Not all features are options are listed here; this is just a quick-reference guide. Solid State or Tube? Early Carvin amplifiers like all other amps of the era were tube-drive models, in combo configurations with 1, 2 or 4 speakers. These early models were designed for use with pretty much any electric instrument, and generally had multiple channels for instruments as well as microphones. Most of these amps used the standard 6L6’s and 12AX7’s, as well as a few others depending on the model. From Carvin’s first amp in until , only tube models were offered. In , Carvin got swept up in the electronics revolution that had overtaken every electronics manufacturer around the globe. They only offered solid-state amps during the late 60’s, and it would be before the benefits of tube-drive amps were re-acknowledged. However, the VTR tube head would exist for one year only, and it would be before another tube amp would be offered.
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Supro Guitars and Amplifiers Part I. Dating Valco Instruments Your Valco Amplifiers It’s sometimes better to draw a schematic from what you have, then match it to a known schematic Valco Amp The place to be when you’ve got a Valco, or just gotta get one. National Guitar makers of fine resophonic guitars, hand crafted in California. Exceptionally cool and fantastic sounding Valco built Oahu amplifier. Single 8 inch speaker, coded, dating to the 15th week of Familiar, making the transition to this new and exciting married.
It makes a huge difference. Are we looking for flexibility or just one great sound? Do you need to just pull an amp off a sales shelf or do you have time to look for it? Good, from Marshall, isn’t expensive. It isn’t all that different from good from other guys: However, most folks who have the time and cash will gravitate towards a specific sound: JTM45, very pricey for the real ones, reissues good, clones all over the place and quite good.
Gain levels vary a lot, and they tend to have one sweet spot read LOUD so if you need flexibility, not your cup of tea. You can get a very similar sound at more reasonable volumes from the cx reissue 20w.
Ampeg serial dating For bass necks just reverse the letters – but the numbering scheme would be the same. But what I believe he actually meant was around 3, guitars and around 3, basses – making for a total of roughly 6, instruments overall that were produced – which would be fairly close, though serial numbers higher than these shown here have yet to surface on either the guitar or the bass models.
However, if you figure in a fudge factor and remember that the first instruments were experimental, one can say that roughly 3, of each were made. A note about these tubes: As a means of quick reference, guitar necks alone can be approximately dated by the serial number on them.
One edition was issued with a forest green colored cabinet, had a United States flag on the cloth speaker grille , and had United States Air Force markings detailed on the cabinet in yellow.
Varying editions[ edit ] Like many Fender amplifiers particularly in the Hot Rod series , many limited edition versions of the Blues Junior have been manufactured since its introduction in The original circuit board underwent a major redesign in , when production moved from the US to Mexico. The earlier circuit boards are green in color and are noted for a “darker,” more bass-inflected tone. Many green board models have excessive noise in the reverb circuit, as the signal is inserted into the reverb after the master volume.
The later circuit boards are cream or tan colored and sound “brighter” or more treble-oriented, with the reverb situated before the Master volume. Some of these have been artificially aged from the factory and are known as Lacquered Tweed “Relic” editions. The “Blonde” and “Brown Tolex” Blues Juniors feature traditional Fender Tolex upholstery in their respective colors, while the Sunburst Ash edition features an ash cabinet with a sunburst stain.
One edition was issued with a forest green colored cabinet, had a United States flag on the cloth speaker grille , and had United States Air Force markings detailed on the cabinet in yellow. The standard Blues Junior is dressed like a traditional black Fender amplifier, with black Tolex upholstery and a silver cloth speaker grille. Fender does not always include these limited edition versions in their updated catalogs or on their website either because too few were produced only a few hundred in some cases or perhaps because of exclusive retailer agreements.
Blues Junior revision history[ edit ] Fender introduced the Blues Junior in and has revised and updated the amp periodically since then. The Blues Junior history can be divided into two major categories: The switch to the cream-colored boards reflects the change in where the amps were manufactured, from USA to Mexico. The cream-colored board is laid out entirely differently from the green board.
Serial Number Chart ::
Chat non payment sex chat Ampeg svt serial number dating This one comes with a new Stew-Mac truss rod adjustment tool shown here since someone used a wrong size allen key at some point, but the Stew-Mac tool is beveled and made for this very purpose. Lettering on the pickups is still in nice shape which usually indicates a guitar hasn’t seen much playing time. This bass sounds very good and plays fantastic with a new set of flatwound strings for the vintage tone and low string noise.
A new one will set you back 9 without a case or gigbag.
Tribute to Eddie Lang; Stefan Grossman:
And because production records for Ampeg products were lost or destroyed after various corporate buyouts, it is impossible to say exactly how many of these instruments were made. The Mid s By the mid s, the Ampeg Company, Linden, New Jersey, had displayed great musical equipment achievements and run into sticky economic difficulties. The upright acoustic bass pickup, invented in the late s by company founder and President C.
Everett Hull, was still useful. The first generation of combo guitar amps with built-in reverb, like the Reverberocket and Gemini I from the s, were popular. The company was backordered six to nine months, and when orders were finally delivered, many customers had bought Kustom or Standel, Fender or Vox. Despite impressive growth in its product line and factory space, Ampeg was stuck in the past. An advocate of clean amp sounds, Hull was shocked when Gibson offered musicians an electronic distortion box!
He still wanted to produce his seasoned line of products and serve the needs of jazz musicians, although the future of the business lay in serving pop and rock groups. The opportunity for a new Ampeg product presented itself. Kager had joined Ampeg in , at age 21, and then quickly rose through the ranks.
What Model is that Carvin Amp
Yes, we sell ’em! In the past, these amps were often modded to use As or EL34s. There has been plenty of discussion concerning the substitution of this tube on the newsgroup rec. I think Ruby made a not so great A, although I never bought any because I could get A’s for about the same price. The Ruskie servo tube is good, Sovtek wxt.
I know a lot of people have had success with the Sovtek
Very simple, but always sounds great.
Ampeg amplifiers have evolved over the decades. Being able to place specific products in their time period is a great way to assess value and impress fellow gearheads. Ampeg did utilize serial numbers when producing their amps, but these numbers can sometimes be inaccurate. The best way to date an Ampeg amp is based on its specific features and characteristics. Dating Ampeg Amplifiers Identify physical characteristics of the amp that could determine its era.
The first generation of Ampeg amps were small bass combo amps, usually brown or blue in color. Their grill cloths were often a circular shape. Blue checkered grill cloths were ’60s designs. Later amps from the ’70s were made in more silver and blue or teal color schemes. Ampeg’s latest amps, made after , are usually all black unless they are reissue designs that are made to look like vintage amplifiers.
Determine whether the amplifier has a specific model name. Early Ampeg amps did not have model names and were only known as Ampeg named after the Amplified Peg technology developed for upright bassists. In the late ’50s Ampeg started using model names such as Rocket, Mercury and Jet.
Traynor Amp Talk #5
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Original tube [complement] was three 12AX7s and four 6CA7s that I swapped for s very easy, just boost bias about ten volts in order to have 30ma idle Original input resistor was k and I changed it for 5.
Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas.
Peter Traynor built these things to stand up to road abuse, unlike a lot of vintage stuff. It sounds great with either bass and guitar, providing a clean and loud tone. Works great in large club settings. Front panel has two input jacks, controls for treble boost, volume, treble expander, treble, bass expander, bass, presence, and bass boost. There is also a standby switch and corresponding green and red pilot lights. There are no effects in this head, but stomp boxes work just fine.
The front of the amp is wrapped in a Fender-style silver-face cloth [