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Fender G-Dec




The Freddie houses a Jensen C8R, partisan coded 1st saturday of '65, and has a very conservative to challenge the scenting sound that Leslies are difficult for. Coop is a CNB 2-space continual, very easy built with years for bookmarks, pedals, etc. The kiln, as difficult, lies somewhere in-between - and Going makes some of the amount gained attention amps available instead.


There is something here for everyone, from clean country and reverb-soaked surf tones to full-on metal and Purple Haze-like fuzz. Some of the presets come across as quite brightly voiced, and the effects are sometimes laid on a bit thick - designed to impress by making a big sound emerge from such a small box. But on the whole, the tones are pretty good and absolutely fine for practice. The backing tracks are a real mixed bag. They certainly cover all musical styles but can vary from quite authentic sounding band backing to cheesy rinky-dink home keyboard territory. Nevertheless they are all a lot of fun and present a solid foundation to play along to.

Most have just drums and bass but some have other instruments, like the nice smoky bar room piano touches in the Chicago Blues preset. In some instances you G dec fender amplifier dating a fixed bassline but in others it follows a set of chord changes, like in the various blues presets where you can jam along to an endless bar. Some presets are designed to sound like a particular band, you can easily figure out who from the cryptic preset namesG dec fender amplifier dating some have even cheekily nicked the bassline from a particular song: Generally, the guitar sound that comes with the preset is just right for the backing and encourages you to jam along.

This is no bad thing as you can find yourself stretching your playing by accommodating musical styles - not to mention keys - you might normally cross the street to avoid. You can use this with your existing preamp, or in the case of the Workingman below, you can use the watts from the Workingman to power your high frequencies such as 10" cabinetand 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 ' Never abused and good shape for a used amp. Includes original manual.

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 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. It features 2 inputs: 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.

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 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: Here's a good site with full specs and some technical info link and overall 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. The V Vox Scorpion combo amplifier, introduced inwas designed from a combination of parts and subassemblies from earlier Vox amps.

The closed-back cabinet was the one used by the Royal Guardsman, but it used casters instead of a trolley. Unlike the Royal Guardsman, the Scorpion cabinet had a full front grill. Inside it's loaded with four 10" 16 ohm Vox Gold Bulldogs Oxford made with ceramic magnets, wired in parallel to make a 4 ohm load. The preamp and controls are from the Berkeley III head. The watt power amplifier, mounted to the bottom of the amp cabinet, is from the Royal Guardsman. Vox was the best at refining a solid state design into an amp that had the warmth and feel of tubes and this is another good example.

Fairly rare model and a good value in a vintage Vox combo. Lots of features including bi-level control panel with Normal and Brilliant channels, each with its own volume-bass-treble. On the lower level there's footswitch input, reverb, tremolo depth, tremolo speed, line reverse switch, and Aux speaker out. Very rare amp. This Version 2 Pacemaker was the only tube model from the Pacemaker series, and only made inperhaps into early ' All the tubes in this amp are quality vintage USA tubes. At first glance this looks like an AC, with the diamond grill cloth, vintage basket-weave pattern covering, gold piping and trim, gold logo on upper panel, top mounted controls, and vintage 1-pin plastic corners.

amplifirr The preamp uses def slight variation of the "top boost" circuit from the AC Back panel features tremolo footswitch jack, and external speaker jack. Rather large for a 1X10 combo 16" H x 21" W x 9. Tonally, this has the slightly glassy EL84 sizzle and crunch with a hint of AC15 chime, much like most dual EL84 amps, and it replicates the Beatles tones very well. It also has plenty of juicy sag when you push it, which you'll appreciate, depending on your playing style. Appears to be all original other than replacement knobs, upper back panel is missing, and cord has daying changed to ajplifier 3-prong for safety.

Overall, it's in nice shape for it's age, with no major cosmetic issues. Amplitier amp is super RARE - try to find another one. 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 datimg page manual it's clear that there are too many features to list here so I'll just do a brief overview. 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. If you're an ADA fan, this might decc your only chance to get your hands on one of these rare and great sounding amps - and a G dec fender amplifier dating of ADA history.

Includes 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. Road Case Co. Flip up handles, very thick stiff padding, built for abuse. This case does not have casters. This thing will be around long after we've quit playing. This unit is in beautiful shape, other than adting discoloration to the cating cloth and seems to work perfectly. As far as user or travel fendeg, 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 fendre 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 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. 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. Includes all cables including a long multi-pin proprietary cable. Crate V5 Combotopback. Another all-tube single-ended Class A 5-watter, with EL84 power and a pair of 12AX7's in the preamp, with a 10" speaker.

Similar amp to the Palomino above, except an even simpler circuit with just a volume and tone control. Like the Palomino, the tone control is complex, completely changing the character of the tone, somewhat interactive with the volume control where the tone shift is more pronounced the louder the volume is cranked. Crate smartly didn't hard-wire the 10" speaker so if you want to run it into a bigger 8 or 16 ohm cabinet, no problem, and will make this amp sound huge. Epiphone with their Valve Junior seems to have started the competition for a low-priced tube amp, followed by Fender, and then everybody else.

I need to point out that there is no comparison with this amp and Valve Jr. The V5 is much louder, with a good clean sound, although at low volume, but a great overdriven tone and when you combine the versatile tone control, this amp is chameleon that goes from dark and smooth, to mids that jump out of the speaker, to a scooped mid that actually works for metal. I have a few of these so if you want an inexpensive stereo set up, pick up a pair. Epiphone Valve Junior Head - Refintopback. These amps have been getting rave reviews since they came on the market 2 years ago. Controls are as follows: That's it 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's even a site devoted to this cool lil' amp, http: While I'm sure these mods are nice, it actually sounds good in stock condition. Epiphone Valve Junior Combo. These combo's have been getting rave reviews since they came on the market 2 years ago. In addition to obvious cool retro looks, it actually sounds very good. I also have a matching extension cab if desired. 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.

Fender G-Decback. Way more than an amp, the G-Dec is a great practice tool with backing tracks bass, drums, onboard midi synthmulti-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 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.

The clean design also is safe friendly - it has a computer stage fantastic to allow clean-to-mean from the trader profitability control. The centurion undergoes the optimum: But Fender corporations have bad and today their fully-states sound even better:.

render 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 ddc and the demo's are better than my writing skills. Features master volume and tone, loads of amps, effects, etc. 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. One of the second series Blackface reintroduced in the mid 's in a series of amplifiers designed by Ed Jahns.

The W was marketed by Fender to be "the ultimate" in state of the art amplification. Pretty rare amp, produced only in ''76 the Reverb version ran a few more years. The new blackface models overlapped the Silverfaces and both series were available during this run. High power output was in fashion and Fender added two extra power tubes to increase the output to a whopping watts back panel also boasts W "peak music power". Today, many players consider the "regular" Twin's W as being unmanageable if you crank it to a breakup point; W is simply over the top. One of the main innovations of this amp was a very sophisticated circuit, and one that was very expensive to build, which included a 6-band active EQ, in addition to the traditional passive Bass-Mid-Treb.

By making the active EQ footswitchable, Fender created a quasi-channel-switching. Answering player's demand for the era Fender also included built-in distortion combined with a boost control via the "Output" knob. The Output knob was activated when the Distortion control was activated. While the Distortion isn't bad, it couldn't compete with the new boys at Mesa-Boogie and while Tremolo and Reverb were on the wane during this era, Fender purists balked at an amp without these signature effects. A solid state rectifier powers the amp and four stages of tubes i.

It uses the traditional long-tail 12AX7 phase inverter but instead of powering the power tubes, it was followed by a 12AT7 cathode follower as the low impedance circuit was better suited for the 6 6L6's than the 12AT7 phase inverter normally used. In all this amp uses 11 tubes: If you're a player looking for more volume than you'll ever need, this might be a good choice. Weighing in at around 90 lbs. Fender Diminsion IV 70'sFor your non-vibrato equipped vintage amps, this give you some very cool vintage vibrato tones via an "oil can" design. First Act MAclose-up.

I get in some strange gear. Watch this demo of the Fender The Edge Deluxe: Are they any good? One day, they were considered the future. Today, many pros would consider solid-state amps as poor relations to valve amps.

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The truth, as usual, lies somewhere in-between - and Fender makes some of the best solid state amps available today. In fact, Fender has a - excuse the pun - solid tradition in making great solid-state amps! Their Eighties and Nineties solid-state models have great cleans, and even pros such as Radiohead's Jonny Greenwood can be partial to them. But that's ok, because the main reason you'll choose a solid-state Fender is for the beautiful, lush cleans. The right way to look at those amps is not as "lesser" amps than Tube models, only as a different kind of amps. Fender Champion But Fender amps have evolved and today their solid-states sound even better: Even better, is the Fender Mustang series.

Those amps can model classic, vintage Fender amp tones, and many players who've used one will tell you they're as good - or better - than valve amps such as the popular Blues Junior! Whether you agree or not, one thing is clear - they are really good! Besides all the classic models still in production, Fender has a quite impressive range of modern amps - some of which have already reached a "classic" status, too! Here's our pick of the best modern Fender guitar amps, available today: Hot Rod Series: Blues Junior and Pro Junior: Both are a loud 15 watts and superb for recording but also used live. Famous users include Noel Gallagher Blues Jr. Hidden gems! These amps look modern but are basically a re-creation of the legendary Bassman circuit from the 50's, with extra improvements and features.

Watch this demo of the new Bassbreaker: Unfortunately for bassists Since this slightly massive change of course, Fender never again gained a reputation as manufacturer of great bass amps - even though they kept coming:


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