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The amps I used at the very beginning were custom tube radios. In itself that went reasonably well, but the speakers turned out not to be able to cope and died when used too enthusiastically. My first amp that was really meant for the guitar was a Pearl imitation of a Fender. The appearance was completely Fender, but the interior based on transistors generated a cold and colorless sound. I became more and more aware that such a device is not only there to amplify, but above all to generate the desired sound. After swapping the Pearl for a Fender Twin Reverb, a good step was taken immediately. But how heavy that Twin is to lift. . .
The Pearl Sunflower has since disappeared, but the list below shows what happened next:
Vox Pacemaker V102 (V2) - 1965
These 17 Watt Vox tube amplifiers were only supplied in 1965 and 1966. A five tube circuit with a pair of ECC83 (12AX7) preamp tubes, two EL84 power tubes and an EZ81 rectifier in the power supply.
The amplifier can be compared to the Vox Cambridge, but without reverb. The Pacemaker does have an adjustable tremolo (with the buttons "speed" and "depth"). The preamp is a variation on the "top boost" of the AC-30. After this model, Vox's successor was a "solid state" Pacemaker with transistors, which, after its name and appearance, cannot be compared with its tube predecessor.
My copy was intended for the American market and therefore has a 110 Volt connection, so can be used in the Netherlands with a converter. The original Vox tubes are still included.
Fender Champ - 1974
A "silverface" Champ. One volume knob, two tone controls and a slide that acts as an on / off switch. Tubes 5Y3 (rectifier), 12AX7 / ECC83 (preamp) and 6V6 (power amplifier).
Produces a surprisingly good sound at full power (well, 6 watts). Has rarely been used and still looks good, the Fender booklet was still included when purchased.
Pignose 7-100 - 1977
Newly purchased at the time. A compact 5 Watt amplifier that is powered by batteries or via an adapter. At the front is a volume knob in the shape of a pig's nose and nothing else can be arranged. However, the tone is quite different when you have the box open or closed while playing.
On the back there is a connection to couple the Pignose to another amplifier, to act as a kind of "distortion". I removed the battery holders, the springs vibrated annoyingly when there were no batteries in them.
Self-build The Amp - 1978
Self-made 4 Watt tube amplifier. Tubes: EF86 (6267), ECC83 (12AX7) and one EL84 (6BQ5) as end tube.
Because of the costs, the cabinet is made of "residual wood", which is covered with brown vinyl, and the so-called speaker cloth comes from the "grandma" rag basket.
The concept is based on a design from the late 1950s. The amplification consists of 2 stages of preamplification (ECC83) followed by a tone control behind which a single output stage is placed. When using the left input, an additional preamp (EF86) is used,
The output stage has no feedback so that the cup can "tear" enormously.
Fender Twin Reverb - 1979
I am the first owner of this "135 Watt version" Twin. Shortly after purchase I did not understand the application of the "pull-out" master volume control. But that was not surprising when the cabinet was opened (could not resist despite the warranty). Apparently someone in California had forgotten to connect a specific cable. That, of course, was easy to figure out, a wire that's only attached to one side.
The sound is loud, clear and clean, but I assume that everyone knows the Twin.
I found the purchase receipt again: Staffhorst, Utrecht 01-09-1979, Fl. 1640, - but including a sturdy cover.
Fender Musicmaster Bass Amp - 1980
As the name implies, this combo was originally intended as a bass amplifier, but can actually also be used very well as a guitar amplifier. Or just make 2 small modifications (can easily be reversed when everything has to be returned to its original state).
My 12 Watt amplifier was intended for the American market and has a 110 Volt connection, no problem with an adapter in between. Recommended if you come across them again.
On request some more information about the adjustments that have made it a great guitar amp for me.
1. Immediately behind the input plug is a capacitor (0.0047 uF) that blocks the bass, preventing the standard CTS speaker from being damaged by the bass of a bass guitar. You can remove this capacitor and replace it with a wire. You can also solder a wire over it so that the part no longer has a function.
2. The speaker is a limitation for creating good sound. Replace it with a good guitar speaker (Celestion, JBL, Jensen, Weber, etc.) of the same size (12 Inch). A matter of four screws and just two plugs.
Other modifications, with which I have no other practical experience myself, are listed in this appendix.
Session Sessionette SG75 - 1985
A two-channel amplifier of British manufacture. No tubes (but transistors / fet), but a sound as if it were a tub. Two channels that can be set independently.
One Celestion 12 inch speaker. Various connections on the back: monitor, effect loop, foot switch for the channels, headphones and an output for an external speaker.
Handy thing with a lot of power.
Surprising that various parts parts are still available for replacement. In 2024 I had to deal with two malfunctions that appear to occur with more of these amps. An annoying hum could be remedied by re-soldering a fuse holder (half of the power pulse). One of the opamps had to be replaced for the foot pedal to function again. Decided to replace all ICs.
Kitty Hawk The Kid - 1986
A two-channel tube amplifier that reminds me of a Mesa in terms of its character and use. Output amp with two EL84 tubes.
The Kitty Hawks were built during that time by a firm of two German brothers, originally the importer of Mesa Boogie and Dumble. With the expensive dollar at the time, affordable "clones" of both American examples were built in Europe. When the German company stopped in the late 1980s, a Dutch company in Enschede took over the brand name and also started to supply amplifiers under the name Kitty Hawk.
The potentiometers of these (and other Kitty Hawks I've come across so far) are of mediocre quality. However, the final sound is fine.
Mesa Boogie V-Twin Rack - 1998
19 inch (suitable for built-in) preamp. Has two separate amplifiers that can be set and used completely separately, but can also be "mixed" if desired. Can be connected to a power amplifier, another guitar amplifier (which then takes over the characteristics / distortion of the V-twin), the mixer or headphones.
This version is actually intended for installation, but I use the amplifier "loose" which goes fine with the sturdy metal case. Unfortunately I don't know the exact year of manufacture yet.
Mesa Boogie V-Twin Pedal - 1999
A preamp based on a tube circuit in "pedal version". Equipped with 2 x ECC83 (12AX7) and has 2 channels. The tubes can be easily changed if necessary by unscrewing the "tray" on top (no tools required). Only watch out for the fingers when the tubes are still warm.
Has two switchable modes: Clean and Blues. A so-called Solo mode can also be selected by moving a mini-switch at the bottom of the box via a covered plate. So a total of 3 options, 2 of which are easy to select on top. A red or blue LED indicates the selected position.
Furthermore, a 3-channel tone control, setting for the amount of distortion and a master volume control. The signal can be sent to a guitar amplifier, a power amplifier, a mixer / PA or, if desired, headphones.
During use, an external power supply of 12 Volt AC (AC) is required.
In Bypass mode, the device does nothing and the signal from the connected guitar is passed on unprocessed.
I don't know the exact year of construction (yet), but they were produced from December 1993 to January 2005 .
Mesa Boogie Subway Reverb Rocket - 1999
I do not know the exact year of birth, but I suspect ca.1981 / 1999.
A compact Mesa Boogie that with its 20 Watt even turns out to have enough power for the rehearsal room or a small room (and otherwise via the PA). Has a Clean and Lead channel, but unfortunately does not have a separate tone control for both channels. Switching between channels therefore produces a clear difference in tone, so set the controls as "compromise".
Lots of power and yet easy to transport and carry.
Do take an adapter with you because this model has a 110 Volt USA connection
Koch Sudiotone - 2005
A 20 Watt amplifier (2 x EL84) from Dolf Koch. Especially the back of this handy combo stands out because of the interesting possibilities. Optionally, speakers of 4, 8 or 16 Ohm can be used. You can also choose to send the signal not to a speaker but to a built-in resistor, so that the amplifier can be used to its full potential and the associated sound is sent to another source. In that case you can use a connection for the headphones, the direct-out to the effect return of another guitar amplifier or connect the guitar-amp connector to the input of another guitar amplifier. In addition, there are connections with which the signal to a PA / DI box can be controlled with the possibility to simulate that a microphone is directly in front of the speaker or is positioned slightly next to the speaker. As an extra option, you can choose the effect of a 1x12 "or 4x12" cabinet.
You will also find two jacks for the effect loops on the back and also the possibility to connect a pedal and thus switch between the 3 different channels.
On the front the well-known controls for the different channels, volume, gain, 3 x tone and reverb. Also 2 small sliders to control the voicing (mid-shift and bright).
Fender G-DEC PR520 - 2007
It is not yet known what exactly the year of construction of this "Guitar Digital Entertainment Center" (G-DEC) is, but that is not important at the moment.
With the help of a few buttons and the information on the display you can select different amplifiers to be simulated and also set various effects.
In addition, this 15 watt practice amplifier also has a drum simulator and an automatic bass, so you can play along with a "canned" band. Furthermore, a midi connection and a perfectly usable built-in tuner. Nice for home.
Yamaha YB15 - 2008
Handy 9 Watt practice amplifier (bass) with a 6 "speaker for use at home. Thanks to a headphone connection, you can be absolutely assured that you will not disturb anyone.
Simple amplifier, nothing more and nothing less.
