By Dave Hunter
Guitarists love amps—really love them. Amplifiers may well glance boring to the remainder of the realm, yet to guitarists they're choked with mystique, romance, and rockin' sound. And whereas there are numerous strong-selling electrical guitar histories on hand, here's the 1st illustrated background of the electrical guitar’s ally, the amp. World-famous guitar and amp historian Dave Hunter tells the tale of 60 of the best amps ever outfitted, together with classics from Fender, Marshall, Vox, the unusual EchoSonic that created Elvis' sound, and the final word esoteric $75,000+ Dumble amps. the tale is illustrated with enormous quantities of technical pictures, infrequent machines, catalogs, memorabilia, and the amps of the celebs, from Jimi Hendrix to Stevie Ray Vaughan to Eric Clapton. This is a ebook guitarists will drool over.
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Extra resources for Amped: The Illustrated History of the World's Greatest Amplifiers
Amp and guitar courtesy Nathaniel Riverhorse Nakadate/photo Kerry Beyer dEluxE hEadroom We think of Fender amps from the 1950s as generically “tweed”—a word that has become synonymous with chewy, rich, slightly brown tones and superb touch sensitivity. Yet there is no single template to credit with all these characteristics but rather three different incarnations of tweed-covered amps through the course of the decade, with even more circuit variations hiding behind this simple cosmetic description.
As Butts told Dave Kyle in an interview for Vintage Guitar magazine in 1994, he simply looked up Chet Atkins in the phone book and gave him a call. “He answered the phone and I told him what I had,” Butts told Kyle. “He seemed kind of interested and told me he would be rehearsing for the Opry at the radio station and if I wanted, I could bring the amp there and he’d try it out. ” Pretty soon, however, they, and others, were hearing it plenty. Atkins used the amp at the Grand Ole Opry the very next night and decided to buy it.
The Pro here typifies Fender amp production for its day, with a date stamp of “ED” signifying April 1955—making it an extremely late wide-panel example—an original Jensen P15N from a full year before, and an output tube alteration penned in on its chart (5881 in place of 6L6GC, though the two are interchangeable). It also carries the faded signature of “Lupe” on a piece of masking tape in the bottom of the chassis between the first two preamp tubes, a little piece of history that lets us know who wired it all together fifty-five years ago.