.  For a hand-wired with quality components, very nice value at $1299(HOLD-Michael W 5/5).  

2. Budda Superdrive 18 1x12 Combo, (panel), (top), (back), (back panel), (acc.).  Of all the Budda's I've had, this is the first Superdrive Series II ever.  All I can say is it's a great amp, with tone that's on par with the earlier hand-wired Series I and while there's a certain elitist appeal to a hand-wired amp, tonally, circuit boards seem to sound just as good.  Budda has specialized in club amps going back to Jeff Bober's first hand-wired amps such as the Twinmaster and Verbmaster, both of which were dual EL84 powered with a 5U4 rectifier and a trio of preamp tubes.  The Superdrive shares a lot in common with these early amps, but they've been re-engineered to be more versatile, with the ability to play harder-edged music, when desired.  It's one of the best amps for getting a quality tone with preamp distortion, but when you crank up the master this baby really delivers.  At 18 watts it's a perfect club amp.  Features of the Superdrive 18 combo are:  18 Watt Class A/B with dual EL84 power; 5U4 Tube Rectifier; three 12AX7 Preamp Tubes; Treble, Mid, and Bass Controls; Rhythm Volume; Master Volume; Pull Bright on Rhythm Volume; Drive Control; 2 Channels - Rhythm and Hi Gain; Effects Loop; Slave Out; Pull/Modern Mid Function; Custom Wound Transformer with 4-8-16 Ohm Switch; and Custom Designed Budda Phat 12 Speaker. For full specs visit Budda here and click here for a bunch of YouTube demo's.  This model achieved a commendable 9.6 in tone and 9.6 overall in Harmony-Central reviews (link).  While these may be circuit board amps, so are 98% of the amps sold in America and unlike most of the competition, these amps weren't built on the cheap and they feature a thick circuit board with top notch components all around.  A few rubs on the tolex covering but overall this amp is in nice shape and sounds absolutely perfect.  This is the first Budda I've been able to put out at under a grand and for $879, it's hard to beat.  Includes footswitch, original manual, and paperwork.  

3. 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.  

4. Carr Hammerhead 1X12 Combo, (top), (panel), (back), (cover).  Early model (#47 from 2001) in "living room" condition and a killer sounding rock amp.  After messing around with this baby a while I determined that, in fact, you can get a good overdrive tone at lower volume levels, just tweaking the interactive controls and it's more versatile than I originally thought.  The Hammerhead is hand-built and truly point-to-point wiring, no PCB used, with only the best components and masterful cabinetry which makes it lightweight and durable.  It's a Class A amp, dual EL34 powered, modestly rated at 28 watts, with a pair of 12AX7's in the preamp driving a Carr/Eminence Kingpin 60 12" speaker.  This amp is made for the player who appreciates a super simple signal path, thus there's no bells and whistles such as push/pulls, extra switches, and a long row of dials.  The stripped down signal means more pure tone and it shines at anything from semi-clean to singing, sweet overdrive.  Rather than the usual bass-mid-treb-pres, Carr used parallel tone controls, labeled "Impact" and Grip.  It may seem foreign but you'll get used to it in an hour and will quickly find the sweet spot for your humbucker, P90, or Fender single coil guitars.  The "Impact" control is interactive with the Volume and has the most effect with the Volume at "3" and below.  The 4 stops are:  (1) flat response; (2) high treble like a Blackface; (3) high treble and upper midrange like and early 70's metal-face British amp; (4) high treble and full midrange like a late 60's British amp.  The "Grip" control is another 4-position rotary with increasing amounts of preamp gain and drive from "1" to "3", while "4" maintains the gain of position "3" while adding more focused response to the leading edge of notes.  The Master controls the overall output, i.e. strength of signal to the output tubes and as Carr recommends, a setting of "10" or more yields the best tone.  They recommend setting the Master very high, and then bringing the Volume up to set the overall loudness.  What they're saying, again, is this amp is meant to be driven hard.  There's not a lot of info on the web about this original model, which I gather was made for around 3 years.  Carr has a manual for the later model MK II which added a tone control, but otherwise all the info you need is contained in a .pdf manual online at this link.   The retro styling reminds me of a 50's Gretsch combo.  This amp has seen very limited home use and is offered in perfect condition.   There are a number of YouTube clips for the MK II with tone control - check them out and you'll have an idea of how great this amp sounds.  Steve Carr builds all his amps at his shop in North Carolina and he's come on strong the past few years, due largely to a lot of word-of-mouth advertising and more recently some cool press ads.  The Hammerhead was one of Carr's earliest models and to me it's hard to imagine a better straight ahead rock/blues combo.  At $1050 it's amazingly affordable for a true hand-wired of this quality and in this condition.  Included is a quality padded cover ($65), free of charge 

5. Dr. Z Monza 1X10 Combo - Red, (top/back).  "As new" condition.  In typical Z fashion, the Monza is a beautifully simple, with a minimal circuit so nothing extra is in your signal path except pure tone.  Hand-wired circuit and obviously overbuilt, using the best quality components, the Monza was presented as "Billy in a Box", referring to the very Reverend Billy Gibbons whose pinch harmonics and violin-like sustain are cornerstones for this amp.  This amp is indeed geared toward rock music and in addition to nailing ZZ Top tones, it nails old AC/DC, Santana, Allman Brothers, or other classic/hard rock tones.  With an output of 20 watts, the Monza features simply Volume, Drive, and Tone knobs, but in the hands of an experienced player, you can coax many tones out of it, other than a Fender shimmering clean.  It features two EL84's cathode based output tubes, a pair of 12AX7's in the preamp, and a 5AR4 rectifier.  Like all Z amp, the output rating is deceptive.  This amp is very loud and you might even want an attenuator for small club gigs.  It responds very well to your guitar's volume control and even with your picking style, you can go from clean to overdrive without a major jump in overall volume.  For a speaker Dr Z chose the Red Fang Alnico 10 made by Eminence.  For video's of both humbucker and single coil guitars, click here for Dr. Z.  (Note:  if you want to have some fun, play both demo's simultaneously.  It reminds me of two guys jamming "together" at a guitar show).  The optional attenuator is turned off for the demo's.  These come in a variety of colors, but for the classic Dr. Z look, this red with salt&pepper grill is the coolest, according to me.  Although it possesses a huge tone, this is a little booger, at just 17 1/2” W, 17” H, 10” D, weighing in at 37 lbs., and will easily fit on the passenger seat of a compact car.  If you're thinking about buying a new Monza for $1299, why not get one that's virtually un-used and dead mint for $929(HOLD-Kevin K 6/19).  

6. Dr. Z Galaxie 1X12 Combo, (top), (panel), (back), (spkr/tubes), (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.   

7. 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. 

8.  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

9. 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.  

10. 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.    

11. Fender 5E3 Tweed Deluxe Clone by Mission Amps, (panel), (top), (back), (tubes), (aging).  Unlike the Marshall below, this Deluxe has loads of clean headroom before breaking into a lovely singing sustain overdrive.  This amp is an excellent alternative to players who want the 50's tweed Fender tone, except in a more reliable amp...at a fraction of the price.  This amp uses excellent components, very well made pine cabinets with perfectly applied tweed, and a circuit that's very true to the original.  You'll notice nice touches like Hovland and Orange Drop caps, Tung Sol power tubes, and a high end Jensen C12N, itself an $85 part.  This is an excellent studio amp with loads of clean headroom, up to 5-6, which is quite loud at that setting.  At around 6 you start to get a beautiful power tube saturation that sings and gets some lovely harmonic overtones.  It doesn't get a lot louder as you turn it up, only more overdriven, which is what I want in a tube amp.  With a pair of 6V6's cranking out around 20 watts, this amp is sufficient to work nearly any club stage.  The original owner did a lacquer job which overall was well done, other than one side was a little uneven and had the looks of a typical water-stained old tweed.  I took this as a hint to age the edges and corners so now the amp looks more like the real thing.  For more details, check out Mission Amps here, with the complete combo on the left side of the page.  The base price on this kit is $729, not including upgrades found on this amp, nor a few hundred for the tech to build it up.  I have info on the tech, who is somewhat of a legend in his part of the world.  The build is first-rate in all regards.  This is one fine sounding 5E3 for $679(HOLD-Brad T). 

12. Fender '59 Bassman Ltd "Relic", (back), (top), (panel), (tube chart/i.d. plate), (speaker/power tubes), (relic wear).  An absolutely killer sounding '59 Bassman reissue. This one not only sounds phenomenal, it looks as cool as it sounds.  This isn't a factory distressed amp but, rather, honest wear from a number of years as a working amp.  I've seen Fender's factory distressed amps and, while they're a good attempt at "instant vintage", the don't quite look genuine; don't have that real vintage vibe.  This one, however, has acquired the look of a genuine '59 Bassman, complete with discolored tweed, worn corners, various stains, light corrosion around the input jacks, slightly rusted screws, etc.  Remarkably, the grill cloth has no snags and the lettering on the panel is all intact.  Looking at this amp, you might think it's been dogged out and sounds week or noisy, however, performance is perfect with no issues whatsoever and, in fact, the best sounding Bassman reissue I've ever had due in part to the NOS GE 6L6s that were installed.  It's quiet while idling, has loads of clean headroom, and a perfect overdriven tone.  About this model:  from the Vintage Reissue series comes this recreation of one of the most sought out amps in history, the tweed Bassman.  The effect of this amp was huge, when you consider the original Marshall's were based on a near identical circuit.  Originally designed as a mate for the Fender bass, guitarists eventually discovered the wonderful guitar tones that it delivered as well as excellent touch-sensitive dynamics and a wide stage coverage.  Features include Solid Finger-Jointed Pine Cabinet with lacquered tweed covering, Chrome Control Panel with 4 inputs with normal and bright channels, 45 watts via NOS GE 6L6 Output Tubes, Original Spec 5AR4 Rectifier Tube, three improved 12AX7 preamp tubes, Internal Bias Pot that makes it easier to experiment with various output tubes, and four 10 in. Jensen P-10R, 8 ohm Speakers with Alnico Magnets.  Since it was designed as a bass amp it lacks any effects such as reverb or vibrato, but it handles pedals very well, in fact many players use an OD/Distortion pedal as a way to get distortion at a lower sound level since this is an extremely loud amp with a massive amount of clean headroom.  If you ask me, this is how a tweed Bassman should look and the sound is pure heaven.  Just a super amp in all regards for $850.  See the THD Hotplate below if you want a matching attenuator. 

13. 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.

14. 1962 Fender Tremolux Head, (pic3), (circuit), (top chassis date codes), (label, retailer's label, service label ).  (Note: Cab has sold; head only available but I have another '62 cab and a custom cab in blonde if desired).  The amp is tuned up, sounds absolutely perfect.  This is the model 6G9-A in very nice vintage condition, 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 it does break-up slightly earlier, there is still plenty of clean headroom.  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).   Cosmetically in very nice vintage condition.  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.  This head will be 50 years old next year and is a great value in a perfectly performing Tremolux at $1299, and unlike most boutique copies, will only go up in value.  

15. 1962 Fender Blonde Tremolux Head & Cab, (tilt-back), (back), (head-click to expand), (tops), (label).  Another one!  Now I have three '62 Tremolux sets in stock.  Model 6G9-A, date coded June '62.  Cab is loaded with a pair of Jensen C10Q's from 12th week of '67.  The Tremolux is a great amp for small to medium venues, with 35 watts of Fender power, and plenty of headroom for a medium powered amp.  It does have a nice break up at just over 1/2, but there's plenty of clean volume before that happens.  Appears to be in original condition and pretty nice for a blonde-era.  A few stains here and there, the worst of which is on the top of the head and cab but they'll possibly clean up if you're so inclined.  As I've pointed out before, 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 are still a bargain compared to the tweed amps from 2-3 years earlier.  You can still find one in pretty nice shape, this one for example, at $1950.  These P10Q's are original equipment for a number of '67 Blackface amps (Vibrolux, Super, etc.), so I'll knock off $200 if you want to order some quality new speakers in place of the '67's.  You can get better sounding pair of speakers for $200 and get the amp for just $1750.  

16. Fender Princeton Recording Amp, (panel), (top), (back/panel/label), (acc.), (speaker).   "As new" condition.  From Fender's Pro Tube Series comes a new take on one of the true quintessential studio recording amps.  Based on the blackface '65 Princeton Reverb, the Princeton Recording offers the great tone and dynamics of the original model, but with some modern features made specifically for the studio.   The all-tube circuit and reverb circuitry is based on the '65 Princeton Reverb, but with 20 watts through a pair of 6V6's, and a 10" Jensen C10R, it gives you Fender's vintage tone with enough output for small gigs and rehearsals.  The trans-impedance power attenuator lets you crank up the amp for full output tube overdrive and set the speaker volume as low as you want - all the way down to zero for headphone use.  Other features include two classic onboard "stomp box" effects (overdrive and compression), genuine tube-driven Fender spring reverb by Accutronics, headphone output, speaker emulated XLR line output with level control and ground lift, speaker output jack (internal speaker may be disconnected for use with other 8-ohm enclosures), professional FX loop, and four-button footswitch.  Effects are true bypass.  A 4-button footswitch controls Overdrive, Compressor, Effects Loop, and Reverb.  Here's a pretty good demo from Ballew's Music (link) and click here for full spec's from Fender.  This amp is in flawless condition - footswitch still factory sealed - and includes manual - plus I think I have a proper fitting Fender cover.  This amp lists for $1750, selling at discount for $1399(Tent HOLD-Mark S 7/26) but why buy new when this one's just $950.  

17. Fender 2X12 Blonde Custom Made Cab, NOTE: HEAD IS SOLD.  (cabinet), (cab back), (extra panels), (speakers).  Both 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.  Note:  I have two original '62 Tremolux head/cabs and if you'd like, we can substitute this cab for one of the original cabs.

18. 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. 

19. 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.  

20. 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. 

21. 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.  

22. Goodsell Super 17 MK II Tweed, (panel), (back), (top), (speaker).  New - full warranty - hand-wired 1X12 combo.  Don't confuse this with the new 17 Express, which is a different animal with a few cost savings features.  The Super 17 MK II is the predecessor of the MK III, but without the 5W-17W switchable power.  If you're looking for a club/studio amp, you'll likely only run 17 watts regardless.  An updated version of the original 17, added to the MK II are tremolo (speed & depth), and reverb.  At 17 watts, this is now a perfect club amp, along the lines of a Deluxe Reverb.  Features include dual EL84 power in a push-pull design, 12AX7 triode preamp, solid state rectifier, and it's solid pine 9"X21"X24", slightly larger than a tweed Deluxe and weighs in at only 29 lbs.  This is a very musical sounding amp and is one of the few amps I've had where it sounds good with the gain turned up and the master turned down - for most amps this is the "buzzy overdrive" setting but for the Super 17, it sounds more like power tube saturation and less like overdriven preamp tubes.  For more info on Goodsell amps, click here for their home page.  For sound clips and awards, including the Guitar 1 award for the Super 17, click here.   Richard builds these in batches of 12 and he's sold out by the time the production run is finished so I was happy to get my hands on a pair.  After I gave up on Budda's production of hand-wired amps, I was very happen to pick up a line that offers a top quality built, with a superb tone.  I'm happy to see Goodsell doing a big push on advertising as this is one area where many boutique builders have failed.  These are sold everywhere at $1999+ shipping but this one is a smoking deal at $1750, including free shipping to the east, or just $25 west.  For sound clips and awards, including the Guitar 1 award for the Super 17, click here.   

23. 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. 

24. Marshall Class 5 All Tube Combo, (panel), (top), (back), (back2), (box).  With the Class 5 Marshall has produced a another classic, with simple controls, classic looks - like a baby Bluesbreaker, and that classic all-tube Marshall tone.   And to really set them apart from the plethora of low-powered amps which have become de rigueur, this amp is made in England, rather than China, Korean, or Vietnam.  With "just" 5 watts through a single EL84 power tube, with two 12AX7's in the preamp, the Class 5 delivers what ever Marshall enthusiasts wants, crunchy fat tones, at a power level that lets you run the power tube hot without getting an eviction notice.  With quality features like finger-jointed birch ply cabinet rather than pressed board, and a great sounding Celestion G10F-15 made specifically for this amp, gives excellent low end response and a very punchy mid-range.  I need to take a moment and thank the ProGuitarShop for their excellent online reviews, which I share with customers frequently.  Click here for their review on the Class 5; click here for all the info from Marshall.  If you're a Marshall fan but need something a little more studio/home friendly, the Class 5 has a truly authentic 70's Marshall tone.  Don't be fooled though, 5 watts is very loud and it's actually enough for some band situations.  This amp is dead mint without a hint of use and ships in original packing.  A great little Marshall for just $329, very reasonable or a UK-made amp of this quality.  

25. Marshall Class 5 All Tube Combo, (top/panel), (back), (box).  Another one!  If you want a killer and portable stereo rig, consider buying the pair, both "as new" in original box.  See above for detailed desciption.  This amp is dead mint without a hint of use and ships in original packing.  A great little Marshall for just $329, for a quality UK-made amp.   

26. 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. 

27. 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.  

28. 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.  

29. 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.  

30. Mesa/Boogie Recto Recording Preamp, (top), (panel), (back), (acc.). If you've tried all the modeling amps and none of them capture the authentic tone and responsiveness of a real guitar amp you're not alone.  Mesa/Boogie recognized this need and created the ultimate genuine tube preamp, based on their Rectifier amp, the flagship of the Boogie line.  This model works great for stage use but its real benefit is in the studio.  Without lugging in a huge amp and trying out different rooms, different mics, different mic'ing techniques, etc., with the Recto Preamp you just plug in one cable and start jamming.  It features two channels and six modes of pure tube tone:   Channel 1 gives you Clean, Fat, or Brit tones, with Channel 2 being the "dirty" channel for Raw, Vintage High Gain, or Modern High Gain sounds.  A Live Bright/Warm Record voice switch gives you added tweaking, and an effects loop is available for plugging in all of your stop boxes or rackmount effects.  Handbuilt in Petaluma, California, the Recto Recording features pure analog "Recto Direct" recording circuitry with six, count 'em six, 12AX7 tubes. Each channel has independent controls for Gain, Treble, Mid, Bass, Presence & Master with Bright Switch and Pad Switch on Channel 1, and Live Bright/Warm Record voice switch on Channel 2. It also has Record Output level control over all channels, Solo Level control, Parallel FX Loop w/stereo returns & mix control, Smart Power function trigger (Controls Smart Power Modes — "Deep, Half Drive or Modern"), independent stereo main & recording outputs, external Switching Inputs, and 2-button Footswitch (Channel 1/2 and Solo).   There are a few YouTube video's (here's one) but I couldn't find a comprehensive demo.  During my live test I ran it through a solid state power amp and it still sounded like a quality tube combo.  Click here for full info from Boogie.  If you're going back to a rack setup for you live rig, or simply want a "real" guitar tone in your studio setup - without having to disturb your neighbors - this will quite possibly be your dream come true.  Offered in truly mint condition with just a few hours use and has never been racked, its a sweet deal at $850 or of course guitar trade.  Includes footswitch with bag and original manual.  

31. ca. '90 Mesa Boogie .50 Caliber Plus, (panel - click to expand), (top), (back panel), (man/footswitch.).   One of the more versatile amps Boogie has made, capable of handing virtually any style of music.  Metalheads will like it, as will jazzers and country pickers, which also makes it an ideal amp for guitarists in Top-40 bands.  In addition to loads of EQ options, it has plenty of gain control which is key to its versatility.  Between the Gain, Master, and Lead Master, you can dial in squeaky clean tones, crunch, or classic Boogie steroidal overdrive.  It's a two channel amp, using a single input, with the lead channel accessible via push/pull gain knob or via footswitch (included).  If you're playing heavy tunes you can dial in a dirty clean channel by cranking the gain allowing you to go from overdrive to super overdrive and used in conjunction with the footswitchable Graphic EQ, you can really get a radical change in tone by changing the channel and EQ "In" simultaneously.  Like most Boogies, this is an all-tube amp, with 50 watts via a pair of 6L6's, with five 12AX7's in the preamp.  The tubes appear to be original but this amp has obviously seen little use and probably have plenty of use before they need replacing.  The back panel features an effects loop, Graphic EQ footswitch jack, and a Direct Out with level control for plugging into your mixing console or recorder.  Manual is included but if you want to read up, click here to read a PDF file of the manual.   Hearing is believing and here are a few YouTube clips using the .50 Caliber.  None are actually product demonstrations but they will give you an idea of some of the tones:   (metal), (rock/blues/metal).  Although it's said it's impossible to get a bad sound out of this series, here's an example of how to dial in a horribly buzzy metal sound without any balls whatsoever.  I don't have a price list from this era but looking around the web, most new .50 Cal's were going for $1099 in the early 90's.   If you're looking for a an extremely clean, great sounding Boogie that will do it all, here you go, for $750.  Includes original footswitch. 

32. 1979 Mesa/Boogie MK IIB Combo with EQ and EVM, (top), (panel), (chart), (back/panel).  For all you vintage Mark fans here's a nice '79 IIB in cream tolex with wheat grill.  There are a lot of fans of the Mark series and the last few years I rarely get them in.  Most collectors have at least one MK Boogie so that takes a few thousand out of circulation.  This one's in very nice shape for its age - due to the camera flash the grill cloth looks much more discolored than it does in person - and the grill is in nice shape except for a 3/4" snag in the center.  Front panel is in clean shape with all lettering intact and just some finish worn around a few of the graphic EQ sliders.  Tolex is in nice shape all around.  The MK IIB is an excellent all around amp with a very punchy clean sound and like most Boogies, loads of gain on the Lead channel.  The one complaint some players have is that there are so many tonal options via the push/pull pots and EQ settings that you can get bogged down dialing in your tone.  The trick for me was just finding favorite settings and then writing them down - then treat it like a normal amp with just very minor adjustments to the EQ.   This one doesn't have the 100/60W Simulclas option but, trust me, I don't know what you'd do with more power than this 60 watts.  It is a very loud amp.  This is an early model MKII and has a switchable silicon device called "fetron" in place of one of the 12AX7 preamp tubes, with a switch on the chassis for configuring the amp for either fetron or 12AX7 operation. The reason for using a fetron was to address some of the problems associated with microphonic 12AX7 tubes in a high-gain situation.  Boogie dropped the idea later in the MKII series but it's there if you want to use it.  This one has the stock upgraded EV Speaker ($75 over Black Shadow) and the optional graphic EQ ($150).   Speaker is original OEM Electrovoice EVM-12L, which is an excellent sounding speaker and with its 200W rating, there's little chance that you'll ever blow it.  Boogie has a great library of manuals and the manual for the MK IIB can be downloaded here.  There are a bunch of YouTube demo's for the IIC, click the links for blues demo on clean channel, distortion demo on lead channel, and of course a nice Carlos Santana style demo here.  For almost 50 reviews of this great amp, click here for Harmony-Central where it received overall 9's or better in every category, including a 9.7 in reliability.  A killer deal in a nice vintage Boogie - just $999.  

33. ca. mid-50's Mullard 5-10 by E.A.R., (sides), (chassis/trannies), (circuit), (front panel), (Mullard tubes), (Wharfedale speaker).  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.  

34. Orange Tiny Terror, (back), (carry case/box).   Orange has a long history in building top quality backline equipment to rock bands, some of the major touring groups of the 70's.  They kind of went away in the mid-80's until reemerging in the late 90's with a very good quality AD series.  In '04 they came out with their Rocker series and their Tiny Terror amps, which are very popular due to their simplicity and excellent tone.  The Tiny Terror is an all-tube, 15 watter that's extremely lightweight and portable.  It even includes a padded carrying case that you can carry over your shoulder.  It features a two stage pre-amp which has a wide tonal range, especially considering it just has volume-tone-gain controls. When you drive this amp it just screams, in a good way that is.  Although moderately priced for a tube head, this amp might make you laugh at the price tags of some of the high-priced boutique Class A heads.  From clean crunch to full on overdrive, this amp sounds great.  At mid gain settings it has loads of vintage British character and is built to the same rugged specs as the bigger Orange amps.  The Tiny Terror switches from 15 to 7 watts for studio use and recording.  If you need portability and quality tone for small gigs or especially studio work, this one beats just about everything that's anywhere near the price.  This one's flawless and just $439

35. 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.  

36. 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.

37. 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. 

38. Simple Amps Traveler 6LA, (top), (back), (panel), (chassis).  Joel Jones is one of the fine new builder of boutique amps, out of Orange County, Calif.  The Traveler series is a new model in his arsenal which combines top-notch components in a portable powerhouse of an amp.  His amps are hand-wired, premium grade parts such as Sozo capacitors, Mercury Magnetics transformers and custom made carbon film resistors.  With the Tavelers Joel has managed a very affordable price point, coming in at 2/3 the price of  his "Big Iron" series of amps. A simple two stage preamp and pair of output tubes drive a Jensen 10" MOD speaker mounted in a 9 Ply (1/2) Baltic birch cabinet with a heavy duty "ruggedized" finish.  Although the size is diminutive, the tone is anything but small, cranking out 40 watt via a single EH 12AX7 into a pair of EH 6L6's.  If simplicity is your thing, and everybody should have at least one pure amp, the 6LA is for you with just high and low gain inputs, volume, and tone - nothing extraneous in the circuit to detract from its pure tone.  Other features include all Mercury transformers including Power, Output, and Choke; All aluminum enclosure; Fully Shielded; Hand wired board construction; Star ground configuration; Sozo caps; Custom made carbon film resistors; 9-Ply (1/2") Baltic Birch cabinet; Locking miter joint construction; Aluminum speaker baffles; Heavy Duty Finish; 15"x17"x8" size.  Click here for a demo of its overdrive tones, and another one here, showcasing its clean settings.   Note the Big Iron and the Traveler use the same basic circuit.  There's also a brief review here, which mentions a comparison to the old Valco/Supro amps of the '50's, a comparison that's repeated in other reviews.  Sells new for $1150 but this one's dead mint and ships in original factory packing, for just $850.  If you're looking for a lot of tone in a small package, I can easily recommend this amp. 

39. SWR Workingpro 700 Bass Amp, (back), (accessories/box).  Bass amplification has come a long way.  Back in '85 I had a hot backline when I traded up to a Peavey MK IV head, with a massive 210W output, through a matching 1520 cabinet.  Keep in mind that this rig replaced a Peavey TNT100 combo, followed by a Randall 140W head with 2X15 cab.  Since that time technology has come a long way and headroom is what it's all about and at 700 watts @ 4 ohms (450@8), there's enough headroom here to handle any club venue you might come across.   SWR has had specialized in great bass amplification, and ONLY bass amplification, for a few decades and, although not cheap, it's the best gear on the market for a moderate price.  Among the features of this nice unit:  Mute switch (footswitchable); -10dB pad option on input for active pickups; Independent preamp gain and master volume controls; Exclusive SWR Aural Enhancer tone control; 4-band active EQ with variable midrange; Bass Intensifier with level and frequency cutoff controls (footswitchable); Automatic limiter with defeat option; XLR balanced output with pre/post switch, ground lift and -10dB switch; Side-chain effects loop with blend control; Tuner out jack; Unbalanced line out jack; Headphone jack; Footswitch jack for included 2-button switch (switches Intensifier and mute); dual 1/4" and dual Speakon speaker jacks.   For a video demo of the Enhancer, Intensifier, and Wedge, click here for SWR's myspace page.  With a list of $1149, the WP 700 sells new for $799.  This unit appears unused, with only a few hours of play and never racked, offered in "as new" condition with original box, manual, footswitch, etc, for $579.  

40. SWR Bass 350 Head - CNB Padded Rack - Gries 1X15 Cabinet, (SWR panel), (back features), (CNB Rack), (Gries Cab).   Dollar for dollar, nothing beats SWR for bass amplification in my opinion.  While it's fairly expensive, it's still within the range of most players and the tone can't be beat at any price.  This Bass 350 is a good example.  This model ran from '92 to '02, usually with a red panel which changed to this chrome panel the last few years.  It's straight ahead, without  load of switches or graphic EQ that largely duplicates the active EQ pots, but you can dial in a great tone with any bass and make adjustments to suit any song or venue.  I used the Basic 350 for a few years with nothing but a 2X10 cabinet and the tone was outstanding.   Features include 350 watts RMS @ 4 ohms, 450 watts RMS @ 2 ohms, active and passive inputs, a very effective Aural Enhancer to add "air" and "space" to your toe, 3-ban EQ with variable mid-range EQ, sidechain mono effects loop, effects blend control, built in limiter with LED indicator, limiter defeat switch, cooling fan, fan defeat switch, XLR balanced record out, line/direct out switch, tuner send, dual 1/4" or Speakon output jacks, 2-space rack mountable.  Manual is downloadable here.  The 1X15 cabinet is made by Gries, a small company in Mass.  It's an extremely well made cab, built for years of use.  No MDF here, it's built entirely of 3/4" plywood with a 3/4" baffle.  It's covered in black tolex with metal corners, black basket weave grill cloth, rear ported, and weighs in at just 40 lbs.  Speaker is an Eminence cast frame 300 watt 8 ohm with neodymium magnet.  Size is around 21X21X16, big enough to give you loads of bottom end and thump.  Rack is a CNB 2-space padded, very solidly built with compartments for cables, pedals, etc.  The Bass 350 retailed for $999, cheap in high-end bass terms, in 2002.  This makes great-sounding portable rig and you can own the whole set-up for $679 - or $650 without the rack.  

41. SWR Workingman’s 160.   One of the later additions to the popular Workingman series.  160 watts, perfect for club gigs; small and lightweight.  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.  It's barely used and very clean shape cosmetically.  Full specs and manual are at SWR's site here.  If you wanted a Workingman’s 160 but wanted to run your current speaker cabinet, save around 50% and get just the amp for $279.  Note:  only $250 with purchase of the SWR Stereo 800 power amp.  

42. SWR Stereo 800 Power Amp, (back), (manual/output ratings).  If the Workingman 160 above isn't enough power for the big gigs, this baby will rattle the drinks in the back of the room.  With up to 850 watts in the bridged mono mode, 400/side in stereo, this amp is a monster.  The front panel features include, for each channel, a four segment dot display indicating headroom, separate volume controls and an on/off switch. The back panel features include separate balanced and unbalanced inputs for each channel, a ground lift switch for the balanced inputs, a stereo/bridge switch, and individual slave outputs for each channel so that several power amps may be driven from a single signal source. Speaker outputs include two 1/4" phone jacks, one banana jack and one speaker protection fuse for each channel. Also included on the back panel is an external line (mains) fuse.  You can use this with your existing preamp, or in the case of the Workingman 160 below, you can use the 160 watts from the Workingman to power your high frequencies (such as 10" cabinet), and this amp to power your lows (such as a 2X15" cab).  Full specs are at SWR's site here.  This amp had a long run, from '91 to '01, while this one is a '98.  Never abused and good shape for a used amp.  A fairly expensive amp at $1295 retail when discontinued in '01, this one works perfectly and for SWR quality, a good buy for a very loud amp at $399.  Includes original manual. 

43. THD UniValve, (panel), (top), (tube types), (back), (Yellowjacket).  One of the most ingenious and best sounding amps of all time.  Although there are a few imitators on the market, THD was the first and remains the best, and the one that's overbuilt like no other.  The Uni-Valve has the capability to run on almost any tube including 6L6, EL34, 6550, 7027, KT90, KT88, KT77 and KT66 – all providing unique tones without the need for rebiasing when you change them.  This one even includes optional THD Yellowjacket which lets you use an EL84, which can lower the output to 4 watts.  Likewise, the two preamp tubes can be any combination of 12AX7, 12AT7, 12AU7, 12AY7 or 12AZ7. The UniValve delivers tones from smooth and clear to very aggressive overdrive and is easily capable of driving a 4 x 12" cabinet, yet quite small and light.  It has a built-in Hot Plate Power Attenuator that allows for full output distortion at almost any volume.  Totally handbuilt, the Univalve is a 15W Class A amplifier in a Single-ended Class A circuit.  It features 2 inputs: one for high gain and one for low gain, with Volume, Treble, Bass, as well as Attitude control knob which adds more harmonics and treble for a more edgy sound, while turning it down gives you a sweeter and warmer tone even when over-driven.  A switch selects full power or attenuator, which, when activated, kicks in a built-in Hot Plate output attenuator which is also sold separately by THD and is one of the best attenuators made and features a hard bypass.  Unique noise reduction circuit which uses a yellow light bulb that glows brightly during play (on/off switch included to turn off the bulb). This noise reduction circuit and the transformer-isolated line output make this amp perfect for driving other larger guitar amps or power amps without that overly harsh tone you hear from most guitar line outputs. Although it's only 15 watts, it's a very LOUD 15, comparable to other amps rated at 2 to 3 times the wattage. The low wattage, especially with the attenuator, makes it a great amp for any application and it will sound as good in your bedroom studio as it does in a 200-seat club.  The Transformer-isolated line out has adjustable level control and a built-in dummy load if you only want to hear the tone in your headphones. It features line or instrument level output, allowing you to run into another amp's guitar input, power amp in, mixing console, etc. Output can be 2, 4, 8, or 16 ohms.   Click here for a good YouTube video with several guitars and amp settings; check out the clean to dirty via the guitar's volume knob at 5:00 minutes.  Here's a good site with full specs and some technical info (link) and overall 100 reviews at Harmony Central where it scored all 9's or better (link).  Personally, I love these amps and it is one of the definitive studio amps, that's easily adaptable to any stage setting.  These sell new for $999, inexpensive for a handmade amp with these features.  This one is dead mint, and even with the optional Yellowjacket, $300 cheaper at $699.  (Note:  If you need more output, I have the THD Bi-Valve, with twice the power, available for $950 on my amps page).  

44. THD Bi-Valve, (pic2), (pic3).  Now with new logo* (as shown here) *Special ordered from Andy, current spec logo.  Bob Dylan's tour was using a bunch of Bi-Valves but THD wasn't getting deserved recognition with the hard-to-see logo older logo so THD switched to these easily visible white logos.  This amp is in mint condition and a 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, which is essentially a $329 bonus feature for free.   The Hot Plate lets you run this baby full out, saturating the power tubes, letting you get that creamy response and natural sounding distortion, at living room volume output.  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 lists for $1795 and sells new at a modest discount for $1529.  This one's perfect and $579 cheaper at $950 which includes original black/chrome logo as well as the new white logo.  

45. 2002 Zwengel Banshee 50 Head, (panel), (circuit), (top), (back), (back panel), (used gear review).  Many of you have never heard of Carl Zwengel who ran another one of the boutique companies that fell by the wayside after manufacturing some truly fine amps.  Like most the American boutique makers Zwengel hand-wired his amps--and with some of the neatest work you'll see--and used only the finest components, all of which he insisted be USA made.  What made him unique though was his Banshee, the flagship of his line, wasn't just a re-labeled Bassman, Plexi, AC-30, etc., but truly his own design.  He was the first, and possibly only one, to make a hand-wired high gain amp, and if this isn't enough, he included an equally impressive vintage channel.  Via the front panel switch or with a footswitch, you can go from a "Vintage" (think tweed-era Fender clean) channel and "Modern", which is his high-gain channel that sounds like a hot-rodded Marshall to me.  Part o his goal on the Modern channel was to create an amp that was engineered specifically for modern playing such as dropped tuning and 7-string guitars.  Another thing that's important about this amp:  It is very loud.  Although rated at 50 watts, it compares to an 85 watt Twin or 75 watt Boogie.  Both channels have a gain/master setup so you can get a decent sound at lower volumes but a fine tube amp is really all about burning the power tubes so I always recommend playing in large venues - or getting an attenuator if you really want to hear what an amp is all about, but at a lower volume.  Some of the features include custom-manufactured massive transformers rated at twice the amp's output (note: this is a heavy amp); 16 ga. steel powder coated cold-rolled steel chassis with welded seams and ground smooth; military grade switches and jacks by C&K, Switchcraft, and Carling; precision mil-spec Ohmite and Phillips/ECG high voltage resisters; high tolerance CDE silver mica, Sprague "orange drop, and Atom capacitors; all components hand-wired to mil-spec 1/8" fiberglass/epoxy board; tube-buffered parallel effects loop with send level and mix controls; selectable 4/8/16 ohm output; and a top quality cabinet by Jeff Suites made of 3/4" pine with dovetail corners.  Controls are very straight-forward with a Gain and Level control for each of the channels with a channel selector switch; Bright and Mid switches that have a very pronounced affect; shared EQ controls for Bass-Mid-Treb-Pres.  On the back panel are outputs for 16 ohm - 4 ohm X 2 - 8 ohm X 2; Effects loop with Mix and Level controls; footswitch jack to switch between channels (same effect at the front panel switch).  Lastly, there is a variable "Damping" control to better match the amp to the enclosure you're using and adjust it for the responsiveness that feels right.  This amp, #18, was built in 2002, which I believe was the first year of production.  For a brief bio about Zwengel click here for the forum at vintageamps.com and go to the bottom of the page.   Click here for Harmony Central, where it scored a fantastic 9.6 overall, despite a minor gripe with not having reverb.  This one is in very nice shape except for a few minor tolex rubs on the right side of the panel (pic here).  It was recently tuned up and sounds fantastic.  These amps were only in production for a few years but they sold for $1700 and up, very reasonable for a hand-wired amp of this quality.  It's probably the only hand-built 50 watter I'll ever have near this price - $1099.  

OTHER AMPS

1. 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.  

2. Alamo 2530 Combo, (panel), (top), (back), (chassis).  Cool little student amp from ca. '67-'70.  This amp takes me back to my early band days when we would take an amp like this and use all three inputs with a guitar and perhaps two mics.  With 3 parallel inputs, the strongest signal would drown out the other two.  Circuit appears to be all original; speaker is a CTS with an irregular date code but most likely 36th week of 1970; quality vintage tubes installed.  This is one of those rare vintage amps that works perfectly with no extraneous noise, sounds quiet at idle, and needs no attention whatsoever.  Low power, probably a 5-watter, with a nice clean tone, and a little breakup as you crank it up.  For $150 a better buy than any of the Chinese low-powered tube amps. It simply has better tone.  Plus I wonder how many Valve Juniors will be in use 40 years from now.  Anyhow, $150 takes it.  

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. 1965 Cordovox Amplifier 3-piece Complete Set, (Leslie), (Leslie-inside  with instructions and label), (amp/speaker unit), (inside "brain").   Made by the Cordovox company during the height of the accordion craze, the Cordovox was a very sophisticated amplification system consisting of 3 parts - (1) amp/speaker cabinet; (2) matching "brain" or "tone generator" as it's called) which contains loads of circuitry and 66 (sixty-six!!!) tubes; and (3) slightly larger Leslie (Tremolo unit) cabinet with a rotating baffle.  This unit is in beautiful shape, other than some discoloration to the grill cloth and seems to work perfectly.  As far as user or travel wear, there is virtually none.  This set appears to have sat, un-used, for nearly its entire life.  Although I can only test it with a guitar I know that the amp cabinet and Leslie cabinet work well.  I don't have a way to test the brain for accordion use but the set is very well preserved and I have no reason to believe that it doesn't work.  The amp/cabinet portion of this unit is basically a guitar amp, with a pair of Jensen C12R 12" (date-coded 36th week of '64) speakers and bottom-mounted chassis housing the transformers, 2 power tubes, and a preamp tube.  The Leslie houses a Jensen C8R, date coded 1st week of '65, and has a rotating baffle to create the swirling sound that Leslies are famous for.  Many stomp boxes have been created to emulate this sound but, trust me, none of them have quite the same effect as a rotating baffle.  It also includes a footswitch to turn on/off the rotation.  I forgot to shoot a pic of the amp panel but it's a simple 3-knob with volume and tone controls.  Although it's low powered, it's a very good sounding tube amp and has a very smooth break-up.  The Leslie really makes this unit though and used in conjunction with the amp, you've got some very sweet tones.  This unit is potentially worth more in parts than it is as a 3-piece set, with treasures such as vintage transformers and original cone Jensen C12R's which are original for many amps, Gibsons and Ampeg among them.  If you're a guitar player with a lot of spare room or you know any accordion players looking for some top-notch vintage gear, the whole setup is just $850 and, again, in beautiful shape.  Includes all cables including a long multi-pin proprietary cable.  

5. Electroharmonix Freedom Amp, (tilt-back/side/back), (bottom), (panel), (extra battery/psu).  Cool looks, sparkling clean tone, perfect amp for the beach, camping, or subway gigs.  It's also an attractive amp, hand made from solid finger-jointed pine, that wouldn't look out of place in your den or family room.  The Freedom Amp uses a custom 8" speaker, special low-drain circuitry, and controls for volume, tone and bite.  Super low hum and the Preamp Output make the Freedom Amp great for recording and its high power output makes it perhaps the best street amp in the world.  It has a unique  recessed tilt-back leg and handle.  This is the "new" Freedom Amp - the original, from 1972, blew away the battery-powered Pignose with its 55 watts via 40 (yes forty) D-size batteries (pic here) through a 12" speaker.  In typical Mike Matthews fashion, the original advertising was out there.  Check out this ad that never quite made the cut, featuring Mike, "Band Aid Girl", and the Freedom amp (pic).   Inside, instead of 40 batteries, is a single rechargeable battery that's good for 4-6 hours of use.  Should you ever need to replace the battery, they're just $12.50 and, in fact, we just installed a new one so you should have years of no-hassle charges.  Original battery is included but it only holds a charge for 5 min and then sounds like a cool germanium fuzz box for another 10 minutes.  Also includes original power supply unit (charger).  EH discontinued these after a brief run.  I don't know how they made any money with a hand built cabinet of this quality.  Nice sounding amp for just $165. 

6. Epiphone Valve Junior Head - Refin, (top), (back).   These amps have been getting rave reviews since they came on the market 2 years ago.  At well under $200, now $149, the Valve Junior Head broke the price barrier in all-tube combos.  At 5 watts single-ended Class A you can get a full power tube distortion at very reasonable home levels but you'll likely be surprised at how loud 5 *tube* watts can be.  Controls are as follows:  Volume.  That's it...volume.  Tubes are a 12AX7 preamp and an EL84 power.  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, and it's also engineered to work very well with your guitar's volume control.  Back it off for clean, turn it up and send the amp into overdrive.   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 good in stock condition.  This one has been refinished to a bronze color, looks very cool to me, and a nice lil' amp for $110. 

7. Epiphone Valve Junior Combo.  These combo's have been getting rave reviews since they came on the market 2 years ago.  At well under $200, now $149, the Valve Junior broke the price barrier in all-tube combos.  In addition to obvious cool retro looks, it actually sounds very good.  At 5 watts single-ended Class A through an 8" speaker, you can get a full power tube distortion at very reasonable home levels but you'll likely be surprised at how loud 5 *tube* watts can be.  Controls are as follows:  Volume.  That's it...volume.  Tubes are a 12AX7 preamp and an EL84 power.  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, and it's also engineered to work very well with your guitar's volume control.  Back it off for clean, turn it up and send the amp into overdrive.   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 good in stock condition.  Prices on new ones are now $199 ($349 list) but this one's in perfect condition, and just $139.  I also have a matching extension cab if desired.   

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 wooden packing “crate”.  Clean and overdrive channels, both sound good.  A great little reference amp, it has been my man Martin's bench amp for around 6 years and works perfectly.  He loves the amp and doesn't want me to sell it but for $150 it's yours.  

9. 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).

10. Fender G-Dec, (back).  I have 3 of these in stock, including mint in the box with manual, one in very good condition, and this one, in excellent condition.  Way more than an amp, the G-Dec is a great practice tool with backing tracks (bass, drums, onboard midi synth), multi-effect, phrase recorder, looper, and more.  I have used one of these as my personal amp for over a 3 years, testing guitars several times a day and, more importantly, to take a brief break from work and just jam out.  It has improved my lead skills tremendously, just working through the 100 or so songs and patches.  It's easy to program - I've yet to read a manual - and sounds very good.  If that's not evidence enough, Eric Johnson uses a G-Dec as his backstage amp and hotel room practice amp. Click here for G-Dec specs at Fender's site including a good demo from Eric.  YouTube also has a ton of demo's - click here and here.   I'm not going to get into all the features since a video is worth a thousand words and the demo's are better than my writing skills.  Features master volume and tone, loads of amps, effects, etc., all of them tweakable, headphone out on front panel, midi in/midi out, recordable looper, click track, and much, much more.  For practicing along with an external CD/Tape/IPod, it has RCA outputs and a stereo 1/4" jack on the back.  The G-Dec puts out 15 watts and an 8" speaker and includes a strap, adjustable for hand or shoulder carry, for easy transport.  Both amps are AC only - not battery powered.   The G-Dec sold new for $269 - this one's super clean and a very cool practice tool for $175(HOLD-Richard T 7/29).  

11. 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). 

12. 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.

13. First Act MA104, (close-up).  I get in some strange gear.  This isn't as bad as it looks and actually sounds good for its size, much more like a real amp than the little battery powered Fender/Marshall/Vox/etc.  Has a decent clean sound and a cool buzzy overdrive.  Includes power supply.  Mint in original box for $18.  

14. Genz Benz Shenandoah 60 Stereo Acoustic Combo, (panel), (bottom), (acc.).  Like the Marshall MG4 below, as new in the box.  The Shenandoah 60 is a compact stereo amp that cranks out 60 watts from a pair of 6.5" woofers and a pair of tweeters.  It can double as an acoustic guitar amp or portable PA system with both an XLR (with phantom power) and 1/4" input on channel one and dual channels, each with a 3-band EQ with sweepable mid-range.  The cab design uses a stage monitor shape for added flexibility during performances, allowing the amp to stand upright or tilt back at a 30° angle.  The tilt-back helps reduce feedback on the low frequencies without massive EQ'ing.  It also has a sleeve for pole-mounting if desired.  While some amps have a few cheesy sounding effects, this baby has a quality Alesis processor built in which offers 16 quality preset effects.  Other features include headphone jack, effects level on each channel, master level control for effects, gain control on each channel, and master volume.  Listing at $729, it sells new for $579 but this amp is essentially brand new and a feature-packed, great sounding acoustic amp for just $389.  Ships in original box with cover, manual, cable, and paperwork. 

15. Ibanez GTA15R Guitar Amp. Excellent starter amp for anything from blues to rock to metal. Keep the gain down for nice clean tones, crank it up for excellent preamp distortion. Three band EQ allows you to boost the mids for a nice blues/rock tone - or boost bass and treble for that scooped mid's Metal tone. 15 watt RMS, plenty for any practice situation, through a solid 8" speaker. Features 3-band active equalization, reverb for spacious tones, CD input for jamming along with CD or IPod, and headphone output for silent practing. AC cord stores easily in bottom of amp. For a 15 watt amp with reverb, a sweet deal at $65.  Add headphones below for $13.99 for private practice.  

16. Ibanez TB15R Toneblaster Amp, (panel), (back).   Nice little practice/beginner combo with 15 watts through an 8" speaker.  Features include dual channels (clean/overdrive), with separate level controls for each - plus the overdrive channel has a gain knob to add the desired amount of distortion.  3-Band EQ is active with center-detented knobs and +/- 12dB of cut/boost.  Good sounding spring reverb.  As a practice tool it includes a CD input to play along with you're CD player, IPod, etc., and Headphone jack for private playing.  This is the last generation TB15R, the new one has a parametric Mid control but for $59, it's an inexpensive choice for a beginner or backstage/home practice amp.  

17. 6PH1HPO1 Headphones, stereo, full size with comfortable padding, long cable, great for private practice through the Ibanez GTA15R or any other amp with a headphone output.  

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

19. 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)

20. 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.

21. Lab Series L5 100W Combo Without Speakers, (panel), (back/side), (top), (back panel).  Amp works A-Okay, but it's being sold without speakers.   A good example of solid state amps done right - good enough in fact that the L5 was used by Allan Holdsworth on his first few albums, as well as Ty Tabor on the early King's X albums and its most noteworthy user, B.B. King found his signature tone in an L5 in the late 70's and continues to use them today. B.B. became an official endorser in 1981 (pic of ad) but was already a devoted user by then. If most people listen to any of these recordings they'd likely assume they were hearing a tube amp. The dynamic range and touch sensitivity - and Allan and Ty's pure sounding crunch, don't share much with other solid state amps of the day.  Lab seres are frequently thought to be "Gibson" amps, but Gibson was just sort of an in-law to the Lab company.  Gibson's only relation was distribution of the Labs, and the fact that both companies were owned by Norlin. The actual credit for design and manufacture goes to Moog, of analog synth fame. Although the L5 is the most noted of this series, there were several others in the line including the L7 and L9 which were identical amps but with a different speaker configuration. These are loud amps, rated at 100W RMS and unlike most solid state amps where 100 watts was roughly the equivalent of a 35 watt tube amp, this was a loud 100 watts. Specs and features include: 100 watts through 2X12" speakers; dual channels; channel one is a basic Fender-style layout with Bright switch and Vol-Bass-Mid-Treb knobs. Channel 2 features a lot more control. In addition to the Bright switch, Volume, Bass, and Treble, it features an active type EQ with a semi-parametric midrange control with mid frequency adjustable from 100Hz to 6400Hz along with a corresponding cut/boost knob. It also features a Multifilter knob, essentially a 6-band EQ with fixed settings (centers at 1000Hz, 1370Hz, 1900Hz, 2630Hz, 3630Hz and 5000 Hz.), where you control only how much of the signal thru it gets mixed back with the main signal - sort of like a flanger's comb filter with the sweep set to zero. It also features a good sounding reverb and an onboard compressor that's a personal favorite, with a knob to control the amount of compression with a corresponding LED that lights up when the compressor kicks in. Lastly, a Master Volume knob lets you overdrive the preamp circuit while keeping the output level down. On the back of the amp you have a footswitch input for reverb on/off, effects loop, and an unusual on/off switch that locks in to prevent inadvertent shut down.  There are a few Lab Series sites on the web including DIYGuitarist.  Again, this amp does not include speakers.  It had a pair of early Celestions that were worth almost as much as the amp and they were sold separately.  Speakers shown are just to highlight speaker alignment and are not included.  Overall it's in decent used condition but far from collector's grade.  Buy it because it's a good sounding amp - not because it's a lovely example.  If you haven't heard one of these, you're likely in for a treat and at $299, a good buy on a high-powered 2X12.  

22. Line 6 Flextone III XL 212 Stereo Combo, (back), (top), (panel), (back panel), (cover).  Like the famed Roland JC-120, a stereo combo like the Flextone III has a 3 dimensional sound that just blows you away.  It can even emulate the Jazz Chorus in fact, as well as numerous other famous amps.  The Line 6 Flextone III XL 2x12 Stereo Combo Amp delivers 32 classic amps and with 150 watts stereo through a pair of specially-designed Celestions, has plenty of power for any venue.  This amp is noted for having the warmth of tube tone plus some of the best amp and effect modeling you've ever heard.  It features 12 premium effects models, 16 mix 'n' match speaker cab options, stereo XLR outs, and 4 user-programmable channels (36 with the optional foot controller) for instant storage of the tones you create. MIDI capability for deep editing and access to Line 6 Tone Transfer Library.  It's also the only amp I can think of with a true stereo effects loop so all of your stereo outboard effects and run as they were intended to run instead of a wet and dry side. Other features include: 32 Vetta-based amp models, MIDI capability for deep editing and access to Line 6 Tone Transfer Library, Mix 'n' Match speaker cab options, 1/4" TRS headphone and balanced XLR direct outs.  For over 100 reviews, click here for Harmony-Central. There are a number of YouTube demo's online, click here for a comprehensive overview from Line 6 - let the video roll after the first demo and it will go straight into successive videos.   The Flextone III XL has gained great popularity and was engineered to be a relevant amp for many years, which is why it's still in production today.  It sells in stores for $699, which is very reasonable for a 150W stereo combo with all these great effects and amp models.  This one has never been gigged with and is excellent condition.   There are a number of players out there, for whom this will be the ultimate amp, and one that will also make their effect pedalboard obsolete.  All this for $479 - PLUS it has a set of quality casters installed which you'll appreciate if you've ever lugged around a fairly heavy 2X12 combo. 

23. Marshall MG10CD, (panel), (back).  A killer sounding practice/studio/backstage amp, the MG10CD offers 10 watts with an undeniable Marshall tone.  Features include twin channels, Clean Volume, Overdrive Gain and Volume, and a Contour control that takes you from a scooped mid metal tone, to a mid-heavy blues/rock.  Other features include CD input with Emulated Lime Out, Emulated Headphone output jack, designed to make it sound like it's playing through speakers before it gets to your cans, and LED indicator lights for Channel and Power On.  Outfitted with a 6 1/2" speaker in a sealed enclosure, this amp has loads of punch and sounds much bigger than its small size would indicate.  Here's a good demo from Marshall, showcasing both the clean and OD channels. This model was recently discontinued, with a final list of $115, but you'll still see some new ones on the web at $74 to $89.  This one is in mint condition and a very cool lil' amp for $59.   

24. 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.  The "Normal" Channel has a switch for "Clean" or "Crunch", while the "Boost" channel is selectable for "OD1" or "OD2", making this, essentially, a 4-channel amp.  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.  

25. 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)

26. Randal RC235 Stereo Chorus 2X10 Combo, (panel), (back), (back panel).  Ca. 1989.  Good sounding combo with true stereo chorus.  Two 35 watt amps drive a pair of Randall Jaguar 10s, yielding a lush stereo field.  Clean channel has Gain control, Overdrive has Gain and Master; switch between the two via toggle switch or optional footswitch.  They share EQ knobs for Treb, Mid, Bass, and Presence, plus Reverb and Chorus with Speed and Depth.  Note:  The reverb tank was removed from this amp.  It might jut need a new reverb tank wired in, we haven't checked it out. Back panel has stereo headphone jack, extension speaker outputs, Line level signal outputs, effects loop, and footswitch input (channel and chorus on/off).  It's missing one of the back panels but with an open-back amp I don't think it affects the tone.  For a few nice reviews, click here for Harmony Central.  These amps cost $399 20+ years ago.  This amp has been here for years but I just found the pics and apparently it's never been posted.  It's time to move on so blowout priced at $139 plus shipping on an "as is" but working sale.  

27. Rocktron Velocity 100 Guitar Power Amp, (pic2), (stock).  "As new in box".  Ordered for a rack system that was never built and virtually untouched.  Puts out 55 watts/side at 4 ohms; 40 watts at 8 ohms.  Designed specifically for guitar, the Velocity 100 delivers tube-like dynamics in a single-space, reliable solid state design.   The Velocity 100 utilizes thermal protection circuitry, along with protection from over voltage, under voltage or any shorts to the power supply = reliable performance night after night.  Front panel power switch and two front panel volume control knobs make operation as easy as possible.  With a list of $389 this is an excellent value in a virtually new V100 at just $185.  

28. 1987 Seymour Duncan 60W Convertible Head, (panel), (back).  Don't see many of these around, especially in the head only version.  Seymour was ahead of his time when he developed the Convertible series back in the mid-80's.  Since that time there have been a number of other amps which used the same idea, basically re-voicing the amp by a simple exchange of a preamp circuit  Randall has had great success with their MATS series, which is the same idea, and actually this was the original "modelling amp."   Each model holds a preamp tube and simply snaps in place when you want to change your amp's tone.  The Convertible 60 holds two modules so you have, essentially, two amps at your fingertips or at the push of a footswitch.  We were very impressed with the tone of this amp during our test with the two installed modules, "Classic - Warm Tube" and "High Gain Tube - High Overdrive & Sustain".  Features include: 60 watts via a pair of EL34 power tubes, dual channel each with an Overdrive and Volume control with corresponding Red and Green Led's (one for clean channel - one for OD channel), footswitch jack, Treb-Mid-Bass controls with +/- 15dB of cut/boost, Reverb, and front panel effects loop.  Back panel has 4 or 8 ohm outputs as well as a Slave out.  The EQ on this amp is very well engineered and it really does a lot, not simply shelving.  Makes it easy to dial in the perfect tone.  There is a handle on one side for easy transport.   Click here for some great reviews at Harmony Central, where it scored an incredible overall 9.7 (out of 10) - and I found a link devoted to this model here.  Although this amp is 22 years old, it works perfectly and the tone holds up as well today as it did back in the 80's.  Overall very nice shape and for a USA made tube head of this quality, a good buy at $429.  

29. 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.    

30. Vox Valvetronix AD120VT and VC-4 Controller, (side), (panel), (amps/effects), (top), (back panel), (back), (pedal).  Local sale/trade very much desired on this, the "Big Daddy" of the Valvetronix series and one of the best modeling amps made during the modeling amp wars a few yeas back.  This was Vox's highest power model with 120 watts (60W X 2), with an attenuator on the back to lower the output from 30Wx2, 15Wx2, or 1Wx2, which allows you to tailor the output to the venue (1W/Side is perfect for home).  Other features include Celestion 12" speakers, 16 amp types, 21 effects types, 32 programs (8 banks of 4), chromatic tuner, and Valve Reactor power amp section that recreates classic tube power amp response.   For guys who want to simplify their setup, these amps are perfect as they are able to completely eliminate your effects pedalboard.  Plenty of power for any stage, but equally at home in the studio.  Read over 150 reviews at Harmony Central where these got an incredible “9.1” for sound quality.  This amp was never gigged, home use only, and is overall excellent condition.  A lot of amp for $550 and *includes* Vox VC-4 floorboard with built-in expression pedal and easy access to four user presets.  Manuals are downloadable free of charge at Vox here.  

31. Vox V412BN 4X12 Cabinet, (stock pic). New in sealed box. This fell off my site apparently a long time ago. Originally offered as a companion to the AC30CCH, Vox AC50CPH, and AC100CPH amp heads, but it's a good choice for anyone looking for vintage styling. Equipped with four Wharfedale 12" speakers and swivel casters are included. These were discontinued last year but there's still some up on the web for $549. This one's just $399 plus shipping (97 lbs.). 

 SPEAKERS:

1. 1966 Jensens C12R, I can only find one of these so one available.  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 $99/each (only one available).

2. Jensen P12Q Speaker in Crate Cabinet, (stock pic).  Vintage Alnico 12" speaker to upgrade your combo or, if you need it, use with the Crate amp cabinet for an inexpensive extension cabinet.  Rated at 40W and can handle 80W musical power.  This is the 8 ohm version which will work well for many amps with either an 8 ohm output - or if paired with a combo's 8 ohm internal speaker for a 4 ohm load.  Mounted in an old Crate combo box, with an input jack nicely installed on the cabinet. The speaker alone sells for $121.  The Jensen is in clean shape with very little use and going for $99 with the cabinet.    

3. 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. 

4. Celestion G12M Greenback and G12H30 70th Anniversary Pair.  With the warmth of the 25W Greenback and the focused, tight bottom of the G12H 30W Anniversary, these speakers really complement each other and are paired by several manufacturers.  With the Greenback at 16 ohms and the Anniversary at 8, you're looking at a load of 12 ohms, wire in series, so I'd recommend the 16 ohm setting on your amp.   Both of these speakers are perfect for low-mid powered amps, providing some speaker break-up at 25/30 watts compared to a 75w or 90W speaker which has to be played at ear-bleeding levels to break up.  There is a proliferation of budget combo's, nearly all having a major weak spot with the speaker.  $105 for the G12H; $89 for the Greenback.  

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

6. 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.

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

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

9. 1975 Fender CTS 12" 16 Ohm, works perfectly, original cone, and original equipment for Bassman 2X12, Musicmaster Bass, and possibly others.  $99.

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

11. 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)

12. 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 $75/each.    

13. 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. 

14. 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.  $45/ea.  

15. Soldano 12" Eminence Legend, model V1216, made for a Soldano by Eminence.  16 ohms and designed for a 4X12 cabinet but can also be used in a 2X12 or single 12" if you want to lower the output volume.  Very clean shape, $49.  

16. Toa 2-way Speaker, dual cone, 8 ohms, rated at around 75W, from KB amp but good for monitor or other amp, $39

17. Peavey Sheffield Triple XXX Pair, (pic2).  12" guitar speakers, 50 watts (200W Peak, 100W Program, 16 ohms.  USA made and the model used in Peavey's popular JSX (Joe Satriani) series and with their chrome plating, some of the coolest looking speakers ever.   Especially good speakers for harder-edged music; rock or metal.  These sound great in a 4X12 cab or wire them up for an 8 ohm load in your combo or 2X12 cabinet.  A new pair is $160; get this pair for $99(Tent. Hold - 3/24). 

18. Peavey Blue Marvel 12".  12" guitar speakers, 75 watts (300W Peak, 150W Program, 8 ohms. A popular model in many of Peavey's amps, especially their Classic series.  Especially well voiced for Blues or rock.  In clean cosmetic shape other than a very small ding on the edge that we filled and doesn't present a problem (see arrow in pic).  Sells new for $70; this one's $39. 

19. Eminence Kappa Pro 15LF, (pic2).  15" low frequency driver, 600 watts (1200W program), 8 ohms.  Quality USA Eminence especially designed with extended Xmax to deliver more bass than standard models and provide 'a true woofer' for 3-way applications.  Engineered to give a clean extended bass response in ported cabinets of approx. 4 cubic ft.).  Ideal speaker for portable high power P.A. and club music systems but can also work in bass guitar amplification.  Sells new for $149 but this one is brand new, never installed, and is just $99.  

1. Fender Deluxe Reverb Panel.  I bought a few of these from Cesar Diaz at a NYC show around 10 years ago.  Hard to find part and perfect for silverface conversions to blackface specs.  I don't know if anyone sells these any more but this one was never used and perfect.  $39.  

2. 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

3. 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

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

5. Marshall channel selector switch, $29

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

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

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

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

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

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

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

13. Marshall cover, black with gold writing for 4X12 straight cabs, mint, $29/ea. 

14. 60's Silvertone 2-button Footswitch, for your Tremolo and Reverb equipped early 60's Silvertone.  All original including cable and plug.  Ebay price on one with a replacement plug is $125 (link), which would make this all-original one very fairly priced at $85.  

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

TUBES:

New Tubes.  (see listings below) I recently came across a small lot (40 or so) of tubes from the final sale of "The Only Guitar Shop", which closed back in '06.  All are brand new in the box.  Shipping cost is $5 for Priority Mail with tracking, regardless of amount ordered. 

1. Electroharmonix EL34, NOS, matched pair, $25/pair

2. Sovtek EL84, NOS, matched quartet, Sovtek "7" = warm tone and good definition/clarity, $39/quad

3. Sovtek EL84, NOS, singles, 3 available, $15/each

4. Ruby 6550, NOS, matched pairs, 3 pairs available, $55/pair

5. Svetlana 6550C, NOS, singles, 3 available, the best budget 6550 (or KT88) you can get, smooth, liquid bass, natural sound, and openness, $25/each

6. Mesa-Boogie 6L6, NOS, STR430, matched pair, $39/pair

7. Ruby 6L6, NOS, single, STR, $12/ea

8. Electroharmonix 6L6, NOS, $15/ea

9. Groove Tubes/Fender 6V6, NOS, matched pairs, hand-slected by GT to be the best, 2 pairs available, $29/pair(HOLD both - Mark S 2/26)

10. Ruby 6V6, NOS, single, $10

11. Sovtek 6V6, NOS, single, smoked glass, $20

12. Sovtek 6L6, NOS, single, smoked glass, $20

13. Sovtek 6L6, NOS, single, clear glass, 2 available, $20/each

14. Electroharmonix 6V6, NOS, singles, 3 available, $12 (Hold 1 for Thomas)

15. Sovtek 5AR4, NOS, single, $10

16. Ruby 5AR4, NOS, single, $13

17. Sovtek 12AX7WXT, NOS, single, Sovtek's best, quiet with more gain than the A, WA, or WB models, $8/each (Hold 1 for Thomas)

18. Sovtek 6SL7, NOS, singles, 2 available, $10/each