By Dave Hunter
Guitarists love amps—really love them. Amplifiers may perhaps glance boring to the remainder of the realm, yet to guitarists they're packed with mystique, romance, and rockin' sound. And whereas there are various strong-selling electrical guitar histories on hand, here's the 1st illustrated heritage 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 equipped, together with classics from Fender, Marshall, Vox, the unusual EchoSonic that created Elvis' sound, and the last word esoteric $75,000+ Dumble amps. the tale is illustrated with 1000's of technical photographs, infrequent machines, catalogs, memorabilia, and the amps of the celebs, from Jimi Hendrix to Stevie Ray Vaughan to Eric Clapton. This is a e-book guitarists will drool over.
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Extra info for Amped: The Illustrated History of the World's Greatest Amplifiers
While the Fender Champ is the archetype of its breed, a similar tone and vibe are represented by single-ended models from almost every amp maker who ever put iron to solder. Aside from the potentially flabby speaker and a propensity to mush out quickly if you push them too hard, the beauty of these little beasts is their inherently, definitively class A operation. Since you are pushing just one output tube, a 6V6GT in the Champ’s case, this amp has no choice but to run in pure class A, as defined by the tube amplifying the signal during the entire wave cycle.
That, and the fact that their affordability relative to the bigger tweeds makes them the one slice of Fender history that most players can aspire to, gives them plenty of desirability. While the Fender Champ is the archetype of its breed, a similar tone and vibe are represented by single-ended models from almost every amp maker who ever put iron to solder. Aside from the potentially flabby speaker and a propensity to mush out quickly if you push them too hard, the beauty of these little beasts is their inherently, definitively class A operation.
The EchoSonic continued to be used on every recording Moore made with Presley, up to and including the legendary 1968 Comeback Special on NBC TV (originally entitled Elvis, Starring Elvis Presley). There it can be heard and can occasionally be seen behind Moore’s right leg during the seated, in-the-round performances. Like some tube-fired chain reaction worthy of the Old Testament, Moore’s purchase and prolific use of his EchoSonic—serial number 8 (though often reported as being the third one built)—continued to send waves of desire for the new sound rippling through the Nashville scene.