Guitar Combos

TRace Elliot TA 100r Acoustic Combo

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2 preamp channels with 100 Watts stereo total power output.
2 x 5" (127mm) specially designed neodymium Celestion® speakers connected in stereo.
1/4" (6.35mm) jack input with Piezo switch, to switch to ultra-high impedance input stage on Channel 1.
Combination balanced XLR / 1/4" (6.35mm) jack input with phantom power switch on Channel 2.
Lo-Trim & Hi-Trim rotary controls on Channel 1.
Gain & Notch filter rotary controls on both Channels.
Built in auto-compressor on both channels.
Signal level LED on both channels.
Shape switch for instant EQ'd sound on both channels (footswitchable on Channel 1).
Phase switch to help with control of feedback (footswitchable) on both channels.
Effect Parameter and Setting rotary encoders.
Allows for separate levels of Reverb to be applied to each channel.
Channel 1 can also have either Chorus, Flange, Phaser, Tremolo, and various delays including stereo Ping Pong.
Tap tempo (from either front panel or footswitch).
6-band graphic EQ.
Durable GatorHyde® finish
Feedback Locating System® on each band of EQ that uses LEDs to show where feedback is occurring.
Master volume and Mute switch (footswitchable), mutes all outputs except Tuner Out.
Tuner output, Left and Right Preamp Outputs and Power amp Inputs (to use as effects loop).
Two DI outputs can be configured as dry Channel 1 and Channel 2 out, or processed Left and Right channels out.
Switch for turning front panel lights on or off.
Power section featuring Dynamic Correction.

 

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AER Compact 60 Acoustic Combo

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Proven that there is an all-round, small, powerful and yet simple to use complete solution for stage, studio and home use that works up to the highest demands and standards of acoustic players.

 

60 watts, dynamic control
8” (200 mm) twin cone speaker
Twin channel, 3 and 2 band EQ
Digital effect processor with 4 presets
(2 x reverb/delay/chorus)
6,5 kg (14.30 lbs)

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Roland JC 120

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Legendary flagship of the Roland Jazz Chorus series since 1975
Historic “JC clean” tone and signature Dimensional Space Chorus effect
Powerful 120-watt stereo amp with two 12-inch “silver cone” speakers
Two input channels (Normal and Effect), each with three-band EQ and bright on/off
Built-in vibrato, distortion, and authentic spring reverb
Footswitch jacks for turning onboard effects on/off while performing
Stereo effects loop for connecting external effects

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Fender Hot Rod Deluxe Mk2 1x12

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The Hot Rod Deluxe is an all tube combo amp rated at 40 watts. It utilizes a single 12-inch speaker, typically a Special Design Eminence Legend 125 Speaker. The Hot Rod Deluxe is a mono-channel amplifier featuring 3 switchable gain levels: "Clean", "Drive", and "More Drive" selectable on either the control panel or footswitch (if plugged in). Other features include a Bass, Middle, and Treble EQ, Master Volume, Presence, Normal/Bright, and spring reverb (solid state for both the driver and the recovery circuits). Footswitch and External Speaker jacks are also built in.

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Fender Hot Rod Deville 1x12 Mk3

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Both the 212 and 410 feature three channels: normal, drive, and more drive. These channels are selectable via the "Channel Select" and "More Drive" buttons on either the control panel or footswitch (included), and they share EQ. Other features include a Bass, Middle, and Treble EQ, Master Volume, Presence, Normal/Bright switch, standby switch, preamp out and return for an effects loop configuration, and a Fender long-spring reverb (solid state for both the driver and the recovery circuits). An external speaker jack is located next to the output tubes in the back and allows the signal to be heard out of both the amplifier itself and the speakers to which it is connected (which must have a 4- or 8-Ohm impedance).

The DeVille features a 60-watt valve amplifier with three 12AX7 preamp valves and two 6L6 output valves. Its circuitry includes full PCB with valves and pots mounted directly to the circuit board. The speakers included are of the Fender Special Design Eminence series, the 212 containing a pair of 12” speakers and the 410 featuring four 10” speakers.

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Fender Hot Rod Deville 2x12 Mk3

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Both the 212 and 410 feature three channels: normal, drive, and more drive. These channels are selectable via the "Channel Select" and "More Drive" buttons on either the control panel or footswitch and they share EQ. Other features include a Bass, Middle, and Treble EQ, Master Volume, Presence, Normal/Bright switch, standby switch, preamp out and return for an effects loop configuration, and a Fender long-spring reverb (solid state for both the driver and the recovery circuits). An external speaker jack is located next to the output tubes in the back and allows the signal to be heard out of both the amplifier itself and the speakers to which it is connected (which must have a 4- or 8-Ohm impedance).

The DeVille features a 60-watt valve amplifier with three 12AX7 preamp valves and two 6L6 output valves. Its circuitry includes full PCB with valves and pots mounted directly to the circuit board. The speakers included are of the Fender Special Design Eminence series, the 212 containing a pair of 12” speakers and the 410 featuring four 10” speakers.

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Fender Hot Rod Deville 2x12 Mk2

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Both the 212 and 410 feature three channels: normal, drive, and more drive. These channels are selectable via the "Channel Select" and "More Drive" buttons on either the control panel or footswitch (included), and they share EQ. Other features include a Bass, Middle, and Treble EQ, Master Volume, Presence, Normal/Bright switch, standby switch, preamp out and return for an effects loop configuration, and a Fender long-spring reverb (solid state for both the driver and the recovery circuits). An external speaker jack is located next to the output tubes in the back and allows the signal to be heard out of both the amplifier itself and the speakers to which it is connected (which must have a 4- or 8-Ohm impedance).

The DeVille features a 60-watt valve amplifier with three 12AX7 preamp valves and two 6L6 output valves. Its circuitry includes full PCB with valves and pots mounted directly to the circuit board. The speakers included are of the Fender Special Design Eminence series, the 212 containing a pair of 12” speakers and the 410 featuring four 10” speakers.

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Fender Super Reverb 2x10 Combo

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The Fender Super Reverb was a guitar amplifier made by Fender. It was introduced in 1963 and was discontinued in 1982. This was essentially a Fender Super amplifier with built-in reverb and "vibrato" (actually tremolo). The original Super Reverb amplifiers were all-tube designs and featured spring reverb. There were two different designs, distinguishable by the color of the "face" or front control panel. Super Reverbs from 1963 through 1967 had "blackface" panels. From 1968 until its discontinuation in 1982, the Super Reverb had "silverface" cosmetics and circuitry. Early models in 1968, while cosmetically "silverface", did contain "blackface" circuitry. Fender introduced a reissue '65 Super Reverb in 2001 featuring a printed circuit board design rather than the hand-wired circuitry original '65 Super Reverb.[1][2]

The Super Reverb is commonly used by blues guitarists due to its ability to deliver loud, warm tube distortion through its four 10" speakers.[3] It is also known as having a scooped mids tonality, meaning that there is less midrange and an emphasis of sparkly treble and full, round bass frequencies.

 

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Fender Twin Reverb Red Knob

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The Twin Reverb II was replaced by The Twin, commonly referred to, though incorrectly as, the "Evil Twin" (Fender has only referred to the "TWIN AMP" or the '95 Twin Amp as being the "Evil Twin", not the red knob Twin) due to the addition of both a separate gain channel and a switchable overdrive on the clean, in 1987. It featured a dual output switch, allowing the user to select either 25 watts or 100 watts of output. The Twin was designed for maximum versatility for live or studio use with features like speaker jacks with selectable impedance, Low-z/XLR output, a "Power Amp Thru" feature that bypassed the preamp circuit and a buffered effects loop. Both clean and overdrive channels could be activated simultaneously and reverb could be turned on/off for each channel. Earlier Twin Reverb amps were known among musicians to be best suited for loud, "clean" tones. The "Red Knob Twin" was made until 1994; During 1994 it was slghtly modified and the knobs were changed from red to black, keeping the same shape.

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Fender Twin Reverb Black Face

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The Twin Reverb was first introduced during the blackface era of Fender amplifiers which was from 1963 to 1967. During this time the amplifier's output was rated at 85 watts into a 4-ohm speaker load.

The so-called blackface amplifiers have black faceplates, black tolex covering on the cabinet, and neutral to slightly amber tinted silver sparkle grill cloth with a small ribbed rectangular pattern.

Twin Reverb amplifiers came standard with "tilt back legs" which allowed the amplifier to be tilted at an angle backwards, so the speakers faced at a more upward angle, promoting better distribution of their output to an audience when placed on a low stage.

The circuit used is commonly known as the AB763 circuit. Fender Twin Reverb amplifiers use four output tubes, of the 6L6GC type. They use six preamp tubes, consisting of four 7025/12AX7 types and two 12AT7 types. The 7025 is a lower-noise version of the 12AX7.

The Fender Twin Reverb has two independent channels, labeled Normal and Vibrato. The controls have black-skirted knobs numbered from 1 to 10.

The black faceplates of the "blackface" era Twin Reverb will say either "Fender Electric Instruments" (FEI) or "Fender Musical Instruments", (FMI) depending on the date of manufacture. Those units made before the CBS take over of Fender in 1965, will be marked Fender Electric Instruments, and be worth a bit more on the collectors market.

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Fender Twin Reverb Silver Face With JBL Speakers

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In 1968 the Fender amplifier line switched from the original black faceplate to a new brushed aluminum faceplate with light blue labels (except the Bronco, which has red) and changed the color of the grillcloth from silver grey to silver with sparkling blue threads embedded within it, ushering in the Silverface era. Other blackface cosmetic features were retained. The first silverface Twins used the blackface AB763 circuit until May 1968, when Fender switched to the AC568. Since the tube complement was the same, Fender just used up their stock of printed tube charts saying AB763 until they ran out.[7]

The earliest silverface Twin Reverbs, along with all other silverface models, had an aluminum frame (trim) surrounding the sparkling blue grillcloth from late 1967 to 1969. Early silverface amplifiers made between 1967 and 1968 had black lines on the brushed aluminum faceplate, still retaining the '60s "tailed" design on the amp logo, installed on the upper left side of the grillcloth. This feature was offered on models produced prior to the "tailless" period in 1973. Some later models came with an unusual silver grillcloth with sparkling orange threads ("orange sparkle"); a black grillcloth was even fitted on some production runs. During the silverface period, the Twin Reverb's chassis and AA769 circuit was shared by the Dual Showman Reverb, effectively producing the Twin Reverb in a head form, although the matching speaker cabinet for the Dual Showman Reverb sported a pair of 15-inch JBL speakers rather than 12-inch.

In 1972 a master volume was added, then in late '75 it was fitted with a push pull "boost" or acentric potentiometer in the master volume position. The rating of the amplifier's output power was upgraded to 100 watts and between 1977–1982 an ultra linear output transformer was used, increasing the power to 135 watts. A Hum Balance was added at this time

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Fender Twin Reverb Silver Face

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In 1968 the Fender amplifier line switched from the original black faceplate to a new brushed aluminum faceplate with light blue labels (except the Bronco, which has red) and changed the color of the grillcloth from silver grey to silver with sparkling blue threads embedded within it, ushering in the Silverface era. Other blackface cosmetic features were retained. The first silverface Twins used the blackface AB763 circuit until May 1968, when Fender switched to the AC568. Since the tube complement was the same, Fender just used up their stock of printed tube charts saying AB763 until they ran out.[7]

The earliest silverface Twin Reverbs, along with all other silverface models, had an aluminum frame (trim) surrounding the sparkling blue grillcloth from late 1967 to 1969. Early silverface amplifiers made between 1967 and 1968 had black lines on the brushed aluminum faceplate, still retaining the '60s "tailed" design on the amp logo, installed on the upper left side of the grillcloth. This feature was offered on models produced prior to the "tailless" period in 1973. Some later models came with an unusual silver grillcloth with sparkling orange threads ("orange sparkle"); a black grillcloth was even fitted on some production runs. During the silverface period, the Twin Reverb's chassis and AA769 circuit was shared by the Dual Showman Reverb, effectively producing the Twin Reverb in a head form, although the matching speaker cabinet for the Dual Showman Reverb sported a pair of 15-inch JBL speakers rather than 12-inch.

In 1972 a master volume was added, then in late '75 it was fitted with a push pull "boost" or acentric potentiometer in the master volume position. The rating of the amplifier's output power was upgraded to 100 watts and between 1977–1982 an ultra linear output transformer was used, increasing the power to 135 watts. A Hum Balance was added at this time

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Peavey Classic 50 USA 4x10

peavclas50410.jpg

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Originally launched in 1991, these versatile all-tube amps retain their distinctive sound and circuitry but now feature an updated chassis design. With three 12AX7s up front and four EL84 power amp tubes plus normal and bright inputs, 3-band passive EQ, and presence control, it's all the classic tone you seek and all the gigging versatility you need.

Features

Normal and bright inputs
Four EL84s and three 12AX7s
3-band passive EQ
Presence control
Normal and lead volume
Lead pre- and post-gain
Master volume
Reverb control
Effects loop
Fan cooled
Chrome-plated chassis
Tweed covering
Four 10 inch Blue Marvel® speakers
Footswtich for channel switching and reverb
50 watts (rms) into 16 or 8 ohms
 

 

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Peavey Classic 50 USA 2x12

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With its responsive gain structure and warm/punch double-team of 12AX7 and EL84 tubes, Classic® Series guitar amps are revered by gritty blues benders, chicken pickin' country cats and nouveau-Stones rockers alike. These amps are available in vintage tweed with Blue Marvel® speakers and knobs straight out of the rock 'n' roll revolution.

Four EL84s and three 12AX7s
Fan cooled
2-channel preamp
Normal and bright inputs
Pre- and post-gain controls on lead channel
Active presence control
3-band passive EQ (bass, middle, treble)
Master volume control
Standby switch
Reverb level control
Effects loop
External speaker capability
Footswitch selectable channel switching and reverb (included)
Classic tweed covering
Chrome-plated chassis
50 watts (rms) into 16 or 8 ohms

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Mesa Boogie MkIII with Ev Speakers

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The Mark III was launched by Mesa/Boogie in 1985. It introduced a third channel, a "crunch" rhythm sound right in between the rhythm and lead channels. This amp has a dual footswitch system: one footswitch alternates between the current rhythm mode and the lead mode, and the other selects either the clean rhythm mode or the crunch rhythm mode. The two rhythm modes share all of their controls, while the lead mode only shares the rhythm modes' tone stack, featuring independent gain and master volume controls. The physical switch for the crunch rhythm mode was implemented as a push/pull switch above the Middle frequency control. Most Mark III's have presence and reverb on on the back (except for long chassis') unless not desired by the buyer; Graphic EQ was also optional all in either head or combo format.

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Marshall AS50R Acoustic Combo

marshalla50r.jpg

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The Marshall AS50R Acoustic Amp is a 50W dedicated acoustic combo featuring 2 channels, each with its own volume and tone controls. A variety of inputs gives it the flexibility to accommodate any acoustic instrument and a microphone. A pair of phono inputs on channel 2 allows the use of backing tracks. It features built-in chorus assignable to either or both channels, plus reverb and an effects loop that can be balanced between the 2 channels. Anti-feedback controls include a phase switch and notch filter selectable by rotary control. Includes 2 - 8" speakers and a piezo tweeter for clear and detailed reproduction. An internal limiter lets you drive the power stage hard without distortion.

50 watts power
2 channels
2 - 8" speakers plus piezo tweeter
Chorus and reverb
Clean sound
Phase switch
Notch filter
Effects loop
21-1/2"W x 16-1/2"H x 10-1/2"D

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Marshall JCM 800 50 Watt Combo

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 1989 Marshall JCM800 Model 4212 50W 2x12 tube combo amplifier. The split-channel 4212s and the head version, the 2205s, were the first Marshall amps with channel-switching mode.  In addition to offering the classic JCM80-era crunch tone, these amps also sport a decent clean tone and reverb, making for a much more versatile amp. 

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Marshall 900 50 Watt Combo

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A wide variety of combo and head formats
Two independent channels
Independent Gain and Volume controls
Treble, Middle, Bass and Presence tone controls
Reverb level controls for each channel
Series Effects loop
Compensated Line Out
High to Low power switch [100 Watts down to 50 Watts on 100 Watt models and 50 Watts down to 25 Watts on 50 Watt models]
Valve failure LEDs.
Unique fail-safe circuit on 100 Watt models to keep the amp running in the event of a valve failure to get you through to the end of the gig.

 

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Marshall JCM 900 100 Watt Combo

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A wide variety of combo and head formats
Two independent channels
Independent Gain and Volume controls
Treble, Middle, Bass and Presence tone controls
Reverb level controls for each channel
Series Effects loop
Compensated Line Out
High to Low power switch [100 Watts down to 50 Watts on 100 Watt models and 50 Watts down to 25 Watts on 50 Watt models]
Valve failure LEDs.
Unique fail-safe circuit on 100 Watt models to keep the amp running in the event of a valve failure to get you through to the end of the gig.

 

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Marshall JCM200 TSL Combo

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100W tube power
4 EL34 power tubes
4 ECC83 preamp tubes
2 - 12" speakers: a Marshall Celestion and a Heritage
3 channels
Spring reverb
Tone Shift switches on Crunch and Lead channels
Mid Boost switch on the Clean Channel
2 parallel effects loops
Dual reverb controls

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