Ronnie Montrose

Used for "Bad Motor Scooter", "Make It Last" and "Rock Candy", according to the following sources.

Guitar Player, October 1976

The stage is free of pedals because, the artist maintains, they always "screw up," but in the studio he does use a Big Muff fuzztone and an Ampeg Scrambler (the former built into a heavy-duty box). Ronnie's chosen amp for the past three years has been an old single cabinet tweed Fender Bandmaster with three 10" speakers. He has used the Marshalls on a few tracks, but their volume makes them difficult to work with when other band members are recording in the same room.

Circus, July 31, 1982, "Ronnie Montrose's guide to guitar accesories"

Page Influenced Montrose

"I saw him use a wah-wah," he recalls. "But my first box was an Ampeg Scrambler. It was in the days when sustain, compression, and all the things we now take for granted were in the experimental stages. This box just added a lot of noise and messed up the harmonics. I later used it with a Big Muff distortion box. I put the Scrambler in front of the Big Muff and turned it wide open. I adjusted the Big Muff and got a second note a perfect octave higher. You can hear this on 'Make It Last' from the first Montrose album."

Vintage Guitar, January 1995

Before I forget about it, I want to inquire about a particular sound on the first Montrose-album. I’ve seen Hagar doing the “Bad Motor Scooter” intro in concert on a lap steel. Is that how you did it on the first album?

Well, one thing you ought to know is that the song almost didn’t make it onto the album! (chuckles) We thought it was a “loser” track; just a little ditty that Sammy had written, but it was missing something. Then one day I was sitting with my red, double-cutaway Les Paul Junior, and a Electro-Harmonix Big Muff fuzztone, and the one amp I wish I’d never got rid of, a three-ten tweed Fender Bandmaster. I’d gotten it for ninety dollars, and when I bought it, it was covered with woodtone Contact adhesive paper! The Contact paper peeled right off; it didn’t leave any residue and the tweed looked brand new. I used that amp so much I blew it up several times before I finally got rid of it.

I tuned the Junior down to Open D, and started dinking around with a slide; I was probably doing Johnny Winter riffs. I happened to hit something that sounded like a motorcycle, and everyone yelled “STOP!” all at the same time. (laughs) We all knew where that riff belonged, so we changed reels and did it as the intro to “Bad Motor Scooter”.

Vintage Guitar, February 14, 2002 (unabridged)

The first Montrose album, Montrose, set new standards for sonic quality, and the duo of producer Ted Templeman and engineer Don Landee of course went on work with Van Halen. You’d worked with Ted on Van Morrison recordings, but really, Montrose broke the ground and poured the foundation upon which modern heavy metal is built – what can you tell me about the sound and recording of that album? Did you have a distinct impression of how you wanted that project to sound?

We had told Ted that we liked the Zeppelin thing, which was why we did the song “Rock Candy” at Sunset Sound, to get that big room sound. But everything was just sort of loose and free. As I look back at it, an old band mate of mine, Mitchell Froom, who is a pretty successful producer, I mentioned to him, “That first Montrose album sounds so basic and simple and raw. Sometimes I actually listen to a couple of sings and I sort of cringe, because it’s just so junior as far as playing.” And Mitchell said, “But the point is, all four of you were playing up to 100% of your ability. And when you do that, it can’t be denied.” And that’s the truth, and it was a very enlightening thing to hear from someone. When you’re playing up to your ability, and you only know three chords, and you’re giving it your all – that’s it! So we just had a good time playing.

The guitar tones of that recording are stunning – rich in tone, but very much in-your-face…

I was the only one who would hang around for mixes, and Ted and I would experiment and mess around with sounds. Ted and Don, both were my buddies in the studio. We sat around and joked, but I was always hanging over the console watching. Don and I would come up with these ideas, like the whole beginning of “Space Station #5.” That was me experimenting with my voice through a Leslie and a fuzztone. In the background of the chorus of “Rock Candy” Ted’s playing a Hammond B3, but we didn’t just want a B3. So I took the back off the B3, took the preamp output and put it into my Big Muff fuzz tone, put it into the Leslie and just fuzzed it beyond belief. So sonically, we were always into trying. As far as their ears were concerned, Ted was really on top of it, and Don was as well. I called Don “The King of the Frequency Layers.” He’d say, “We need just a little more 4k there. What do we have around the studio that’s in the 4k range?” I was very impressed with that.

Guitar Player, "GP CLASSIC: Ronnie Montrose Interview" (at 3:43)

I did use a Big Muff fuzztone when I recorded "Bad Motor Scooter". That was once again through the same Bandmaster, but to get that super fuzztone, you know, I was just screwin' around one day, we actually, we weren't sure this song was gonna be on the record and, I was just sorta screwin' around with open D tuning slide and hit the—I don't have it, you know, it's not in tune now, but it's like [plays slide phrase] and, Ted Templeman and Donn Landee said "Stop! Stop! Stop!" They ran and got the tape, they put it on, 'cause it sounded, it just sounded so perfect for the song, but we weren't really intending it to be that way, it was just, it just happened, so... But it was a Big Muff fuzztone.

The Les Paul Forum, "What guitar did Montrose use?", comment #47 by Pope Bubba, July 5, 2013

soulbrojcs said:

A couple'a years ago, Greg Martin and I sat on their tour bus with Ronnie after one of their shows, and he told us all about the Fender 3x10 Bandmaster he used on that first Montrose album. he made the comment that he really wished he had never gotten rid of it. he also showed us the way Jimmy Page showed him to play the into to Zeps "Whole Lotta Love". he was a REALLY nice guy.

I remember that like yesterday, Jimmy. Ronnie was one of the nicest humans ever, a big influence on me in the 70's.

As Jimmy said, Ronnie used an old tweed 3x10 Fender Bandmaster, that had been recovered, for the first Montrose album. Since his 1959 'burst was stolen at a Edgar Winter Group gig earlier, I'm almost thinking the first Montrose album was done with a newer Les Paul or another 50's 'burst? I always envisioned Ronnie having stacks of Marshall's in the studio for "Montrose," it was all done on that tweed Bandmaster! He also told me he used a Electro-Harmonix Big Muff on "Bad Motor Scooter" and a Ampeg Scrambler on "Make It Last." Ronnie said the trick to making the Scrambler work, was rolling the treble all the way back on pickups and turning the volume all the way up. I own an old Scrambler, this works!!! Other than that, Ronnie said it was straight into the amp. You can hear a Eventide H910 Harmonizer added in on the mix by producer Ted Templeman or engineers Don Landee and Stephen Jarvis as well, set on 1.01 or 0.99. That gave it that doubling slap sound on solos. Ever notice the similarities in guitar tones on the Doobie Brothers "China Grove" and "Montrose"? Both produced by Ted Templeton....

I really miss Ronnie, we got to be really good friends. We had many conversations about music, guitars, amps, influences, even jammed about 3 times. He wanted to produce a Rufus Huff CD, sadly we never got to do it. He's a BIG reason I play a Les Paul today, I know Jimmy feels the same way. His talent and spirit was undeniable. Anytime I need a good kick in the rear, I put on that first Montrose album!

Greg

The Gear Page, September 6, 2013, “ I need a Compact Fuzz for early Montrose tones?”, comment #4 by Plexihead

I asked what Ronnie used on the first Montrose album and he stated a Les Paul (probably a '58), Big Muff (not sure which issue, probably recently bought for the lp I would think) and a Fender Bandmaster which he purchased just before the recording.

The "Triangle" Big Muff was phased out for the "Ram's Head" in 1973, the year that Montrose was recorded, ambiguating the version used. Judging by the 1969 release of the Ampeg Scrambler and Led Zeppelin's 1969 debut, however, Montrose must have been exploring fuzzes rather quickly. This suggests a "Triangle" Big Muff. Big Muff Pi scholar Kit Rae seems to have come to the same conclusion.

Ronnie Montrose of Montrose - A Les Paul, Tweed Fender Bandmaster, and a V1 Big Muff was used on their first Montrose album in 1973.

Auction via Julien's in 2013 after Ronnie's passing.

A 1965 Fender Stratocaster guitar, serial number L70612, owned and played by Ronnie Montrose and highly modified by him, including the addition of star inlays on the neck. Glen Quan did many of the other modifications on the guitar in the late 1970s. This guitar was purchased by Montrose in the early 1970s and was originally a burgundy mist color. It was repainted in 1974 and was the guitar used in the studio on the 1974 album Paper Money. It was also played on Montrose's later albums, Gamma 1, Gamma 2, and Gamma 3. The guitar was featured on the cover of BAM magazine and in various advertisements. Comes with the original hardshell case.

$90.00 Garage sale find 3x10 Bandmaster for the first "MONTROSE" album. Ran "Flat out" (full Volume) with Les Paul straight in.

This guitar was auctioned off in 2013 via Julien's. One of the very first Baker B1 models, Ronnie Montrose named this guitar "The Beast." This 1997 Baker B1 guitar was Montrose's main stage guitar, built for him by Gene Baker. The 1 7/8" neck was custom made for Montrose. He toured with this guitar and played it at WestFest in 2009. He also played this guitar in the film Guitar Man as well as in the video "Ronnie Montrose - Live at the Uptown." It was the guitar he used on the last concert DVD and on the "Ronnie Montrose and Friends: 10x10" project that is to be released in 2014. It features a flame maple top and solid mahogany body and neck with a rosewood fingerboard. Includes a picture of Montrose with the guitar, a letter of authenticity from Gene Baker, a Custom Spec sheet, and a hardshell case."

In the YouTube video titled "Ronnie Montrose - Town Without Pity - 4/3/1978 - New York City (Official)" by Wolfgang's Hard Rock, Ronnie Montrose is seen using a 1970s Lab Series L11 guitar amplifier head.

Mentioned in this now deleted February 6, 2012 Guitar Player interview. Two were auctioned via Julien's in 2013.

Guitar Player

I always take along a Foxrox Captain Coconut 2 pedal to help out the tone. It’s an absolutely amazing pedal—a 3-in-1 device with the most perfect octave driver and phaser/ flanger sounds. It also has a distortion, but I never use it—I just turn the distortion down to zero, and use that part of the pedal as a mute so I can tune my guitar.

Julien's, "Icons and Idols 2013: Rock N' Roll (#12613)", Lot 200 and Lot 204

Ronnie Montrose's Fox Rox Captain Coconut 2 Multi-Effects processor pedal, used by Montrose onstage. This was one of Montrose's favorite effects to use on tour.

10 by 6 3/4 by 2 inches

PROVENANCE From the Collection of Ronnie Montrose

Used for "Make It Last". It is mentioned in the October 1976 issue of Guitar Player, the July 31, 1982 issue of Circus and a July 5, 2013 recollection by The Les Paul Forum member Pope Budda.

Guitar Player, October 1976

The stage is free of pedals because, the artist maintains, they always "screw up," but in the studio he does use a Big Muff fuzztone and an Ampeg Scrambler (the former built into a heavy-duty box). Ronnie's chosen amp for the past three years has been an old single cabinet tweed Fender Bandmaster with three 10" speakers. He has used the Marshalls on a few tracks, but their volume makes them difficult to work with when other band members are recording in the same room.

Circus, July 31, 1982

Page Influenced Montrose

"I saw him use a wah-wah," he recalls. "But my first box was an Ampeg Scrambler. It was in the days when sustain, compression, and all the things we now take for granted were in the experimental stages. This box just added a lot of noise and messed up the harmonics. I later used it with a Big Muff distortion box. I put the Scrambler in front of the Big Muff and turned it wide open. I adjusted the Big Muff and got a second note a perfect octave higher. You can hear this on 'Make It Last' from the first Montrose album."

The Les Paul Forum, "What guitar did Montrose use?", comment #47 by Pope Bubba, July 5, 2013

soulbrojcs said:

A couple'a years ago, Greg Martin and I sat on their tour bus with Ronnie after one of their shows, and he told us all about the Fender 3x10 Bandmaster he used on that first Montrose album. he made the comment that he really wished he had never gotten rid of it. he also showed us the way Jimmy Page showed him to play the into to Zeps "Whole Lotta Love". he was a REALLY nice guy.

I remember that like yesterday, Jimmy. Ronnie was one of the nicest humans ever, a big influence on me in the 70's.

As Jimmy said, Ronnie used an old tweed 3x10 Fender Bandmaster, that had been recovered, for the first Montrose album. Since his 1959 'burst was stolen at a Edgar Winter Group gig earlier, I'm almost thinking the first Montrose album was done with a newer Les Paul or another 50's 'burst? I always envisioned Ronnie having stacks of Marshall's in the studio for "Montrose," it was all done on that tweed Bandmaster! He also told me he used a Electro-Harmonix Big Muff on "Bad Motor Scooter" and a Ampeg Scrambler on "Make It Last." Ronnie said the trick to making the Scrambler work, was rolling the treble all the way back on pickups and turning the volume all the way up. I own an old Scrambler, this works!!! Other than that, Ronnie said it was straight into the amp. You can hear a Eventide H910 Harmonizer added in on the mix by producer Ted Templeman or engineers Don Landee and Stephen Jarvis as well, set on 1.01 or 0.99. That gave it that doubling slap sound on solos. Ever notice the similarities in guitar tones on the Doobie Brothers "China Grove" and "Montrose"? Both produced by Ted Templeton....

I really miss Ronnie, we got to be really good friends. We had many conversations about music, guitars, amps, influences, even jammed about 3 times. He wanted to produce a Rufus Huff CD, sadly we never got to do it. He's a BIG reason I play a Les Paul today, I know Jimmy feels the same way. His talent and spirit was undeniable. Anytime I need a good kick in the rear, I put on that first Montrose album!

Greg

Auctioned in 2013 via Julien's.

Ronnie Montrose's Gallien-Krueger amplifier, model 112CL, with a Celestion G12-80 12-inch speaker. This amp was used with the 1965 red Fender stratocaster on the albums Gamma 1 and Gamma 2.

19 1/2 by 18 by 9 inches

PROVENANCE From the Collection of Ronnie Montrose

Developed in collaboration with Montrose. He mentions it in this January 1995 Vintage Guitar interview.

I’ve also been doing design and consulting work with Big Industries on an amp they’ve built. It runs on a nine-volt battery and it looks like a work of art. It weighs about ten pounds and has a six-inch speaker. It sounds really great and it’s loud. It’s called the Ronnie Montrose Signature model. So I’m keeping busy and still having a good time.

How about your amp?

My amp of choice for the past 15 years has been the Bogner Shiva—it’s my favorite amp on the planet. But if I have to fly to a gig, it’s more practical to have a rental company bring an amp to the venue. The typical choice is a Marshall JCM 900, and while I can still sound like Ronnie Montrose with that amp, it doesn’t give me that same, singing “Ronnie Tone” that I get with my Shivas. So I always take along a Foxrox Captain Coconut 2 pedal to help out the tone. It’s an absolutely amazing pedal—a 3-in-1 device with the most perfect octave driver and phaser/ flanger sounds. It also has a distortion, but I never use it—I just turn the distortion down to zero, and use that part of the pedal as a mute so I can tune my guitar. I’m also a huge fan of the Rocktron Intelliverb. It’s my favorite device ever—so intuitive and easy to use. And I’ve just discovered the Eventide TimeFactor pedal, and I absolutely love it! It’s perfect for the Gamma songs I’m doing on this tour.

"And I’ve just discovered the Eventide TimeFactor pedal"

Mentioned in the July 31, 1982 issue of Circus.

"The most exciting thing that's happened to me in a while is the invention of the Gillis Wireless Switcher. I was talking to (inventor) Greg Gillis. saying it would be great it there was a switching system the size of a deck of cards that you could attach to your guitar strap—something with a calculator keypad that would transmit to all the switches on your rack. That way you would never have to have any foot pedals on stage. A week later he called me up and said. 'Come and get it.' I hit the ceiling. It was a dream come true. He took a nebulous idea of mine and I saw it realized in a week! It looks like a badge on my guitar strap with an antenna coming out of it. I have eight switches in there and a master clear button. Among Ronnie's effects are a modified Moog string filter. a Moog Phaser. two Lexicon PCM 41's. a Dyna-Mite Limiter Gauge and a Vocoder.

"The Moog String Filter resulted from Moog taking an orchestra and analyzing the waves of the string section. They built this into separate filters. The idea was good. but they never completed the design. It was very noisy and didn't resonate properly. You couldn't control the range of the filter. I tore it apart. put in DBX cards to quiet it down. and used a blend pot on the ranges rather than on off switches. I'm now able to dial in a very sweet tone.

"I'll always continue to experiment with new things. But after all is said and done, the fail-safe I utilize is my talent as a guitar player. When all else fails. I plug directly into the amp and do what I do best, which is play the guitar. Everything else is embellishment."

Mentioned in the July 31, 1982 issue of Circus.

"The most exciting thing that's happened to me in a while is the invention of the Gillis Wireless Switcher. I was talking to (inventor) Greg Gillis. saying it would be great it there was a switching system the size of a deck of cards that you could attach to your guitar strap—something with a calculator keypad that would transmit to all the switches on your rack. That way you would never have to have any foot pedals on stage. A week later he called me up and said. 'Come and get it.' I hit the ceiling. It was a dream come true. He took a nebulous idea of mine and I saw it realized in a week! It looks like a badge on my guitar strap with an antenna coming out of it. I have eight switches in there and a master clear button. Among Ronnie's effects are a modified Moog string filter. a Moog Phaser. two Lexicon PCM 41's. a Dyna-Mite Limiter Gauge and a Vocoder.

"The Moog String Filter resulted from Moog taking an orchestra and analyzing the waves of the string section. They built this into separate filters. The idea was good. but they never completed the design. It was very noisy and didn't resonate properly. You couldn't control the range of the filter. I tore it apart. put in DBX cards to quiet it down. and used a blend pot on the ranges rather than on off switches. I'm now able to dial in a very sweet tone.

"I'll always continue to experiment with new things. But after all is said and done, the fail-safe I utilize is my talent as a guitar player. When all else fails. I plug directly into the amp and do what I do best, which is play the guitar. Everything else is embellishment."

Custom built for Montrose. It was auctioned via Julien's in 2013.

Ronnie Montrose's 2002 Baker BJ "Montrose" silver sparkle guitar played by and signed by the original Montrose members at the last Montrose reunion in Tahoe, California, in 2008. This is the guitar that Ronnie would use for the slide guitar portion when performing the song "Bad Motor Scooter." Includes a photo of Montrose with the guitar, a letter of authenticity from Gene Baker, a Custom Spec sheet, and a hardshell case.

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Ronnie Montrose's Epiphone FT85 12-string acoustic guitar, played by Montrose on all of the 12-string guitar parts on the album Paper Money in 1974 and on many of his other records. Serial number 152224. Natural finish, with added Sunrise pickup, input jack and truss rod cover that says "Ronnie Montrose." Includes a hardshell case.

PROVENANCE From the Collection of Ronnie Montrose

Specified on the official Foxrox artist page.

The Late, Great Ronnie Montrose

Captain Coconut, CC2 Upgrade, Octron2

In the video "Montrose - Bad Motor Scooter," Ronnie Montrose can be seen playing a Gibson Les Paul Standard, which appears to be from the late '60s or early '70s.

In a live performance of "Paper Money & I Got The Fire" at the Midnight Special in 1974, Ronnie Montrose used the Gibson Collector's Choice #28 STP Burst. This iconic '58 Les Paul, once part of Montrose's collection, later became integral to Peter Weihe's renowned studio work in Germany. Gibson Custom has since recreated this legendary guitar in a limited edition of 300, complete with a USB containing a video introduced by Mrs. Montrose, chronicling its history with Ronnie. Each guitar also includes a Certificate of Authenticity and Ronnie Montrose commemorative picks.

Auctioned via Julien's in 2013. It was nicknamed "The Old Boy".

Ronnie Montrose's 1943 Gibson J45 acoustic guitar in sunburst. Owned by Montrose since 1968, this was his main acoustic guitar throughout his career. It was used as a backup guitar on the first Montrose album and was featured on the song "Connection" from his Paper Money album in 1974. The finish shows some checking, and there has been extensive custom work done to the guitar. CJ Hutchins did the fret work, Glen Quan did the structural work, and Hideo Kamimoto did finish work on the guitar. Includes a photo of Montrose with the guitar and a hardshell case.

Ronnie Montrose used this custom Moog on stage for the "Solo"(without a band) live dates he did in the early 80's.

"I’m also a huge fan of the Rocktron Intelliverb. It’s my favorite device ever—so intuitive and easy to use."

Mentioned in the July 31, 1982 issue of Circus.

"The most exciting thing that's happened to me in a while is the invention of the Gillis Wireless Switcher. I was talking to (inventor) Greg Gillis. saying it would be great it there was a switching system the size of a deck of cards that you could attach to your guitar strap—something with a calculator keypad that would transmit to all the switches on your rack. That way you would never have to have any foot pedals on stage. A week later he called me up and said. 'Come and get it.' I hit the ceiling. It was a dream come true. He took a nebulous idea of mine and I saw it realized in a week! It looks like a badge on my guitar strap with an antenna coming out of it. I have eight switches in there and a master clear button. Among Ronnie's effects are a modified Moog string filter. a Moog Phaser. two Lexicon PCM 41's. a Dyna-Mite Limiter Gauge and a Vocoder.

"The Moog String Filter resulted from Moog taking an orchestra and analyzing the waves of the string section. They built this into separate filters. The idea was good. but they never completed the design. It was very noisy and didn't resonate properly. You couldn't control the range of the filter. I tore it apart. put in DBX cards to quiet it down. and used a blend pot on the ranges rather than on off switches. I'm now able to dial in a very sweet tone.

"I'll always continue to experiment with new things. But after all is said and done, the fail-safe I utilize is my talent as a guitar player. When all else fails. I plug directly into the amp and do what I do best, which is play the guitar. Everything else is embellishment."

Mentioned in the July 31, 1982 issue of Circus.

"The most exciting thing that's happened to me in a while is the invention of the Gillis Wireless Switcher. I was talking to (inventor) Greg Gillis. saying it would be great it there was a switching system the size of a deck of cards that you could attach to your guitar strap—something with a calculator keypad that would transmit to all the switches on your rack. That way you would never have to have any foot pedals on stage. A week later he called me up and said. 'Come and get it.' I hit the ceiling. It was a dream come true. He took a nebulous idea of mine and I saw it realized in a week! It looks like a badge on my guitar strap with an antenna coming out of it. I have eight switches in there and a master clear button. Among Ronnie's effects are a modified Moog string filter. a Moog Phaser. two Lexicon PCM 41's. a Dyna-Mite Limiter Gauge and a Vocoder.

"The Moog String Filter resulted from Moog taking an orchestra and analyzing the waves of the string section. They built this into separate filters. The idea was good. but they never completed the design. It was very noisy and didn't resonate properly. You couldn't control the range of the filter. I tore it apart. put in DBX cards to quiet it down. and used a blend pot on the ranges rather than on off switches. I'm now able to dial in a very sweet tone.

"I'll always continue to experiment with new things. But after all is said and done, the fail-safe I utilize is my talent as a guitar player. When all else fails. I plug directly into the amp and do what I do best, which is play the guitar. Everything else is embellishment."

Two were auctioned via Julien's in 2013. The listings can be found here and here with the same description.

Ronnie Montrose's Crybaby Wah Wah pedal, which he used in the studio. Montrose liked a clean look, so he removed all of the decals from the pedal.

10 by 4 by 3 inches

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Ronnie Montrose's 1990s Washburn Oscar Schmidt OM10 sunburst mandolin, Style A, serial number 7120527. The pickguard has been removed but is included in the hardshell case.

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Built for Ronnie Montrose by Gene Baker while he was still at Fender, this custom Stratocaster was painted by artist Michele Graybeal and was known as "Skinny." Serial number GB017. This guitar, one of Montrose's primary guitars for several years, features a "muscles and tendons" design on white with a Wilkinson tremolo and maple neck with maple cap fingerboard and locking tuners. Includes a picture of Montrose with the guitar, a letter of authenticity from Gene Baker, and a hardshell case.

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Ronnie Montrose's Mesa Boogie Preamp pedal, Model V Twin, with manual and power supply.

8 1/4 by 3 by 7 inches

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Ronnie Montrose's main performance acoustic guitar, a 2003 Taylor 712-CE flattop cutaway. It has a natural finish, Sunrise pickup, added input jack, an extra strap button hole, and no truss rod cover. Includes a hardshell case.

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

Ronnie Montrose's Mesa Boogie 20/20 DynaWatt EL84 all tube stereo power amp with a black nylon case. Serial number 55-04079.

21 1/2 by 17 by 6 inches

PROVENANCE From the Collection of Ronnie Montrose

Auctioned via Julien's in 2013.

A box of various electronics modified or built by Ronnie Montrose, including two Bogner RM pedals, switch box and five inputs, Direct boxes, footswitch, FX017 Wah volume controller, Matchbox Preamp EQ, Direct box speaker simulator MB-10, a microphone, and miscellaneous cables.

12 by 12 by 6 inches

PROVENANCE From the Collection of Ronnie Montrose