I’ve always found that when it comes to having talks with other guitarists about tone, the conversation inevitably stays within the realm of “the guitar”. It always seems there’s an unsung hero playing on the tone team that just doesn’t get the credit where it’s due. I am talking of course about that box that […]
Today, we have the long overdue follow-up to the “10 Classic Guitar Amps” article by Ben Fargen of FargenAmps.com. Ben’s first post has become one of the most popular articles ever published on this site, so we asked Ben another list of definitive amps and songs. Be sure to let us know what you think in the comments section below!
Is electric guitar tone better now than it was in rock’s ‘golden age’ in the 60’s and 70’s? A recent article titled “Is It Tougher To Get Good Tone Now Vs. Then?” on Jay Kumar’s fantastic Woody Tone site explores that very question. Quoted from the article, guitarist and producer Dave Cobb, who recently recorded a new album with Black Robot, believes that “Everything was better back then.”
Guitar, check. Amp, check. Cables, check. Effects, check. You’ve got all the gear necessary to get a great sound on stage. Aside from the guitar player’s skill, why do some sound better than others? This month we’ll look at a few aspects of getting a good live sound. While this article is mostly aimed at those of us with who have don’t have much or any stage experience, there may be something of interest here for almost anyone.
It’s once again time to take stock of what’s happening in the world of tube guitar amps. I’ll examine some interesting happenings in 2009, make some predictions and revisit Tube Tone Crystal Ball 2009 to see if any of last year’s guesses came true!
Most guitarists instantly create an image in their minds when they think of ’boutique’ guitar amps. But, what does the term really mean? Perform a Google search on the term “What is a boutique amp” and you will find many threads from many gear related forums where members debate the meaning of the term and the criteria by which a boutique amp is defined. This month we’ll sort through the debate and see if there is an underlying theme that describes what makes an amp worthy of being called ’boutique’.
A few months back I talked about how great the Univox U-45 is. And I figured I’d talk about more vintage Univoxs this month—specifically the 305-B which is a really great amp with 6973 output tubes. And I will (promise) do a column about that model Univox, but I stumbled onto this rare Guyatone this month and wanted to share this rare bird with the My Rare Guitars world. So, while I am stepping away from the Univox models, I’m still stuck in Japan in the 60’s with this Guyatone GA-530A.
This month is the first part of a two-parter about Vintage Magnatone Amplifiers. This month, I’ll be focusing on one underrated and rare model, while next month I’ll break down the 5 distinct collectable (i.e. tube and mostly vibrato) periods of Magnatone Amps (from the late 40s to the late 60s before they went to Solid State models in the late 60s before going belly up in 1971).
The Hilgen “Victor” Model R2522. For the tube geeks among us, this starts with a 5AR4 rectifier before running into a couple of 12AX7s for preamp and reverb send duties. Then comes the only expensive and hard to find (although not impossible) tube—a 7199 for ‘verb recovery. From the factory, it came with a 12AU7 for phase inverter, which I switched out to a 12AY7 for a little more drive on the output tubes. I tried going up to a 12AX7, but that made for too much gain and resulted in a mushy, compromised output. The 12AY7 gives it more heat than stock, but still retains the crisp, tight, articulate character of the amp, as intended.
This twin twelve Alamo Futura Reverb is a true sleeper of a vintage amp classic. This is one of the greatest amps I’ve ever owned (or heard), and they are out there at still very reasonable prices on the vintage market.
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