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Used Guitar and Bass Amplifiers

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Used Rivera Venus 3
Used Rivera Venus 3

Used Rivera Venus 3


Serial Number - rn418s001

Condition -Very clean

Venus 3 is a compact and lightweight master of tone. Easy to use, with the simplicity of a single channel with footswitchable & adjustable gain boost, 3 band equalization controls and the trademark Rivera Notch switch to choose between vintage tweed, and vintage black face tones.

With two12AX7 tubes, great headroom for clean playing is easily dialed- in, and with the push-pull gain boost feature the available gain and distortion will allow sustain for days. Every nuance of your note will enveloped in a rich harmonic sweetness that the 15 Watt 2-6V6GT Class A power amp section delivers our Celestion G12H-30 Venus 1×12 extension or your favorite cabinet. Although the Venus™3 is compact, it is huge on sound and you will be amazed at how much clean bottom end warmth can be found, regardless of speaker size. Add spaciousness and long lush decay to your instrument with the built-in Accutronics 3 spring reverb. A Presence control adds the final touch of high end brilliance. Power and Standby switches as well as the pilot light are conveniently located on the front panel.

back features

The Rivera Vintage-Modern switch on the rear panel allows the power to be cut down to 7 watts from 15watts while enhancing the even order harmonics, making it indispensable for low volume recording and practice. Two speaker jacks allow connection to the internal as well as external speakers. A Line Out jack gives you the option of slaving another amp or recording directly from power amp signal that is at line level. Effects loop patching is rapid with Preamp Out and Power Amp Input jacks provided as well.

Please email or call us on 01425 478135 for further details.



Price:995.00
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Used Rivera Clubster 45
Used Rivera Clubster 45

Used Rivera Clubster 45


Serial Number - r8606n0090 6cl45

Condition - very clean

Built small and smart, the Rivera Clubster belts out a rich, all-tube tone that’s anything but compact. With 45-watts and a 12 inch speaker, the Clubster offers two independent, switchable channels, genuine Accutronics® 3-spring reverb, a specially voiced speaker, and high-end features such as an effects loop and line output.

A slant-back front on the rock-solid cabinet makes it easy for guitarists to hear the Clubster without placing it on a chair or riser, simplifying setup and utilizing the natural bass-enhancing effect that comes from having the amp sitting directly on the floor. The Clubster uses an open-back design in conjunction with its special-design Rivera Vintage Gold speaker to enhance its impressive range of classic, beefy tones.

Ruggedly constructed using an oversized transformer, a welded steel chassis, nickel-plated steel corners, and military-grade components, the Clubster easily withstands the rigors of road and studio. Construction details include a 5/8?-thick, lumbercore plywood enclosure covered with roadworthy black Tolex, and rubber feet and a steel-reinforced vinyl strap handle for extra convenience and totability.


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Price:500.00
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Used  Mesa Boogie Rectoverb 25
Used  Mesa Boogie Rectoverb 25

Used Mesa Boogie Rectoverb 25


With the worldwide success of the Mini Rectifier® Twenty-Five Head, we’re frequently asked to pack all that lightweight expressiveness into a Combo format so those needing a self-contained package can enjoy this mighty little-amp too. Well, your wish is our command - and we didn’t stop there…
Specification

Introducing the Recto®-Verb™ Twenty-Five Head and 1x12 Combo, the Reverb-endowed, fraternal-twins of our little Mini Rectifier lunchbox that’s been taking names all over the globe. These even mightier packages are slightly larger – just big enough to accommodate a 1x12 speaker (in the case of the combo) and long-spring Reverb tank – and boast all the same great performance that the Mini Rec™ is famous for and more. Plus, their classic vinyl-covered birch cabinets provide a wide array of custom finish options to fully personalize them.

The lush tube-driven Reverb widens the sound and sweetens the attack just a bit, increasing its versatility and appeal for players who favor lower to medium gain in their style. But don’t fret... for those into heavier tones the trademark Recto® sounds are all here and completely authentic.

So whether you’re rockin’ out or putting the immense versatility of this new Recto’s four Modes to task on a variety of styles, you’ll find inspiration and a huge fun-factor in these exciting, super-portable 1x12 Combo and Head packages.

Custom Designed AND Handcrafted Exclusively in Petaluma, California
All Tube Amplifier: 2xEL-84 Power Tubes & 6x12AX7 Preamp Tubes
Fixed Bias for consistent, maintenance free performance
Patented Multi-Watt™, Channel Assignable Power Amp (Patent 7,602,927) featuring Mesa’s proprietary Dyna-Watt™ technology providing two power levels with different wiring configurations via independent 10/25 Watt Power Switches
Choose from:
2 power tubes operating in Class A/B Triode for lush harmonics and a sweet liquid feel at lower volumes, producing 10 Watts or;
2 tubes operating in Mesa’s exclusive Dyna-Watt™ Class A/B Pentode for maximum power, punch and clarity, producing 25 Watts

2 Fully Independent Channels with 4 Style Modes
Channel 1 features: Clean or Pushed Modes with Multi-Watt™ Power Switch (10/25 Watts) and Independent Gain, Treble, Middle, Bass, Presence, Reverb (rear panel) & Master Controls
Channel 2 features: Legendary Vintage or Modern High Gain Modes with Multi-Watt™ Power Switch (10/25 Watts) and Independent Gain, Treble, Middle, Bass, Presence, Reverb (rear panel) & Master Controls
All-Tube, Long-Spring Reverb with Independent Channel Control (rear panel)
All-Tube, Fully Buffered FX Loop
Aluminum Chassis
External Switching Jack for Reverb
1 Button Footswitch (Channel 1/2)



Price:1,250.00
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Used mid 70s Music Man 112 RP  Comming Classic in our opinion. With on board phaser!!!!
Used mid 70s Music Man 112 RP  Comming Classic in our opinion. With on board phaser!!!!

Used mid 70s Music Man 112 RP Comming Classic in our opinion. With on board phaser!!!!

Year of Manufacture -mid 70s

Serial Number - dm07500
Case -

Condition - great, as used by Clapton and Albert Lee

The hybrid design – Get that Fender sound with a solid-state design

Fender amps were basically built for a clean sound. The distortion that is created when a tube amp is overdriven was something invented by creative musicians or by chance when musicians tried to get as much volume out of their amps as possible. Fender didn`t focus on the distorted sound, in the contrary, they even tried to avoid it. In the mid-seventies , the famous Fender Twin Reverb even made use of some tricks often found in HIFI amps to reduce as much distortion as possible (the so-called ultra-linear circuit).

It is surely fair to say that Music Man followed the footsteps of earlier Fender amps, so their amps were also aimed at the best possible clean sound. So it is not a big surprise that they used a solid-state design (ICs and transistors) for the pre-amp section. Solid -state requires lower voltage and less energy and thus causes less heat. For this reason it was considered as more reliable than tubes.

The whole pre-amp section is mounted on a printed circuit board, while Fender amps still used point-to-point wiring for their amps at this time.
music-man-112

Tube power for warmth

The output section of the first Music Man amps used 6CA7 power tubes. A tube output section adds a certain warmth and subtle distortion to the clean sound. This is the opposite approach to the more modern approach of using a tube pre-amp with a heavy-duty solid-state power amp, a setup more suited for that singing, high-gain distortion.

The 6CA7 tube is pin-compatible with the EL34, the tube that was made famous by Marshall amps, while Fender amps mostly used 6L6 tubes (or 6V6 for smaller amps). The 6CA7 can simply be replaced with EL34. As today hardly any tube manufacturer still produces the 6CA7, most Music Man amps meanwhile run on EL34s.

However, the circuit was rather different from Marshall. The power tubes in a Music Man amp operate at up to 700 volts at the plate. Fender or other tube amps – including Marshalls – normally have about 450 – 550 volts here.

About 1980 Music Man changed from 6CA7 to 6L6 tubes. Apparently this had not to do with tonal preference but with supply facilities at that time. Generally the amps kept their typical Music Man sound, no matter whether they had 6CA7/EL34 or 6L6.

The rectifier was solid-state (diodes) and not a tube rectifier like in many early Fender amps. A tube rectifier causes a drop in voltage during the moment the amp is driven to maximum output. Thus, the sound becomes softer, similar to a compressor. Solid-state rectifiers sounds punchier and slightly harder.

Originally there was one pre-amp tube – a 12AX7 – used for the phase inverter stage of the amp. This is the stage between pre-amp and power amp. This way a certain amount of tube distortion was added. In about 1977 this tube was replaced with a solid-state version. The reason was that a certain malfunction of this tube could cause severe damage to the complete output section, including a damage to the power tubes and the expensive output transformer. The amps with the new solid-state phase inverter still sound very similar to the earlier models, but are nevertheless by some considered as sounding not as warm as before.

All Music Man amps can be switched to low power. This is not realized by switching off some of the power tubes like some other manuyfacturers do, but with a reduction of the voltages at which the power tubes run.

Music Man amps look very much like a typical Fender combo amp from the 60ies or 70ies. Like those black-face Fenders, they have a black control plate, a silver grill cloth to protect the speakers, and are covered with black tolex. The handle and the casters on some models are also very similar to Fender. Unlike Fenders, the Music Man amps never had those tilt-back legs that allow to tilt back the amp to adjust the speaker on the player`s ears instead on his knees.

All early Music Man amp models were 2-channel amps. The reverb and the tremolo effect affects the second channel only.

The reverb was based on a Acutronics reverb spring, similar to the one in Fender amps. However, the reverb sound is different – thinner and brighter – than the extremely warm Fender reverb. This is rather due to the circuit design than to the spring itself. The tremolo effect is very effective, but also sounds different than on Fender amps.

The Music Man logos came in two versions: the original one was black on silver, while after 1980 it was silver on black. This way you can tell the older amps from later ones at first glance.

Most early Music Man amps had speaker made by Eminence, typically models with square alnico magnets. About 1980 they changed to round ceramic magnets, still produced by Eminence. However, some models with 10? speakers always had ceramic magnets.

Other important players of that time who used Music Man were Eric Clapton, Johnny Winter or Albert Lee.






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Price:595.00
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Used Mesa Boogie Mk1 1990 in hardwood cabinet... Very Clean
Used Mesa Boogie Mk1 1990 in hardwood cabinet... Very Clean

Used Mesa Boogie Mk1 1990 in hardwood cabinet... Very Clean

Mesa Boogie Mk1 1990 in hardwood cabinet... Very Clean

Randall Smith became fascinated with electronics at an early age. Then as a teenager, he was captivated by cars and would repair them for his friends. By 1966 he was playing drums in a rock ’n’ roll band, putting his technical skills to use by repairing band members’ amps. This led to his opening Prune Music in Berkeley, California, with his bandmate David Kessner.

While Smith did repairs in the back, Kessner manned the counter. Eventually many popular West Coast bands, including the Grateful Dead and Jefferson Airplane, had their amps serviced at Prune Music.
While most companies gave the Stones amps for free, Smith charged the band for his handmade Boogies.

Around 1969 the roadies for Country Joe & The Fish decided to play a prank on lead guitarist Barry “The Fish” Melton. They had Smith modify Melton’s 12-watt Fender Princeton to “do something really wild.” Smith installed the classic Fender Bassman circuit and squeezed in a 12" JBL speaker, and the result was a 60-watt amp shoehorned into the small Princeton box. After trying Smith’s creation, Carlos Santana declared, “This little amp really boogies.” Thus the amp’s name became “Boogie.”

By the early ’70s, Smith had started his own company, Mesa Engineering. Using more gain stages and a master volume control, he came up with a “cascading preamp” concept that could generate sustaining overdrive at any volume level. Santana received one of these amps (eventually known as a Mark I) and used it both onstage and on the epic Abraxas album.

Hearing Santana’s sound, other top guitarists wanted Boogies too. Because Smith personally assembled and inspected every amp, the wait time in the late ’70s could be up to seven months. Keith Richards contacted Smith in 1977 and eventually purchased several Boogies over the years. (While most companies gave the Stones amps for free, Smith charged the band for his handmade Boogies due to the small size of his company at the time.) Boogies can be first heard with the Stones on side three of Love You Live taped at Toronto’s storied El Mocambo Tavern. Boogies remained the Stones’ go-to amps through 1993.


Price:1,295.00
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Used Mesa Boogie Transatlantic
Used Mesa Boogie TransatlanticUsed Mesa Boogie Transatlantic

Used Mesa Boogie Transatlantic

Truly versatile Boogie, it really nails fender,marshall and vox tones if you get your head around the switching, really suprising how good this is.

Welcome to a New World of Expression. This adventurous amplifier may well redefine the Brit amp genre by including preamp and power options that seem near impossible for an amplifier with such a humble footprint and manageable poundage. Make no mistake, this is not a low line offering, but rather a power experiment in the world of simplicity. In every way, the TA-30 stands proud alongside our larger multi channel offerings with the same components, build quality, versatility and performance…an equal in every way except weight and mass.

This TransAtlantic follows the architecture of its lower powered sibling, the TA-15, that's been blowing the minds of critics and players alike and adds a more robust power section, gorgeous tube Reverb and a Channel Assignable/Bypassable Effects Loop. The extra horsepower and feature set on the TA-30 brings the TransAtlantic concept - and more importantly Tone - out of the studio and into the world of pro gigging.
TWO INDEPENDENT CHANNELS NAVIGATE THE ATLANTIC WITH STYLISTIC FLAIR.
TransAtlantic TA-30 Two independent foot switchable channelsThe Transatlantic TA-30 is available in head, rackmount head, 1x12 or 2x12 combo formats

Two footswitchable Channels navigate the Atlantic with stylistic flair and give you a passport to the best British and American preamp sounds in two straightforward groups of five controls. The Five Preamp Modes (2 in Ch.1 and 3 in Ch. 2) are selected with a simple mini toggle located in the top position of stacked toggles in each Channel.

Channel 1 offers two Modes that pay tribute to the Vox heritage; a lower gain NORMAL Mode that delivers shimmering higher headroom clean sounds and TOP BOOST, our take on one of the most iconic Brit sounds ever, that excels at clipped rhythm and lead sounds.

Channel 2 packs three selectable Modes and this Channel alone offers more stylistically divergent landscapes than many whole amps. TWEED follows the Southern Cal vintage line to deliver gorgeous clean chording sounds that have more low end and breathy air than Channel 1 NORMAL - and yet clips smooth and furry when pushed. From there HI 1 jumps back to the U.K for a Brit style higher-gain Mode that, when set lower, romps on vintage crunch rhythm sounds with stripped urgency. HI 1 also delivers searing high gain solo sounds that retain a crisp, definitive attack as the GAIN control is cranked. Finally, another crossing and you're back in Petaluma, CA for the smooth warmth of the high gain Boogie® lead voice found in HI 2. This Mode adds low-end girth and sweetens the attack frequencies to produce a fatter, rounder tone that is great for single note work.
EXTREME ROCK AND METAL SOUNDS AWAIT YOU WITH ONE WELL AIMED PULL OF THE GAIN CONTROL
TransAtlantic TA-30 1x12 Combo in British Cabernet Vinyl with a Tan Jute GrilleTransAtlantic TA-30 1x12 Combo in British Cabernet Vinyl with a Tan Jute Grille

The TA-30 incorporates a new GAIN BOOST feature in Channel 2 that takes it into new and uncharted waters, enabling it to scuttle even the most extreme Rock and Metal sounds with one well-aimed pull on the GAIN pot trigger. This shot of red-hot gain empowers all three Modes in Channel 2 and delivers a take-no-prisoners assault on the senses…especially in HI 1 AND 2.
DYNA-WATT™ SWITCHABLE POWER ENHANCES A BLEND OF VINTAGE TONES

Along with an array of iconic preamps the TA-30 offers three amazing power choices in each Channel, each of which allow you to perfectly tune the power to enhance the preamp Mode chosen for a given footswitchable sound. The result of all this flexibility is a fully capable live-performance amp with an uncanny sense of direction that can also be switched down to 15 watts for lower volume power- clip applications or late-night sessions.

The Transatlantic TA-30 features Mesa’s Exclusive Duo-Class™ and Dyna-Watt™ (Patent 4,713,624) technology providing three power and two operating class options that are channel assignable via independent 15/30/40 Watt Power Switches. Choose from 2 power tubes operating in pure Class A Push-Pull, producing 15 Watts, or 4 tubes operating in pure Class A Push-Pull, producing 30 Watts ...or 4 tubes operating in Mesa's Exclusive Dyna-Watt™ Power that maximizes the power and punch of time-honored Class A/B power, producing 40 Watts. The 15W position on the Multi-Watt™ mini toggle in each Channel captures the old world magic of 15 watts running in Class A which - along with being ultimately clippable - emphasizes a truly precious blend of warmth and lined-up, chiming harmonics at low playing volumes. The 30 watt setting brings aboard the Push-Pull wiring scheme while remaining in Class A and pumps up the wattage for the perfect blend of iconic vintage response, manageable power and sweet, smooth clip.

From there things take a leap forward in history and headroom to our Dyna-Watt™ power in the upper 40W position. This incredibly dynamic power scheme switches the wiring style to Class AB and allows the headroom to increase dramatically by unleashing a burst of power at the instant of attack. Voltage is stored-up and released in a time-specific burst from the power supply continuously as you play, creating punch, headroom and tight-tracking authority well beyond your expectations.
THE HARD-BYPASSABLE SERIES EFFECTS LOOP

The Transatlantic’s Effects Loop allows you to interface outboard processing without degrading your signal for effects such as chorus, delay, flange or anything that doesn't sound right on the "front end" (between the guitar and amp). The TA-30's Loop works well with both Pedal and Rackmount processors and provides ample headroom and drive to accommodate both with Toneful finesse. All this control over both the preamp architecture and power section wiring styles combined with the simplicity of the Gain and Tone Controls create a package that allows for instant gratification and long-term exploration.

How you choose to enjoy the TransAtlantic is your call, but we feel confident that no matter what type of stylistic arena you find yourself in, the tools are here for you to craft your own signature version of these classic sounds.


Condition - great



Please email or call us on 01425 478135 for further details.


Price:1,095.00
(Including VAT at 20%)




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1970 Marshall jmp 50
1970 Marshall jmp 50 1970 Marshall jmp 50 1970 Marshall jmp 50

1970 Marshall jmp 50

Year of Manufacture -1970

Serial Number -

Condition - great,changed power transformer to original spec

t all started when a drum shop owner couldn’t get rid of three pesky guitarists. If it weren’t for those meddling kids and their gosh-darned guitars, Jim Marshall might have made a name for himself selling drums. The pesky guitarists in question—Ritchie Blackmore, Big Jim Sullivan [the subject of PG’s February 2013 Forgotten Heroes feature], and Pete Townshend—were dissatisfied with their rigs. They yearned for more volume, more distortion, and the right sound. Marshall’s success in addressing those needs sealed the Lord of Loud’s legacy and forever changed the world of guitars and music.

In the early 1960s, after deciding to build handwired amps that rivaled Fender’s current stock, Marshall and his two closest cohorts—Ken Bran, a shop repairman, and Dudley Craven, an 18-year-old apprentice—began building Fender amp clones that used 5881 power tubes. Other small changes included Celestion 15-watt speakers compared to Fender’s preference for Jensen 15-watt models. After working with higher-gain preamp tubes—like the ECC83—and learning how different filters and capacitors had a transformative impact on the tone, Marshall heard a sound he knew guitarists would crave. Thus was born the iconic JTM45—which got its initials from Marshall’s son Jim Terry Marshall. A few years later, Marshall switched to KT66 tubes to create the even louder 100-watt Super Lead 1959. In 1968, the company dialed back the decibels with the unveiling of a 50-watt, small-box head that would be called the JMP—an acronym for “Jim Marshall Products.

This example dates to 1970 and is an early exponent of the change to the bigger box and sounds superb.


Price:2,500.00
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Used Doctor Z Maz 38 Head and 2 x 12 Cab
Used Doctor Z Maz 38 Head and 2 x 12 Cab

Used Doctor Z Maz 38 Head and 2 x 12 Cab



Serial Number - v20561 12.11

Condition - Great

The Maz 38 is one of Dr Z’s most enduring designs. It is the perfect combination of sound and power. 4 EL84s with no negative feedback give you a wide pallet to work from. The 38 has enough clean headroom to make for a great pedal platform and gives up the goods for a great drive sound at reasonable levels. The 38 can satisfy many different styles and playing approaches. You are able to dial in mid 60s blackface sounds as well as UK flavored chime. The Dr. Z MAZ-38 is a truly versatile amp for the working or studio musician. Whether your forte’ is Blues, Country, Roots, or Rock, The MAZ 38 Senior will fit the bill.

The front panel features Volume, Treble, Middle, Bass, Reverb, Cut, and Master. The back panel features a 4,8, and 16 ohm speaker out. An effects loop and our EQ bypass function is also standard. The footswitchable EQ bypass gives a great lead boost which effectively makes the 38 a 2 channel amp. The 38 is powered by a quartet of cathode biased EL84s and a 5AR4 rectifier

Specifications

Power Output 38 Watts

Output Tubes 4 – EL84

Preamp Tubes 4 – 12AX7, 1 – 12AT7

Rectifier 1 – 5AR4

Controls Volume, Treble, Mid, Bass, Cut, Master Volume, Reverb

Other 4, 8, 16 Ohm

Effects loop

EQ Bypass (New variable boost footswitch included)

Configurations Head, 1×12 Studio Combo, 1×12 Ultra Lite Combo, 2×10 Ultra Lite Combo, 2×12 Combo

Colors Black

Dimensions & Weight

Head: 19” W, 9 3/4” H, 9 1/2” D; 35 lbs.

2×12 Combo: 27 1/2? W, 22 1/8? H, 10? D; 68 lbs
.
Owners Manual Download

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Price:1,595.00
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Used 1965 Fender Bassman blackface Head  AWESOME
Used 1965 Fender Bassman blackface Head  AWESOME

Used 1965 Fender Bassman blackface Head AWESOME

Year of Manufacture -1966

Serial Number - A22913

Condition - Great

This is what all the fuss with Fender Vintage Amps is about. Big fat cleans and when you crank it, look out Neil Young. Pure Vintage tone at les than a printed circuit board deluxe reissue


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Price:1,150.00
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Used  fender Bandmaster head Recently serviced in solid oak box . very groovy
Used  fender Bandmaster head Recently serviced in solid oak box . very groovy

Used fender Bandmaster head Recently serviced in solid oak box . very groovy

Used 1964 Fender Blackface Bandmaster Head . Great affordable vintage tone, recently serviced and ready to gig or record.

Bandmaster Specs

Model/Circuit Number: AB763
Years of Production: 1963 – 1967
Era: Blackface
Configuration: Piggyback
Controls: Black forward facing w/ white labels
Knobs: Black skirted w/ chrome center, numbered 1 – 10
Faceplate

Front: Normal: In, In, Bright Sw, Vol, Treb, Bass – Vibrato: In, In, Bright Sw, Vol, Treb, Bass, Speed, Intensity – Pilot Lamp
Rear: AC Outlet, Ground Sw, Fuse (2A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Vibrato Jack

Cabinet
Dimensions:

Head Cabinet: 8? x 24? x 9?
Speaker Cabinet: 21? x 32? x 11-1/2? ~ 1963-1967
Speaker Cabinet: 29-1/2? x 40? x 11-1/2? ~ 1967
Hardware: Large Chassis Straps 5 5/8?, Side Bar Clips, 16? Tilt-Back Legs, Thumb screws, Thumb screw receptacles
Handle: Black strap handle
Feet: Chrome Glides
Corners: Chrome Corners with Lip

Tolex/Tweed:

Smooth Blonde Tolex ~ 1963
Fender Black Tolex ~ 1964-1967

Grill Cloth:

Beige Brown w/ Gold Sparkle ~ 1963
Black / White / Silver ~ 1964-1967

Logo:

Grill mounted, flat Black ~ 1963
Raised, chrome & black, script with tail ~ 1964-1967

Weight: 49.5 lbs.
Speakers:

Size: 2 x 12?
Impedance: 4 ohms
Model: Jensen C12N or Oxford 12T6(For more info, check out the Jensen Replacement Speakers)

Effects: Tremolo
Watts: 40 watts
Tubes:

Pre amp: 2 x 7025 and 12AT7
Power: 2 x 6L6GC
Bias: Fixed bias adjustment pot
Rectifier: Solid State

Comments:
2×12 Cabinet dimensions changed to 29-1/2? x 40? x 11-1/2? with the speakers were placed one above the other.


Price:750.00
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Used But Mint Marshall 25/50 Jubilee
Used But Mint Marshall 25/50 Jubilee

Used But Mint Marshall 25/50 Jubilee

Used Marshall Jubilee 25/50c Mint marshall in hard to find grey colourway.

The Marshall Silver Jubilee is one of the most popular amps they have ever made. Now not only can you get your hands on the same legendary tone but now in a much smaller 20w form. Made in the UK these amplifiers are absolutely stunning and certainly come in as one of the best sounding 1x12" combos available today.

Long History

Originally produced in 1987 for Marshall's 25th Anniversary and 50 years of Jim Marshall being in the music business. Sadly not too many were produced due to the short run of just a single year. Taking inspiration (and actually a lot more) from the original circuitry this 20w combo version of the blues and rock legend is here with its all silver tolex and faceplate.

20w Of Power

So while 20w may not sound like much...trust us it is very loud. You can easily take this a small to medium sized gig and be heard above the rest of the band with no real issue. It is still low enough wattage however that taking it home and using it for practice as well is not out of the question. Set up with a two EL34 power amp valves this is a 20w of Marshall rock beauty.

Silver Jubilee Preamp

Even with shrinking the classic 100w to the 20w size you still don't lose any functionality. It still features the same three mode preamp system, Clean/Rhythm, Rhythm Clip and Lead channels each cover their own styles from crystal clean with no gain to all out aggressive hard rock tones that can pull down walls.
Here's what Marshall say about the Mini Jubilee Combo

The JCM25/50 Silver Jubilee Series was produced in 1987 to celebrate 25 years of Marshall Amplification and 50 years of Jim Marshall being in the music business.

Inspired by this acclaimed series the 20 Watt Mini Jubilee combo and 'small box' head combine classic Silver Jubilee preamp tone, features and styling in a lower power, 'mini' design.

This contemporary 'mini' take on the Jubilee Series features: an ECC83 & EL34 valve-set, High/Low output switching, (20 Watt to 5 Watt), FX Loop and independent 4/8/16 Ohm speaker outputs. The 2525C combo is loaded with a single 12" Celestion G12M Greenback speaker.

In keeping with classic Jubilee tone, Mini Jubilee features preamp circuitry taken from the 2555X, released in 2015, made using the original diagrams and checked against the original 2555

Silver Jubilee head in the Marshall Museum.
The amp also features classic silver vinyl and chrome plated panelling to complete the Jubilee look.

The 2525 Mini Jubilee is expertly crafted and is designed, engineered and constructed to the highest possible standards at the Marshall factory in Bletchley, England.
Specifications

GENERAL

MODEL: 2525C MINI JUBILEE
RANGE: MINI JUBILEE
TECHNOLOGY: VALVE
CHANNELS: 2

ELECTRONICS

WATTAGE: 20W
INPUTS: 1
CONTROLS: INPUT GAIN (PULL RHYTHM CLIP), LEAD MASTER, OUTPUT MASTER, TREBLE, MIDDLE, BASS, PRESENCE, HIGH/LOW OUTPUT SWITCH

SPEAKERS

SPEAKER: CELESTION G12M-25

VALVES

PRE AMP VALVES: 3 x ECC83
POWER AMP VALVES: 2 x EL34

ACCESSORIES

CABLES: POWER/SPEAKER
FOOTSWITCH: PEDL-90003 INCLUDED

DIMENSIONS

WEIGHT (KG): 19
DIMENSIONS in mm(W x H x D): 490 x 475 x 280





Price:695.00
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Used AC30 CC1 in very good condition
Used AC30 CC1 in very good condition

Used AC30 CC1 in very good condition


Serial Number - 001743

Condition - great condition

From the Beatles to Howard. here's what Vox say.

VOX has taken the best AC30 designs and added a number of useful, very cool features to create the most tonally flexible and affordable AC30 to date!

History in the makingWhy has the AC30 been an icon for decades? It's the amplifier's unique, warm tone, its player friendly "feel" and its primeval circuit design. With its straightforward "what you see is what you get" control format, the AC30 was a hit with artists from the very beginning. Back then, VOX owned the '60s "British invasion" and to this day the AC30 is widely used by all kinds of guitarists performing in a huge range of musical styles.

With a number of modern enhancements including blendable channels, a true bypass FX loop, spring reverb and master volume, to name just a few, the new AC30 Custom Classic is an evolution of the original that is sure to become a classic in its own right.

An evolution in toneWhen we set out to create the AC30 Custom Classic, we started from our most highly acclaimed model to date, the AC30 Hand Wired. With twin inputs (high and Low) and a Master Volume circuit, these amps offer highly interactive Bass and Treble tone controls, as well as the VOX Tone Cut control (which varies the presence in the power amp section) for even greater tonal variety. We also included Classic Tremolo with variable Depth control and a spring reverb with Level and Tone controls as well as a Dwell switch.

Two blendable channels, a firstNot only does the AC30 Custom Classic include two channels, it also offers the ability to blend those channels together (a first for the AC30!). The Top Boost Channel serves up that classic AC30 tone, while our new expanded Normal Channel now offers two modes, Normal and Bright, which allow you to achieve the sounds of an assortment of vintage AC30s. Use the channels individually or blend them together for increased tonal flexibility to create a unique sound and feel that's all your own.

Control freaks rejoice!The AC30 Custom Classic is fully equipped with well thought out and easy to use controls. With a Custom/Normal EQ switch, Tone control and Dwell switch for the spring reverb, Master Volume, fully variable Tremolo on all channels and a true bypass Effects Loop, we've thought of everything! We've even included a switchable cathode resistor that lowers power output and increases tube life. Of course, the AC30 Custom Classic comes with our standard controls like Treble, Bass, Tone, Volume, Standby and more.

Multiple configurationsNot only is the AC30 Custom Classic the most flexible AC30 to date, it comes in our most expansive array of models ever to cover a variety of needs and player preferences.

AC30 CUSTOM CLASSIC SPECIFICATIONS

Front panel controls: Inputs x 2 (Top Boost & Normal);
Input Link Switch for blending channels;
Normal Volume;
Brilliance Switch;
Top Boost Volume; Treble;
EQ Standard/Custom Switch;
Bass; Reverb Controls (Tone, Mix, Dwell Switch);
Tremolo Speed & Depth;
Tone Cut;
Master Volume;
Standby Switch;
Power Switch




Please email or call us on 01425 478135 for further details.



Price:499.00
(Including VAT at 20%)




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