Among the best deals out there are the Japanese-made Univox tube amps of the mid to late 60’s. There are some rare birds out there that are worth keeping an eye open for, but the one you see most often, among the low-priced, great sounding Univox tube amps, is the U-45B Model.
What’s an affordable, well made, very cool and not ridiculously expensive amp that’s like the 1624T? I’d say you might want to look at the Univox 202R. The early version of this amp is true point-to-point (before 66 or so, it seems – there’s not a lot of information on Univox amps). Later versions are printed circuit board, like the great little Univox U45 amps (they are mini tone MONSTERS). But the circuit and cap and resistor values stayed pretty much the same. If you can, it’s always better to find the point to point ones, as they’re easier to work on and tougher built – but the PCB ones are good amps, too. Univox amps were made in Japan (all the ones I’ve seen) – most of the ones I’ve been under the hood of were made at the Guyatone factory, and then imported to the United States and branded with various names (see below for some of the other names for this amp).
One of the true major players in oddball amps, the Silvertone 1484 guitar amp is pretty well known. It’s so well know, that it may not actually qualify as an oddball amp. But it’s still from the great Nat Daniel, the man behind the awesome kings of Masonite and lipstick pickups and wallpaper-as-Tolex’ the Danelectro company, who designed and produced some of the greatest oddball amplifiers ever done.
Class A tube guitar amps. Everyone’s heard the term. It’s generally associated with higher-end amps in support of an amp maker’s claim that their product sounds “better”. I’ll leave the debate as to which is better to others. What I want to discuss is what Class A really means and, from the pet peeve perspective, to debunk many amp manufacturers’ claims that their products are Class A when clearly they’re not! You may be surprised at how many amp makers falsely claim Class A operation. So, let’s review, in practical terms, what Class A really is and learn a simple rule of thumb you can use to spot operating class BS!
And this month, I sing the praises of another obscure and beautiful amplifier, in this case a 1966 Lectrolab S 400. I’ve seen a few Lectrolabs over the years and they are all pretty cool amps. The 400 series seem to be (and this is based only on observation and scattered information. No one seems to know very much about these) all single-ended small amps with a single EL84 for output and one or two eight inch speakers. The 600 series are more in the 15-20 watt range with either two 6V6’s or two EL84’s (driving a twelve inch speaker), depending on the year. And the 800 series, which I’ve never seen in person, I haven’t been able to find much about, other than that they seem like later versions of the 600’s. The 900 series are El84-equiped heads (very rare).
In Dave Hunter’s great book, The Guitar Amp Handbook, he asks several respected boutique amplifier makers about any sleepers out there on the vintage market (i.e., any great sounding amps that aren’t going for the at-time obscene money that even a Silverface Fender is fetching on the market these days’ though many of them are, of course, fine amps.). Ken Fischer (of Trainwreck fame) talks about a couple of amps that he claims compare favorably to a Marshall 18 Watt Model & the Early Ampeg Reverberockets (AKA Reverbrockets to some), and the Harmony 415, made by Valco in the mid to late 1960’s.
So what did I buy? A late 1940’s Fidelity amp, of course. Haven’t heard of Fidelity? Me, neither. But it met the needs. It was very light an easy to carry. As for meeting my volume needs…it was VERY quiet. Dead quiet. As in, silent. So, that part needed some work. Sixty bucks. Not bad. Less than an assembly-line stomp box. It looked like a 50’s space heater in crap brown with tootsie roll brown and vanilla cream paint and chicken head knobs. Score, Daddio.
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