Let’s see those vintage amps

Guildedagain

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Still kicking myself for selling my own homemade head/cab combo, some old electric piano cab and a tiny EL84 head that sounded absolutely gorgeous together. The head was a Davis.

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secndshft

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The cosmetics (flat black with chrome plastic trim) suggest the amp was made in 1967.

Come to think of it, it was my buddy (who I bought it from) that said it was 65’. In the moment that seemed early to me, I simply neglected to check. I appreciate the correction.
 

secndshft

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Great gear aside, that is one beautifully composed photograph. Stellar work.
Thanks @MacGuild. That’s was a bit of lucky timing. No extra junk in our old office and the light hitting just right. At the time I was trying to sell the Gibson amp. I’ve since come to my senses. In fact, that and the ampeg will be the last two to go. I have been toying with selling the Bassman. I have far too many big amps to be an apartment dweller.
 

shihan

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I’m loving this thread! You guys have some fabulous gear; I’d love to hear it all.
My buddy asked if he could leave an amp at my house; I grudgingly said yes, (I’m kind of short on space and long on amps), but I’m sure glad I did.
Not so much a vintage amp, more like a rare(ish) one; Fender Vibro Verb. This is one of the ‘90’s reissue ones, not an original. I gotta admit, this might be the best sounding Fender amp I’ve ever heard. My LP sounds unreal through this thing. Now I know what people mean when they talk about a 3D sounding amp.2ABCCA08-E9F9-4EB4-92BA-4D7B38B4DCD4.jpeg
 

Canard

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Seabreeze A100

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5 Watt, Single Ended, Class A, Mono, Tube Amp – late 50s or early 60s?

An astounding blues/rock monster! Lead guitar heaven.

With its tubes, 12AX7 x 1, 6V6 x 1, and 6X4 x1, it has a similar tube complement to a Fender Champ, except for the 6X4 rectifier where a Champ has a 5Y3. The 5Y3 is a bit more robust than the 6X4, I think, and with a guitar input, which the Seabreeze amp was not designed for, the 6X4 gives a lot more sag.

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A guitar drives things a lot harder than the line out/mic level inputs the amp was designed for so there is a lot of sweet dirt.

It is also a sweet, clean hifi amp for listening to 78s, although I seldom use it for this purpose.

It is still all original, except for the combo on/off-switch tone-control combination pot which I replaced when the original failed. This was only ever an interim replacement while I looked for a better part. Decades later, it still needs to be replaced for cosmetic reasons as it does not match the original pots’ physical characteristics. The tubes are still going strong despite my abuse.

The amp says stereo, but this is only because it was designed for use with early stereo capable, but natively mono, tape recorders and phonographs that came with integrated mono tube amps. It was also used as a PA and with projectors.

There used to be a lovely Seebreeze cabinet for the amp with a sweet paper-coned 12” driver. There was also a green-bullet-type microphone for it, as well. The amp, the cab, and the mic sounded awesome with harmonica, which is why I no longer have the cab and mic. A harp-playing friend habitually borrowed the cab and mic to use with a 15 Watt tube head he owned. This was his small gig rig. His amp, my cab, and my mic were stolen from him. The rule of lending is that you don’t lend what you can’t afford to give – I understood this. My friend had asked me to sell him the mic and cab a number of times. I always refused. He never thought to ask if I would give them to him. I might have.

Other than the pot/switch replacement noted above, the only thing I have ever had to do to it is clean pots, tube pins, and tube sockets.

I should take it into a shop one day and have it recapped - the cap can restuffing is not something I want to do myself - and have it checked over for safety and have a three prong plug installed.

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The wiring is a minor rats' nest point to point tangle:

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Afterthought edit - meet the 6X4 Tube:

 
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Sal

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I’ve got a nice ’59 Fender Tweed Deluxe and an even nicer “55 Princeton. Also a Deluxe Reverb reissue and a Roland Jazz Chorus 90. But none of them photograph as well as this old Supro. It’s not mine but for some reason I want one. Are you even seeing the Supro?

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Westerly Wood

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When I was playing electric back in the later '90s I had a vintage Ampeg amp. It was tube.
It had the best vibrato. It just excelled at that. It had a foot switch for the vibrato, that was about it. To get distortion, I just turned it up.
I eventually morfed into a Fender Deluxe Reverb amp which was louder and stronger and had a distortion pedal and great vibrato as well. But that Ampeg had style, soul and this really incredible mean edge to it.

Finally landed on a Marshall 30 watt amp with distortion and shoot I forget what the other button on the pedal did. Solid State but it sounded fantastic with a Fender strat.

I don't believed this is the exact model Ampeg I had, but it looked a lot like it...
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jp

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Vintage Ampegs are awesome and way underappreciated. I used to have a '67 B-18X just like GGJaguars -- a glorious beast. Mine was totally complete except for one knob and an aftermarket plexi plate. I sadly sold it a few years ago since it wasn't getting used as much as it deserved.

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Here's what I've kept.

1976 Fender Silverface Deluxe Reverb, blackfaced mods with a Reverend Alltone speaker

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Early Korg-era UK Vox AC-15TBX. "TB" stands for Top Boost and the "X" means it has a Celestion Blue speaker

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1990s Fender Rivera-era Super Champ, with Eminence Rajun Cajun speaker. It's a perfect grab-and-go amp. Not the best dirty tones, but the cleans are classic Fender, and it takes pedals well. It packs 18 watts and sounds huge with a bigger cab.

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Jared macneill

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I’ve got a nice ’59 Fender Tweed Deluxe and an even nicer “55 Princeton. Also a Deluxe Reverb reissue and a Roland Jazz Chorus 90. But none of them photograph as well as this old Supro. It’s not mine but for some reason I want one. Are you even seeing the Supro?

View attachment 26131
Weird question where’d you find the dancer?? I here a lot of girls complaining about their size but yet to fail to release most belly dancers weren’t double zeros
 

secndshft

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You know you have a problem when you forget about an amp. I picked this up a couple of months ago. I don’t need it, but I have a 68’ tele and what better to pair with it than a 68’ pro reverb, arguably my favorite of all the Fender amps. A friend of a friend did the initial pickup. Then I picked it up from him while in NYC. Now it’s upstate with my wife while she’s at an artist residency. Sometime in early November I’ll get to play it, and take better pictures. Until then, the seller’s photo.

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Sal

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Weird question where’d you find the dancer?? I here a lot of girls complaining about their size but yet to fail to release most belly dancers weren’t double zeros
I saw it the other day on Facebook and noticing the amp I thought of this thread on LTG. Sorry but I don't recall who posted it or what it was about.
 
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1965 Cambridge Reverb Silver Face with the VOX Telefunken Tubes swapped the Blue Weber speaker with a Weber Silver Bell sounds like a record, only you can be in the same room with it. Made at the Sound City Studio before it was a studio, if you know the story. Studio City aka Hidden Hills, Ca.
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An assortment of past possessions I kept 3 of the Vox’s 2 tube and one SS. BTW they sound the same it’s the speaker that makes em kool IMHO
 

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