Amplifiers
Hiwatt Custom 50 Vintage
Fender Vibrolux custom 65' 2x12"
Fender Bassman 50 Silverface 74' Vintage
Fender 68' custom twin Reverb 2x12"
Mesa Boogie Single Rectifier Rectoverb 50
Cab Fender Bassman 1x15"
Cab Marshall 2x12"
VOX AC15
VOX Custom Series amps offer two channels: Normal and Top-Boost. Each channel is equipped with its own Volume control, and the Top Boost channel offers highly interactive Treble and Bass tone controls. This powerful channel pairing provides an abundance of tone-crafting control, letting you dial in a classic sound that is all your own. Both channels rely on the Tone Cut and Volume controls in the Master section. The Tone Cut control operates in the power stage rather than the preamp stage, allowing an additional degree of tone-shaping. The Master Volume control works in conjunction with the individual volumes of each channel to create just the right degree of gain-staging. By balancing the individual and Master volumes, the Custom Series can deliver everything from a clean VOX "chimey" sound to a powerful overdriven tone. http://www.voxamps.com/custom/ac15/
Hiwatt Custom 50 Head Amp
The model that made the Hiwatt name what it is. Constructed exactly like the Dave Reeves original DR-103, making this amp sound like no other. The sound of a Custom 100 stack at full tilt is trully amazing, the power and responsiveness is guaranteed to blow your socks off. The HIWATT Custom 100 features a dual channel preamp with Low and High sensitivity input for each, 100 watts of all tube output, and individual controls for Brilliant / Normal inputs, Bass, Treble, Mid, Presence and Master Volume. Equipped with 4 x EL-34 tubes in the power stage, 4 x ECC-83 tubes in the preamp. Adjustable 4, 8 & 16 ohm output impedance. http://www.hiwatt.com/data/gheads.html
Hiwatt Custom 50 Head Amp stamp
The model that made the Hiwatt name what it is. Constructed exactly like the Dave Reeves original DR-103, making this amp sound like no other. The sound of a Custom 100 stack at full tilt is trully amazing, the power and responsiveness is guaranteed to blow your socks off. The HIWATT Custom 100 features a dual channel preamp with Low and High sensitivity input for each, 100 watts of all tube output, and individual controls for Brilliant / Normal inputs, Bass, Treble, Mid, Presence and Master Volume. Equipped with 4 x EL-34 tubes in the power stage, 4 x ECC-83 tubes in the preamp. Adjustable 4, 8 & 16 ohm output impedance. http://www.hiwatt.com/data/gheads.html
Fender Vibrolux Reverb Amp Custom stamp
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Vibrolux Reverb Amp Custom inputs
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Vibrolux Reverb Amp Custom
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Bassman Silverface 74' vintage inputs
Fender Silverface amplifiers were built between 1967 and 1981. They are often referred to as Silverface (or Chromeface) because of their brushed aluminum face plate. The first Silverface amps, manufactured between 1967 and 1969, had an aluminum frame (trim) around the grillcloth, mid-1960s "tailed" amp logo and the AB763 blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel. This cosmetic detail (later referred to as "blackline") was abandoned pretty quickly, though. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions (such as the Bronco) the colour was red instead. Some transitional models produced before the "tailless" period in 1973 featured the AC568 circuit, still retaining the tailed Fender amp decal introduced in 1964. In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student Bronco amp). A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal (featuring a "Made in USA" script in the bottom) in 1977; the power was increased between 70 and 135 watts on certain models. All Silverface models usually came with a sparkling silver/blue grillcloth (some later models had a non-standard sparkling silver/orange grillcloth, and a black grillcloth was even fitted to some production runs). The Silverface control face plate was discontinued in 1981 and the second series of the blackface amps designed by Paul Rivera were produced.[3] Paul Rivera went on to found Rivera Amplifiers. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mid-70s Twin Reverb models in 1996. The Silverface Edition MT-10 had the authentic look right down to the grillcloth. This 1-watt Twin featured 3 in. speakers, "skirted" style Fender knobs for Gain, Volume, Tone and Power and included a tilt-back stand. http://www.fender.com/fr-FR/products/bassmanpro/index.php#bassman_family http://en.wikipedia.org/wiki/Fender_Bassman
Fender Bassman Silverface 74' vintage
Fender Silverface amplifiers were built between 1967 and 1981. They are often referred to as Silverface (or Chromeface) because of their brushed aluminum face plate. The first Silverface amps, manufactured between 1967 and 1969, had an aluminum frame (trim) around the grillcloth, mid-1960s "tailed" amp logo and the AB763 blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel. This cosmetic detail (later referred to as "blackline") was abandoned pretty quickly, though. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions (such as the Bronco) the colour was red instead. Some transitional models produced before the "tailless" period in 1973 featured the AC568 circuit, still retaining the tailed Fender amp decal introduced in 1964. In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student Bronco amp). A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal (featuring a "Made in USA" script in the bottom) in 1977; the power was increased between 70 and 135 watts on certain models. All Silverface models usually came with a sparkling silver/blue grillcloth (some later models had a non-standard sparkling silver/orange grillcloth, and a black grillcloth was even fitted to some production runs). The Silverface control face plate was discontinued in 1981 and the second series of the blackface amps designed by Paul Rivera were produced.[3] Paul Rivera went on to found Rivera Amplifiers. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mid-70s Twin Reverb models in 1996. The Silverface Edition MT-10 had the authentic look right down to the grillcloth. This 1-watt Twin featured 3 in. speakers, "skirted" style Fender knobs for Gain, Volume, Tone and Power and included a tilt-back stand. http://www.fender.com/fr-FR/products/bassmanpro/index.php#bassman_family http://en.wikipedia.org/wiki/Fender_Bassman
Marshall baffle
http://www.marshallamps.com/product_range.asp?productRangeId=15
Marshall baffle stamp
http://www.marshallamps.com/product_range.asp?productRangeId=15
VOX AC15
VOX Custom Series amps offer two channels: Normal and Top-Boost. Each channel is equipped with its own Volume control, and the Top Boost channel offers highly interactive Treble and Bass tone controls. This powerful channel pairing provides an abundance of tone-crafting control, letting you dial in a classic sound that is all your own. Both channels rely on the Tone Cut and Volume controls in the Master section. The Tone Cut control operates in the power stage rather than the preamp stage, allowing an additional degree of tone-shaping. The Master Volume control works in conjunction with the individual volumes of each channel to create just the right degree of gain-staging. By balancing the individual and Master volumes, the Custom Series can deliver everything from a clean VOX "chimey" sound to a powerful overdriven tone. http://www.voxamps.com/custom/ac15/
Hiwatt Custom 50 Head Amp
The model that made the Hiwatt name what it is. Constructed exactly like the Dave Reeves original DR-103, making this amp sound like no other. The sound of a Custom 100 stack at full tilt is trully amazing, the power and responsiveness is guaranteed to blow your socks off. The HIWATT Custom 100 features a dual channel preamp with Low and High sensitivity input for each, 100 watts of all tube output, and individual controls for Brilliant / Normal inputs, Bass, Treble, Mid, Presence and Master Volume. Equipped with 4 x EL-34 tubes in the power stage, 4 x ECC-83 tubes in the preamp. Adjustable 4, 8 & 16 ohm output impedance. http://www.hiwatt.com/data/gheads.html
Hiwatt Custom 50 Head Amp stamp
The model that made the Hiwatt name what it is. Constructed exactly like the Dave Reeves original DR-103, making this amp sound like no other. The sound of a Custom 100 stack at full tilt is trully amazing, the power and responsiveness is guaranteed to blow your socks off. The HIWATT Custom 100 features a dual channel preamp with Low and High sensitivity input for each, 100 watts of all tube output, and individual controls for Brilliant / Normal inputs, Bass, Treble, Mid, Presence and Master Volume. Equipped with 4 x EL-34 tubes in the power stage, 4 x ECC-83 tubes in the preamp. Adjustable 4, 8 & 16 ohm output impedance. http://www.hiwatt.com/data/gheads.html
Fender Vibrolux Reverb Amp Custom stamp
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Vibrolux Reverb Amp Custom inputs
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Vibrolux Reverb Amp Custom
Le Custom Vibrolux® Reverb : Un digne héritier ! Il ne s'agit pas d'une ré-édition, mais d'une évolution du son et des caractéristiques qui ont fait du Fender Vibrolux® Reverb l'un des amplificateurs vintage les plus recherchés. Le design est simple mais le son saturé obtenu, joué à fort volume, est d'une chaleur dans la plus pure tradition Fender. Entrées: 4 entrées (2 par canal) Jack pour haut-parleurs externes: Jack externe pour haut-parleurs (4 ohms) Canaux: Deux canaux (Normal et Bright) Puissance: 40 Watts sous 4 ohms Rectification: Rectification avec pont de diodes Contrôles: Canal normal: volume, aigus, graves. Bright canal: volume, aigus, graves, reverb. Vibrato: vitesse, intensité Hardware Effets: Réverb et Vibrato applicables sur les 2 canaux Speakers Haut-parleurs: 2 haut-parleurs de 10" Jensen® P-10R sou 8 ohms avec aimants Alnico. Impédance du Haut-parleur: 4 Ohms Tubes : Lampes du préampli: 5 x 12AX7, 1 x 12AT7 Lampes de puissance: 2 x 6L6 Miscellaneous http://www.fender.com/fr-FR/products/custom-vibrolux-reverb/
Fender Bassman Silverface 74' vintage inputs
Fender Silverface amplifiers were built between 1967 and 1981. They are often referred to as Silverface (or Chromeface) because of their brushed aluminum face plate. The first Silverface amps, manufactured between 1967 and 1969, had an aluminum frame (trim) around the grillcloth, mid-1960s "tailed" amp logo and the AB763 blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel. This cosmetic detail (later referred to as "blackline") was abandoned pretty quickly, though. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions (such as the Bronco) the colour was red instead. Some transitional models produced before the "tailless" period in 1973 featured the AC568 circuit, still retaining the tailed Fender amp decal introduced in 1964. In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student Bronco amp). A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal (featuring a "Made in USA" script in the bottom) in 1977; the power was increased between 70 and 135 watts on certain models. All Silverface models usually came with a sparkling silver/blue grillcloth (some later models had a non-standard sparkling silver/orange grillcloth, and a black grillcloth was even fitted to some production runs). The Silverface control face plate was discontinued in 1981 and the second series of the blackface amps designed by Paul Rivera were produced.[3] Paul Rivera went on to found Rivera Amplifiers. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mid-70s Twin Reverb models in 1996. The Silverface Edition MT-10 had the authentic look right down to the grillcloth. This 1-watt Twin featured 3 in. speakers, "skirted" style Fender knobs for Gain, Volume, Tone and Power and included a tilt-back stand. http://www.fender.com/fr-FR/products/bassmanpro/index.php#bassman_family http://en.wikipedia.org/wiki/Fender_Bassman
Fender Bassman Silverface 74' vintage
Fender Silverface amplifiers were built between 1967 and 1981. They are often referred to as Silverface (or Chromeface) because of their brushed aluminum face plate. The first Silverface amps, manufactured between 1967 and 1969, had an aluminum frame (trim) around the grillcloth, mid-1960s "tailed" amp logo and the AB763 blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel. This cosmetic detail (later referred to as "blackline") was abandoned pretty quickly, though. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions (such as the Bronco) the colour was red instead. Some transitional models produced before the "tailless" period in 1973 featured the AC568 circuit, still retaining the tailed Fender amp decal introduced in 1964. In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student Bronco amp). A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal (featuring a "Made in USA" script in the bottom) in 1977; the power was increased between 70 and 135 watts on certain models. All Silverface models usually came with a sparkling silver/blue grillcloth (some later models had a non-standard sparkling silver/orange grillcloth, and a black grillcloth was even fitted to some production runs). The Silverface control face plate was discontinued in 1981 and the second series of the blackface amps designed by Paul Rivera were produced.[3] Paul Rivera went on to found Rivera Amplifiers. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mid-70s Twin Reverb models in 1996. The Silverface Edition MT-10 had the authentic look right down to the grillcloth. This 1-watt Twin featured 3 in. speakers, "skirted" style Fender knobs for Gain, Volume, Tone and Power and included a tilt-back stand. http://www.fender.com/fr-FR/products/bassmanpro/index.php#bassman_family http://en.wikipedia.org/wiki/Fender_Bassman
Marshall baffle
http://www.marshallamps.com/product_range.asp?productRangeId=15
Marshall baffle stamp
http://www.marshallamps.com/product_range.asp?productRangeId=15