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The 410 was the entry level Magnatone from 1961-1963. The single channel had volume and tone controls and a "mellow-bright" switch that opened and closed a treble bleed .001 cap across the volume pot. The vibrato had intensity and speed controls and was handled by a 12DW7 and two varistors.

Selmer Futurama Bassist Major in Croc Skin covering.

The amp is a 30/15 bluesman 5e3 circuit, made by Rosewell Amps in the United Kingdom.

Speakers are the cross-over between electrical and mechanical domains and the last link in the chain before signal reaches your ears. Traditionally drivers used for guitar and bass duties are woofers, and as such, impose their own hefty EQ curve on any signal presented to them. Modify that curve by varying the enclosure design and it is clear that your speaker cabinet and driver choice form a large part of the sound.

Our standard selection of cabinets has been optimised over the years to produce the types of sounds we want to hear from our amps. From the ‘open/ closed back’ feature on the guitar speaker cabs to our custom made 10″ bass drivers, all details are aimed at making them compliment the amps they serve. A combination of critical listening and feedback from customers has allowed us to refine the designs to their present state, but as always, we are happy to discuss specific requirements and modify designs should the need arise.

Although the Big Chopper shares much of its DNA with the Little Chopper it is more than merely a ‘louder version’. With more bottom end and a substantial output it explores an even broader spectral field.

The precedent we set with the Little Chopper gave us a running start and we continued to hone our attention to detail, emphatically focused on the amplifier as an inspirational tool. As we continued to spend more time on design and development, we realised we were naturally allotting more time to critical listening. This echoes the sentiment in the 1956 edition of Radio Designers Handbook, which states – ‘The ear is the only judge of tonal balance’.

That realisation bred confidence in our method of component engineering. It precipitated the use of an unorthodox output stage which whilst more powerful, retained the Little Chopper’s smooth harmonic response. The addition of a second channel based on the beautiful simplicity of a Baxandall EQ, gave yet more scope for tonal exploration.

The Big Chopper has built on the Little Chopper’s harmonic legacy and delivers an increased potential for tonal variation and power. We have designed an amplifier to serve and advance your creativity wherever and whatever the demand.

Audio Kitchen Big Chopper 27 Watt single ended class A guitar amplifier. Nominal Output Impedance: 4, 8 or 16 Ohm 2 x ECC81, 1 x ECC83 preamp valves, 4 x EL84 output valves

Controls:

Channel One – Bright switch, Hi/Lo input, Gain, Bottom, Middle, Top, Stack

Channel Two – Bright switch, Hi/Lo input, Gain, Bottom, Top

Power – Master headroom control

Output – Off/Standby/On switch, 15W/ 30W selector switch, 4/ 8/ 16 Ohm selector switch

Mains Power Requirement: 240V @ 50HZ, 1.75A Voltage switch fitted as standard switchable to 115V @ 60Hz, 3.4A

Dimensions Approx Excluding Handle and Feet: 525mm x 310mm x 270mm (W x D x H) 20.6″ x 12.2″ x 10.6″ (W x D x H)

Weight: 29 Kg (60lbs)

The VOX AC15 is the amp that started it all. Boasting both a Normal and Top Boost channel, the AC15 Custom is an all-tube, EL84 driven workhorse that delivers 15 watts of authentic British tone into your choice of a genuine Celestion Greenback or Alnico Blue speaker. The AC15 Custom also offers footswitchable spring reverb and classic VOX tremolo to enhance the already impressive sound. Adored by the biggest names in music for nearly 60 years, the VOX AC15 Custom carries on the tradition that began in 1958 and offers guitarists the unmistakable sound of VOX, with all the refinements of a modern amplifier.

Available models: AC15C1: 15 Watts, Single 12″ Celestion G12M Greenback Speaker AC15C1X: 15 Watts, Single 12″ Celestion Alnico Blue Speaker

The most famous Tape-Echo Unit in Britain, and possibly in the World, the Copicat also happens to be the first repeat-echo machine manufactured as one compact unit. It was designed by Charlie Watkins in 1958, apparently after he heard a similar sound effect generated by two linked studio quality tape recorders for the Italian singer Marino Marini. Following its introduction, the tape-echo sound revolutionised pop music during the late 1950's and early 1960's, being behind the guitar sound of the top British bands including The Shadows. It also served a secondary purpose after being adopted for providing echo on vocals - the two volume controls acted as a rudimentary microphone mixer. These little machines sold by the thousand!!

Fulltone was the first to put out an exact copy of the legendary Vintage'60's Univibe on a large scale, starting in 1994.

The sound that made Morley famous!

The Morley Classic Wah Pedal gives you Classic Morley wah tone in a rugged, electro-optical effect pedal with roadworthy metal housing. Features LED indicator and easy-access battery compartment. Morley includes a 2-year warranty with the Classic Wah Pedal.

The sound that made Morley famous!

The Morley Classic Wah Pedal gives you Classic Morley wah tone in a rugged, electro-optical effect pedal with roadworthy metal housing. Features LED indicator and easy-access battery compartment.

This is our most popular hand-built distortion pedal.

hand-built die cast aluminium housing high quality components classic tube crunch to full on distortion dual valve high voltage circuit high brightness red LED power supply included true bypass switching

“Anyone expecting the coopersonic to stay within the confines of traditional overdrive pedals will be scared witless by the paint-stripping fuzz that kicks in as the drive control advances past the 12 o’clock mark…”

“more than just another boutique overdrive, there’s a mountainous fuzztone within the coopersonic waiting to be unleashed” - Guitarist magazine 4/5

Coopersonic Audio Engineering produce a range of hand-wired effects in Nottingham, England. Not all of them feature vacuum tubes, but two of their most talked-about pedals — the Valveslapper and Tubecleaner — make no secret of their valve-centric design. The Tubecleaner is described as a valve booster and buffer and, with just one knob to control volume, it's the simpler and more compact of the two pedals. While the larger Valveslapper uses a pair of full-sized, dual-triode valves, the Tubecleaner employs a single sub-miniature 6112 valve, which is a military-spec dual-triode.

The Valveslapper, billed as a tube overdrive, has controls for volume, bass, treble and gain — amusingly (or not, depending on your point of view) labelled thrust, balls, tits and ass, respectively. Inside are two 6N2P-EV valves, which can be swapped for 12AX7s or, indeed, 12AU7s or 12AT7s if you wish to experiment with the amount of gain on tap. Neither pedal features any kind of vent or opening to let out heat generated by the valves. Preamp-type valves like these do not produce anything like the heat of the larger valves you'd find in a guitar amp's power section, but the Valveslapper, in particular, does get very warm in use. This will ultimately shorten the life of the valves and possibly other components too, although their life span should nevertheless be long. In short, it's not ideal, but it's not catastrophic either!

Listen - do you hear that? That sound coming from your amp vaguely like a swarm of African killer bees coming to chase away your audience? The Electro-Harmonix Hum Debugger Hum Eliminator Pedal completely and totally eliminates hum from any audio source. It is not a suppressor. It is not a noise gate. It is absolute silence. Small and compact so it won't take up valuable space on your pedal board. Green LED indicates when it's engaged.

The beautiful sound of silence from a small pedal.

Listen - do you hear that? That sound coming from your amp vaguely like a swarm of African killer bees coming to chase away your audience? The Electro-Harmonix Hum Debugger Hum Eliminator Pedal completely and totally eliminates hum from any audio source. It is not a suppressor. It is not a noise gate. It is absolute silence. Small and compact so it won't take up valuable space on your pedal board. Green LED indicates when it's engaged.

Every musician battles hum in their signal chain. The EHX Hum Debugger turns it into dead silence, courtesy of a little Electro-Harmonix magic. No matter what type of pickups you use or how loud you play, the Hum Debugger will clean up your signal chain so that hum will no longer overtake your guitar signal. Simply connect the Hum Debugger to your guitar like you would any other effects pedal and you are ready to eliminate hum from your sound forever! True bypass Absolutely eliminates hum from any audio source Tough and compact die-cast chassis Power adapter included SPECIFICATIONS Circuit Digital Bypass True Bypass Audio Mono Power Supply 7.5VDC-400mA power adapter included Dimensions (in) 4.75 x 4 x 2.25 Current Draw 125mA(AC)

The Maxon Reissure Series PT999 Phase Tone pedal provides the same intense phasing as the original with less noise and more dynamic range. The circuit used today is exactly the same as it was when first introduced in 1974. An ideal phaser for any kind of instrument or application enhancing an instrument's character rather than masking it.

Classic 70’s phasing ala’ vintage Phase 90 Hand-selected Toshiba FET’s Chewy, organic phasing with subtle drive Nails classic Van Halen phase sound With its single knob, the PT999 Phase Tone looks deceptively simple. Yet packed into this tiny blue box is a host of the most authentic 70’s-era phasing effects available in a current production unit.

The secret behind the PT999’s timeless tone lies in the fact that its circuit is exactly the same as it was when first introduced in 1974. While many “reissue” effects are far from true to the original designs, Maxon has taken great pains to keep the Phase Tone unchanged for close to 45 years.

By adjusting the lone Rate control, a wide variety of expressive phasing nuances can be coaxed from the PT999 - all of them whisper quiet and amazingly transparent. Its minimalist circuit doesn’t get in the way of your guitar tone – it simply accentuates it, working equally well to spice up clean or distorted sounds.

If you demand classic phase shifting effects without compromising your guitar’s signature tone, the PT999 Phase Tone has no equals.

The PT999’s four-stage phasing circuit offers 720 degrees of phasing sweep variable from .2 to 14 Hz (cycles per second). The PT999’s FET’s (Toshiba #2SK246) are carefully sorted and matched by hand to produce the smoothest phasing sweep possible with low noise. Unlike some phasers, the PT999 runs negative feedback of the signal to each phase-shifting FET for less signal distortion.

The four-pole shift of the PT999 creates a chewy, organic phase with a subtle drive to the signal. The 4 phasing Op Amps work together to emphasize this phase point, as each successive one accentuates the notch of the previous, creating a very resonant effect. The subtle drive and resonance really bring out pick attack and add a degree of real, dirty dimensionality.

Internal trimmers adjust center frequency and width of the phasing sweep (factory calibrated, we recommend adjustment of these trimmers be left to a qualified technician).

The PT999 features buffered, JFET bypass switching with a low impedance output, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms

Output Jack: 1/4 inch standard phone jack

Output: 1

Controls: Rate

Switch: Normal/Effect

Max Input Level: 0 dBu

Noise (IHF-A): -80 dBu

Speed Frequency: 0.2 Hz 14 Hz

Power Supply: 9V Manganese dry cell battery (S-006P) or special AC adaptor

Power Voltage: DC9 V (Battery) / DC10 V (AC-adaptor)

Current Consumption: 12 mA (9V) / 14 mA (10 V)

AC Adaptor: AC210N (option) Input: AC120V Output: DC9V/200 mA Center - / Sleeve +)

Dimensions (main body): 61 mm (W) x 112 mm (D) x 35 mm (H)

Dimensions (whole): 70 mm (W) x 112 mm (D) x 55 mm (H)

Weight: 270 g

Accessories: 9V Manganese dry cell battery (S-006P) x 1

Non-skid pad: x 1

Warranty Card: x 1

User's Manual: x 1

Made by Valco in Chicago (who also produced amps and reverb units with identical circuits under the Supro and National names), this Gretsch 6144 has two spring Accutronics reverb tanks. The reverb is lush and splashy, with a different character than the Fender tanks produced in the 60s, and a unique tone for recording that matches very well with the preamps on other Valco amps. Versatile and simple in its design, the tank has one control for Reverb Intensity and a small three-way rotary switch to select the range of the reverb (Normal, Bass or Treble). This switch is a very cool feature that really helps tailor the reverb to individual instruments and recording situations, for the perfect amount of drip and cavernous, surfy tone.

The Holy Grail of Tube Screamers.

The Ibanez TS808 Vintage Tube Screamer Reissue is back. This is the incomparable overdrive pedal that vintage gear hounds are always hoping to find. The 2004 TS808 reissue features the same famous square footswitch and the warm tones of the JRC4558 chip used in most of the original TS808s. Ignore look-alikes. If your tone is suffering from a lack of real warmth, the TS808 is the real, nongeneric prescription.

The Holy Grail of Tube Screamers.

The Ibanez TS808 Vintage Tube Screamer. This is the incomparable overdrive pedal that vintage gear hounds are always hoping to find. The 2004 TS808 reissue features the same famous square footswitch and the warm tones of the JRC4558 chip used in most of the original TS808s. Ignore look-alikes. If your tone is suffering from a lack of real warmth, the TS808 is the real, nongeneric prescription.