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Joined: 5/4/2006
Msg: 1576
The guitar player's threadPage 64 of 102    (62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102)
i would have to say the messa boogie triple rectifier is the best amp out there you can get so much out of it but when you have it rigged up with a jim dunlop wha and a b.c. rich exclusive i could shred a hole in any ones wall
Joined: 8/25/2004
Msg: 1577
The guitar player's thread
Posted: 5/12/2006 7:07:53 PM
t bone

welcome to the guitar forum

Joined: 7/2/2005
Msg: 1578
The guitar player's thread
Posted: 5/13/2006 11:42:19 PM
Yo T

I looked at my playing habits, and realized that i don't use my standby switch that much. Chalk one up for laziness...

Got any good mods for a Chinese Squire strat? I like the guitar and it's great quality for the price ($89 US).

I'm thinking of getting an Ibanez S470, if they still make them, and a Thermion stack. I was skeptical about the lights on the stack, but dazzled by the sound. It was like god was talking to me. Has anyone tried the Carvin Steve Vie Legacy and the Ibanez Thermion and can give me an opinion as to which is better?

I'm currently using the Squire with a Crate VC50H and a 4x10 cab. I've been running it straight in with no effects. The dirty channel has plenty of distortion, enough for metal licks. I've got a box full of effects that i don't even use anymore.

Anybody try the Behringer Hellbabe Wah? I read that it is opto controlled; no more scratchy pots. Looks like a steal at $20-$30 US.
I'm also looking for a compressor and considering the Boss CS3. Anybody have suggestions?
Joined: 9/18/2004
Msg: 1579
view profile
The guitar player's thread
Posted: 5/14/2006 11:57:09 AM
The above post reminds me of a thought I was having....

At the music store, I saw an Epiphone hollow bost "Tele"...looks beautiful...maple fret board , didn't have time to play it, bit it was only $490 it worth another look? I have a Vox AC30 212 as Late and Guitar Man already know...or do I need to wait and shoot for the brass a high end Strat or some such...also a Mexican Strat $500 CND...and a Epiphone "SG"...dirt cheap..$290 CND. Would there be mods for these guitars that would make them worth it?

Still have to wait maybe 2 months anyway, but the question is...a cheaper guitar that I could possibly modify, or just dig a hole and finance...I think I already know Guitar Mans answer..."lifes too short...etc...". But the day is coming soon to replace my Ibanez.

P.S...for those interested...the Voxac30 came through again this weekend...low volume gig, mostly clean and classic tones, vintage low output setting...the amp still cut through like crazy....and I did a slow minor blues with the tremolo setting on...made the girls go all gazed and smiley...ahhh. Next weekend it goes for a good spin in a biker bar...then we will see what it's really got. Must reiterate...if you are looking for an amp...try the has changed everything. I play better because it is sooo responsive to expression, and I can take more riskes when improvising solos because I trust the sound and don't have to worry... and it comes through amazingly when the rythem section loses their heads and get carried away.
Joined: 8/25/2004
Msg: 1580
The guitar player's thread
Posted: 5/14/2006 8:05:47 PM
hey gear dudes

Amped up

the pickups in the chinese strats are not awesome,swapping them is a good way to go
on the cheap mex strat

or-Bill Lawerence noiseless and a humbucker in the bridge

s470......... I suggest the Rg it is better overall me thinks

thermin looks like it is getting some good press,never tried it yet
I tried a Stevie Vai Carvin at the carvin store on the Sunset strip in LA
the are nice,kinda a modded marshall amp,if you are into mega thump low bass etc
the mts 3200 beside it was more like that
check out the peavey 6505 II also

Blue Mystery

all of those guitars can be modded to good effect
you need to look at your style, and figure out what is best
humbuckers or single coils or both

out of those I would get the Mex strat and mod it hum-sing-sing
better yet
for a little more I would get a US strat --used
used market can be very good, if you are going to mod the guitar anyway

you ever come to Edmonton?
you can come see my shop
Joined: 3/25/2006
Msg: 1581
The guitar player's thread
Posted: 5/14/2006 9:02:52 PM
I would have responded back earlier, but I can only make two posts in the last ten due to restrictions here, so now that people have pushed it past that, my amp is a Fender 140 (it has 4 6L6's), and was the loudest head that Fender ever made, at 140 watts (rms, or 300 watts peak).

I found that this place, is super cool for amp tube tweaks, some reviews, and other general information. The gain trick by swapping preamp tubes of different styles is interesting, like using a 5751 in place of a 12AX7 for an amp that's too gainy. Looks like the Sovteks that i've been using aren't the best that I could be getting, harmonics and detail wise....
Joined: 1/9/2005
Msg: 1582
The guitar player's thread
Posted: 5/15/2006 3:17:38 PM
the loudest head that Fender ever made

Nope, the loudest tube amp Fender made was the 400 PS, 435 watts, ....biased just right,
it could put out 560 watts, .....RMS, to 3 x 4 ohm loads.

There was also the 300 PS @ 300w, the Super Twin @ 180w....

The PS series was killer, but ...a wee bit over-killer, and for those who try to service it without
the shop manual, ...a fire hazard. The S.Twin was a piece of crap.

As for the UL-tranny amps that Fender put out post-'77, ....I'm not a big fan of ultra-linear
transformers in guitar amps, their inclusion was really more of a marketing decision
(higher power ratings), rather than the result of requests from "the field" for louder/cleaner amps.
I find the tone in these amps to be too "sterile", for most applications.

Hmmm... we used two Fender amps at a gig on Saturday, a '56 Tweed Vibrolux, and a '49 Champion 600.

10w and 4w respectively, sometimes less is more. Any gig that needs more power, is going to have a PA,
I really don't have much use for anything over 30 watts, for guitar anyway.

For bass? I'll hold on to my three '70s ampeg V4's which at 100w a piece, ....give me plenty of stage
power, the rest goes FOH anyway. I only use the Ampegs anymore if there's crew to carry 'em, ...

I much prefer using a PA system, to competing with it. So I tend to use '50s and '60s Fender and Gibson
amps for guitar, the most powerful being a '53 Deluxe, which, if you push it, could probably yield 14w.

They tend to be a little easier on the arm at load-out time, too...
Joined: 3/25/2006
Msg: 1583
The guitar player's thread
Posted: 5/15/2006 3:58:50 PM
I figured that there were louder Fender amps, but there were a couple of places online that stated that the 140 was the loudest amp made, so I erroneously gleaned the info from that.

Agreed that some amps sound better when they're at lower amperages. I have an old Garnet Gnome, and it's 7 watts, I believe (or something like that). And the tone is always great. I guess that the fear is that you'll walk into practice with a very loud player and get drowned out in rehearsals (in my case, anyways). So the little amp has much better tone, but in order to be heard in practice (we don't mike any instruments), I need more power.
Joined: 8/25/2004
Msg: 1584
The guitar player's thread
Posted: 5/15/2006 9:24:49 PM

I was in a band once where we practiced was a large building
the bass player had his rig there
which was k2000 power amp (like 1200 watts) with 2 eden 4X10 cabs
sometimes for extra fart he would fade in his mesa boogie bass 400+ out of a 2x15 cab

so I had to bring in some big amps to be able to jam
mesa boogie stereo power amp 2x100 watts through 2 (2x12)

often time I would use just one of them but any amp I brought that was 50 watts
just did not cut it there and there was no pa to go through
Joined: 1/9/2005
Msg: 1585
The guitar player's thread
Posted: 5/16/2006 6:25:22 AM
I guess that the fear is that you'll walk into practice with a very loud player

Take a 100w amp, crank it full, ...half the percieved SPL at the same load impedance is 10w, half
the watts (50w) is only 3db less loud. As the "loudness" scale is logarithmic, the higher the SPL,
the more power is needed "just to be heard", ...if a player can't adjust his dynamic to the "floor"
of the envelope at any given point, ...he ain't listening while he's playing, ...I have absolutely no
use for these people.

so I had to bring in some big amps to be able to jam

Next time, ask him to use his ears to set his levels, not his ego.

I'm lucky I guess, I haven't played with anybody who is dynamics challanged for decades. Playing
in an ensemble situation, and having to set the dynamic envelope by "who plays the loudest" is to
me, an exercise in diminished returns. Most guys I play with have been at it for more than three
or four decades, and balk at the trade off of hearing loss for, ..."loud". There is only net loss in this
scenario, as in some ways, the band is constrained by it's least musical member.

SPL is relative, music can sit in the 60db to 100db range easily on a stage, sustained exposure to
100db to 120db = noticable permanent hearing loss in a short period of time. Of course, you could
plug your ears, and so can the listeners, ...but if listening to music involves plugging one's ears?
You may be missing the obvious solution.

Frankly, if I have to play with a person who doesn't have the ears to sit in the dynamic envelope as
is established by the scope of the "least loud" dynamic, to the "most loud" within a range of "comfort",
by having the ability to "listen" while they play? ...I walk, or they do. Dynamics are just as important
as what notes you play, and when I play with others who equate ensemble playing with a loudness
competition, my first conclusion is that they "don't know how to play".
If the idea is to "play music"? ...I have absolutely no use for them

SPL is also cumulative, the more people there, the louder the the SPL, the more important it is to have
the ears to keep your own levels reasonable, if one of the ensemble members has no clue? The
dynamic envelope is destroyed.

I don't play punk, or death/speed/polka/metal, etc., genres of the type that have a single dynamic
level that defines the style, ...not interested in the least. this in and of itself, IMO, reduces
musicality by virtue of removing one of the expressive nuances of music.

So if the style or genre one is playing is defined by a complete lack of a dynamic envelope? ...I
would suggest getting a Fender 400 PS, and run it through all three folded-horn, "W" enclosures,
...that way you're almost guaranteed to "win" the competition @ 560w RMS, 140db+.
Joined: 5/15/2006
Msg: 1586
The guitar player's thread
Posted: 5/16/2006 4:25:12 PM
if you've never played a Robyn, you aree missing out. the crossovers give you a huge range of sounds. the Ranger was featured as the best stock guitar in on of the rags last year. entry is about a grand. my bud is a dealer. lots of custom options. its not uncommon for a dude to walk in and spec one to 5k
Joined: 7/2/2005
Msg: 1587
The guitar player's thread
Posted: 5/16/2006 6:05:49 PM
Looks like I've got G.A.S. !!!

I bought the Boss CS3. Not exactly what I was looking for, but it's ok. I'll probably piddle with the electronics and see what i can get out of it. It was a pawn shop deal, so I'm not out that much.

Just won an Gibson GA-15RVT on Ebay for $200US. I checked the schematic before i bid and it looks like it might be promising (uses an inverter transformer as phase splitter). Since you use Gibson amps, what do you think of this model, Late?

As for the "bigger is not always better" debate, it helps to have a powerful amp as backup when there is a prob with the PA. That is why i'm looking at the Thermion. I've got tinnitus, so I don't crank my Crate. The Thermion has great dynamic range at low volumes, and is the sound I'm looking for. Like everything else though, Ill probably get it home and be dissappointed...

I'm not giging, probably because I'm not that talented. I would put my ego aside and play rythym, or pick up the bass if need be. Just got to get in where i fit in. That's getting harder at my age. I like 70's rock and 80's metal (hair or heavy). I'm glad to see the turning point of grunge back to rock with Jet and Buck Cherry.
Joined: 3/25/2006
Msg: 1588
The guitar player's thread
Posted: 5/16/2006 6:26:07 PM
Late, you said that you don't play punk or metal, but if you did, you'll find that the players are loud, because you need volume to make a point. A drummer that I jammed with was probably the hardest hitter i've seen, and played two kick drums. I played my 50 watt amp, and almost couldn't hear myself play. For other drummers, it was more than enough, but not in this case--especially when you play with guys that are breaking sticks every few songs, because they're hitting that hard. When you walk in with even a 50 watt amp, you just won't hear yourself. Sometimes volume *is* the only way you'll be heard. Like I say, i'd love to just play my 7 watt Gnome and get a great tone from the full speaker distortion coupled with the amp being maxed out, but it's just not feasible if you want to hear yourself play (most bands that i've started off with don't have PA's, and if they do, they're usually not very big).

When the players themselves--especially drummers--play much, much louder, sometimes tonal accuracy takes a complete backseat to loudness. Like Motorhead!!!

not interested in the least. this in and of itself, IMO, reduces
musicality by virtue of removing one of the expressive nuances of music.

I'd be careful about "blanketing" an entire genre of music. Many songs sound simple--especially punk songs--but after figuring them out on guitar, you realize that some of those guys really know what they're doing. There's lots of bands within the punk and metal genres that do amazing and complicated things with both dynamics and emotions. If anything, I like the fact that they allow for the complete spectrum of emotions, not just 4/4 timing or one specific mood. To the average person, it probably sounds like a bunch of anger. But there's tons of stuff that goes over the head of the average player and listener--as a matter of fact, alot of metal musicians are closer to being classical musicians and jazz players, albeit in a very extreme way. That's pretty expressive, if you ask me.

But ultimately, if it's just volume one is after, without dynamic or melodic thought, I totally agree that I don't have much time for that. And there's plenty of bands that rely on that.
Joined: 1/9/2005
Msg: 1589
The guitar player's thread
Posted: 5/16/2006 7:20:23 PM

Just won an Gibson GA-15RVT on Ebay for $200US. I checked the schematic before i bid and it
looks like it might be promising (uses an inverter transformer as phase splitter). Since you use
Gibson amps, what do you think of this model, Late?

Killer amp, yeah ...nifty l'il extra tranny in it. It's okay to put in beefier filter caps in it when you
recap, I used JJ 32mf/475v ones because I had them lying around, they stiffen up the power supply
a bit, not a bad thing, IMO. Needs a grounded AC cord too.

The tremolo could use a little slow down, I haven't done that yet, but I love it, bias modulation.
The reverb's circuit is very interesting too, crank the 'verb with the volume off to see what I mean.
The amp does need a little bit of tweaking in the tone stack to bring out the bottom and tame the
highs a bit. But, all in all, this is a kick ass amp.

I tossed the CTS speaker and dropped a Jensen C10Q into it, ...I'm going to retool the baffle to
12" for a Weber VST "P12R" style alnico though. When I record with mine I run it through a 50's
Jensen P12R.

Miles O'Neal is a great resource for Gibson and Kalamazoo amps, he's in Round Rock, in your state,
"Triple R Amp Ranch", he's good people and knows Gibson amps as well as anybody I know.

Some suggested mods from another friend, John King (w/ advice from Miles)-

Oh! and no standby or tube rectifier, ...let it warm up anyway. I'm using JJ EL84's ...but it really sings with Telefunkens, ...

when you play with guys that are breaking sticks every few songs, because they're
hitting that hard.

Heh heh, ...I don't play with drummers who break a lot of sticks. As a matter of fact, I'm most picky
about drummers when it comes to musicianship, as they have to have the ability to play the floor of
the dynamic envelope, as well as the ceiling (pretty much any drummer can play loud), or they
tend not to get the kinda of studio or sideman gigs that are my bread and butter. The guy that's all
over the last CD we did was, Miche Pouliot,

This guy can play a drum kit, "full tone" and not drown out acoustic instruments.

It's the ability to play at low volume that separates the men from the boys on drums.

Any idiot can pound 'em, takes skill to "play" them.

I much prefer skilled players, regardless of style or genre, that level, it's moot.

Joined: 10/25/2005
Msg: 1590
The guitar player's thread
Posted: 5/17/2006 11:37:39 AM
Nigel Tufnel said "Start playing loud when you're young, and you'll be one step ahead of the game. If you start off playing soft, it will get you into a lot of bad habits. Terrible, terrible, habits. Look at these jazz people. Of course they play soft. It's a trick so you can't hear them."

Hehehe!!! 'Nuff said?
Joined: 7/2/2005
Msg: 1591
The guitar player's thread
Posted: 5/17/2006 5:09:24 PM
Loud is ok as long as it's clean. When it gets to the point where it is so loud everything is compressed and you can't hear the individual instruments, that's not enjoyable. That's why I refuse to pay $50 or so bucks to see a band in a large venue, the sound always sucks. I did go to a few AC/DC concerts in my youth and they were so loud it left my ears ringing, but they were clean. One of the few bands that could pull that off.

A PA mix so loud that it is compressed IS the best way to cover your mistakes, as the audiences ears get used to the high SPL and blocks out everything else, like your girlfriend trying to talk to you. I am sure a lot of bands rely on this fact, since they play the same songs night after night and get bored. (And you know a lot of them just cue up a recorded track when they can't get their act together; witness Ashley Simpson. I like to watch bands on TV and try to catch when they're not in sync.)

Late, you are a professional musicain, and i respect that. Most of us are just weekend warriors just trying to have fun. When it's not fun anymore, we don't play. Thanks for the info on the Gibson. I was told the reverb was made into a hot channel. I may keep it that way. Not too many amps made these days have more than one input, and I would like to experiment with A/B switching different channels with effects (since i have a box full of them).
Joined: 8/25/2004
Msg: 1592
The guitar player's thread
Posted: 5/17/2006 6:10:06 PM
most sound guys have
'kick drumitus'

they get that kick drum really pumpin...................dude listen to the fat kick drum

then the rest of the band mix suffers

you can't make out the vocals,I hate that
Joined: 2/12/2006
Msg: 1593
The guitar player's thread
Posted: 5/17/2006 10:32:48 PM
LATE and G-man:

Loudness is often a moot point for people who play in bars in front of people who drink alcohol.
Often it is a matter of clarity and quality, as well.

G-man, my old rig was a lot like yours, but my Boogie is an older model, the one where you can switch out the tubes to sound like other amps. The other guitar player in my band had Marshall stack-itis and I could never hear myself over him. And he was constantly on the sound guy that he couldn't hear himself.
My friends out on the floor said they could hear me better and the board tapes have a clearer recording of my stuff.
But I am not really knowledgeable amp girl. I just remember having to stick an ear plug into the ear closest to his monitor.
Joined: 8/25/2004
Msg: 1594
The guitar player's thread
Posted: 5/18/2006 12:19:20 AM
fricken loud guitarist

hey dogparkgirl......nice to hear from you

Joined: 1/9/2005
Msg: 1595
The guitar player's thread
Posted: 5/18/2006 1:31:37 AM
There is no "be all end all" universal power rating, assuming that each musician, is musician enough
to play within the dynamic envelope of the ensemble, ..."watts" are meaningless. From a standpoint
of tone however, there IS a range of output for guitar amps, tube ones, that is optimal for "sweetspot"
to SPL ratio, in the context of "whisper to shout" dynamic scope of most bandstand situations. A lot of
this has to do with power requirements in regard to; bandwidth/headroom in regards to bass, and in
the context of electric guitar, desired tone, and touch control. i.e. a 30w amp is perfect for cranked
amp tone/clean tone via touch, even if the bass player has a 1500w rig, ...provided the bass player isn't
an idiot.

If you are dealing with a "too loud" drummer, by using a bigger amp?

If you are dealing with a "too loud" bass player, by using a bigger amp?

If you are dealing with a "too loud" guitar player, by using a bigger amp?

You are trying to solve the problem by giving in to their lack of musical ability, and following suit.

How are you solving the REAL problem by trying to compete with stupidity?

Hey! if it doesn't matter? It really doesn't matter ...if it's a quantity, and not a quality thing.

S'okay, I'm hip to that too, I can dig it, it's not like this isn't SOP for most of what's out there.

Doesn't mean I'll ever "buy into it" as anything other than competing with stupidity.

Music has criteria:

AMPLITUDE dynamics

All of these things are limiting factors, if any one of them isn't understood by a player, especially when
playing with others? This has to be dealt with by having them correct the problem.

Trying to compensate for the loudest guy in the band by turning up, is no different than compensating for
a bass player who can't stay in key, by playing wrong notes, compensating for a drummer with bad meter,
by playing out of time, or compensating for a singer who can't remember lyrics, by playing random chord
changes.... Whether you're a working pro, or just a weekend warrior, I don't see the reasoning behind
having a weak link make YOU sound lousy too.

Same goes for incompetant FOH techs, ...if they can't turn a reasonable stage mix into a reasonable FOH mix,
I won't use them, ...if it's a "house" guy who's screwed the pooch once? ...I'll only work the venue if they
can allow the band I am working with to use someone else. I don't give people a second chance on this,
if they don't get it the first time, it's safe to assume they either have "no ears", or they have no clue how
to run a PA.

Playing too loud at a rehearsal?

If your band is rehearsing for a stadium tour, by all means, ...roll out the big rigs, wink, grin, and turn it
up to eleven...

If you're jammin' or playing clubs, bars, etc ? Making "loud" a priority over "sounding good", is to me?
...Something a poseur does, not a musician.

he was constantly on the sound guy that he couldn't hear himself.

99 times out of 100, this is because THE WHOLE BAND IS TOO LOUD.

People! ...trying to solve a problem by compounding it, rarely yields a solution.

Aside from this, "stacks" are often a lousy choice for club gigs, infinite baffle speaker cabs tend to "beam",
IOW, they are unidirectional, combos will "fill" a stage better, often negating the need to have them in the
monitor mix. Cranking a stack just makes it unbearable to stand in the area that it's beaming towards as
opposed to allowing one to "hear themself" better.

With any club that has an appropriate PA, the lower you can get the stage levels, the better for everybody,
musicians, FOH, audience.

Joined: 5/7/2006
Msg: 1596
The guitar player's thread
Posted: 5/18/2006 1:55:46 PM
Though I am just a withered basement tape junky, I like the idea of a band that plays quiet enough to attract it's active litsteners, so when they begin to lean in to explore the sound, you can reveal the magic of your dynamic and synergize with their souls.

Heart beats are a terrible thing to waste in music.
Joined: 3/25/2006
Msg: 1597
The guitar player's thread
Posted: 5/18/2006 5:13:05 PM
You are trying to solve the problem by giving in to their lack of musical ability, and following suit.

How are you solving the REAL problem by trying to compete with stupidity?

My concern with your statements, Late, is that you automatically think that "loud players= stupid" or untalented. That is totally wrong, and I don't want to cause too much commotion here, but I can't let that broadstroke get by here, at least without a heads up. It's a shame that the experiences you've had with loud players (or what you've read out of a magazine) have tainted your experiences, but i've played with alot of musicians that are great musicians, they just, however, play very loud. I don't think that there's anything wrong with someone who plays very well with good style, tone and attitude, that also happens to be a loud player-because they are out there. And as I previously outlined, when you start leaning towards the louder or heavier end of rock, it's just not always possible to achieve a pure tone, sometimes you need volume to be heard. The risk for a player that shows up to a rehearsal/ tryout for an aggressive band that has a weak or underpowered amp, is that they're not professional. It's just not a great idea to show up with a 7 watt Fender Princeton to a rehearsal with guys that are playing 100 watt Mesa Boogies. Trust me, i've walked into rehearsals with bands with my 7 watt amp, I just wasn't heard, and I felt bad, because I just looked unprofessional. Not every band has a PA, either, so it's just not possible to mic lesser powered amps.

But then, there's also quiet players that have no idea of style or substance, too. I've seen people that were technically great, but they had no idea of true tone, they had no "spark", no style, no attitude to their playing, it was all straight out of Guitar World or something. Being painfully bland is no excuse for playing loudly--or quietly, either. Great players don't use volume to mask their inability, just as quieter players shouldn't automatically be discerned in a mix, if they don't have any style or originality. That's something that you overlooked--that a horribly mediocre guitarist should be heard because he's playing cleanly, as opposed to the louder guitarist that has style, tone, and volume. Volume itself isn't a means to an end: truly great players make poor equipment sound great, and unoriginal or poor players can make great equipment sound like crap---regardless of any concept of volume. To me, that's just common knowledge. Gimme the guy who has his chops down, with tone, style and volume--because anyone worth being heard should be heard. I'm not gonna tell Hendrix to "turn down".
Joined: 7/2/2005
Msg: 1598
The guitar player's thread
Posted: 5/18/2006 6:56:29 PM
i notice some folks turn their bottom cabs towards the wall
Joined: 8/25/2004
Msg: 1599
The guitar player's thread
Posted: 5/18/2006 10:55:13 PM
stevie ray was very loud but dynamic

Amped up

I tried the Ibanez lots of lights!!!!
I don't know where it prices out at but I thought it was ok
a little bit conjested though, like a rectifier

here are my suggestions for that style of amp(I have played all of these)

mesa boogie stiletto
peavey -
penta(read up on this one ----very interesting)
xxx ( kinda sounds like the thermin)

KRANK amps ( i hate the name my's well name it zoink)
they sound awesome

koch amps

go get a rocktron Piranha tube pre amp from ebay

randall --modular pre amp series
Joined: 1/22/2006
Msg: 1600
The guitar player's thread
Posted: 5/19/2006 6:17:07 PM
guitarman or late what do you make of these two items slide guitar with tube amp from early 40s all original with original electrical chords and this f-body with old humbuckers= neck is broken and has ivory inlays..check my pics i will post em
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