Gibson was one of the first manufacturers of electric guitar amplifiers, with the first model hitting their catalog in 1935. The electric guitar was developed shortly before this time by Gibson and a handful of other manufacturers, and the company saw the new trend as a potential marketing opportunity for amplification. Gibson amplifiers were constructed in their Kalamazoo plant in Michigan, featured all tube construction, and early examples sported few controls-if any at all.

Pre-WWII
The EH100 and EH150 were Gibson’s fledgling amplifier models from 1935 to 1942, featuring 8 and 15 watts, respectively, with 10-inch speakers and no volume or tone controls. Volume controls were added to both models around 1937, with a single tone control added to the EH150, as well as a larger 12-inch speaker, for the model year. In 1941, the 15-watt, 12-inch speaker EH185 and EH125 were added, with an additional control for bass on the EH185. Although all amps featured similar power amp circuitry through the model years, preamp tube configuration changed almost from year to year.
Post WWII Gibson Amplifiers
War-time restrictions of components and hardware forced Gibson to halt manufacturing of electric guitars and amplifiers during World War II. Gibson began production again in 1946, employing Chicago-based electronic design company Barnes & Reinecke to design a new amplifier line. The new amps included the Ultratone BR-1, BR-3, BR-4, BR-6 and BR-9 models, with 10 to 18 watts of power. Volume and tone controls were featured on all models, except the smaller BR-6 and BR-9 amplifiers. The BR amplifiers were produced until 1954 and were discontinued to take advantage of more popular features and newer technology.
The 1950s
Shortly after development of the BR amplifiers, Gibson marketed its new GA series, starting in 1948, and continued with variations on the line until 1967. The GA series amplifiers made use of growing amplifier technology, and many early units began to feature volume, tone and bass controls, as well as tremolo and reverb effects. With the introduction of Gibson’s famous Les Paul guitar in 1952 came Les Paul amplifiers as a special edition GA series, produced until 1961.
GA Series Amplifiers in the 1960s
The GA Series underwent numerous model and configuration changes through the late ’50s through 1967, when manufacturing ceased. Names were also added to early ’60s GA amps, including the Raider, Invader, Gibsonette, Skylark, Discoverer, Lancer, Rhythm King, several variations of Maestro and the Les Paul Junior. The mid-to late ’60s saw Vanguard, Hawk, Scout, Titan, Mercury, Atlas, Apollo, Ranger, Saturn, Explorer and Minuteman model names.
Amplifier Speakers
Earlier Gibson amplifiers used Utah speakers, with Rola used on some later models in the ’40s and early ’50s. Gibson specified the use of Jensen speakers in the 1950s, switching to CTS speakers in the ’60s, particularly in its budget amplifiers. Gibson offered JBL speakers as an option for certain models in the 1960s. Since speakers from this period used paper voice coils, which limited power handling, many older amplifiers may not feature original speakers.
Collector’s Market
It is interesting to note that Gibson went head-to-head with Fender and other major manufacturers during the 1960s but never quite held market share. It is widely known to collectors that Gibson did not market amplifiers as heavily as Fender and other brands, and introduced new models without fanfare as a matter of course. Many Gibson amplifiers feature similar power, speaker arrays and electronic circuitry to other amps of the era, and are considered bargains on the vintage amplifier block because of their lack of popularity.

Crate is one of the leading workhorse amps out there today. There are more styles, more models with more features than any other brand. With all these features, all these dials and knobs, comes more to learn. Whatever model you choose will have a different set of rules, but there are tips that can help navigate schematics and engineering that have made Crate amps so popular.
Read the Manual
This is the single best tip for owning a Crate. Read the manual, then set aside all the hookup, warranty and schematics, and turn to the back. Don’t try to navigate the sound without consulting the Crate pre-sets. There are too many options on high and low gain, channel switching and processor modes. There is a list of sounds like “politely gritty,” “down and dirty,” and “clean.” With each dedicated sound there is a diagram showing how all the dials and knobs should be set. Choose a sound, dial it in and start from there.
On-board Tuner
Some of the Crate models have an on-board guitar tuner. An on-board tuner is the single most useful device on a Crate. In the heat of the stage lights, you can just glance over at the tuner for a quick reassurance that all is well—or sort out a troubling guitar string by watching for red or green indicator lights. If other guitarists in the band are using Crate with on-board tuners, it’s easy to get into sync before you go on stage.
Foot Switch
Some Crates come with a foot switch, the second handiest device on a Crate. There are three buttons on a foot switch. The first is channel one, which is the low gain channel. Use this when accompanying other musicians. You will see a corresponding red light.

Stomp the second button and you get a lead burst, channel two. Use this when it’s your turn to shred or do lead work. It’s a yellow light.

If you stomp the first button again you get a green light, your third channel, the clean channel. Use for country or anytime you need straight guitar with no distortion. Your third button is blue; you have just added your processor.

Don’t get the black-and-white inputs turned around backward. Check them twice coming out of the foot switch, then plug them in the same way on the back of the amp. It won’t damage anything by getting them wrong, but you can spend hours looking for the problem.
Processor
Some Crates come with built-in computer processors. Get one that does if you don’t want to add expensive effects later. There are almost unlimited possibilities with a combination of old-school effects like wah wah and reverb.

Use the diagrams in the back of the manual to start your processor control, then fine-tune it by hand.

Fender amps have long been the backbone of music history, becoming an icon of quality along the way. They can be found in nearly any live setup, recording studio or garage band practice room, and have the reputation of being a tough, dependable amp. Unfortunately, fender amps do suffer occasional breakdowns and will need to be repaired. This article offers some help with basic repairs and information on how to solve more difficult issues, as well as some suggestions on preventive maintenance to reduce future issues.

Step by step instructions :

Step 2
Determine the problem.
When the amp stopping working correctly, the problem may be obvious. No lights are usually an indication of no power and lights with no sound is often the result of a loose or broken connection. If you are sure of the problem, move on the the next step. If not, try to work through the possible sources of trouble. Start at the beginning with power, making sure that the amp is plugged in and that the outlet is working. If you have power, check to see if indicator lights are lit or if the display is working. The next step would be to check cables and connections to isolate possible trouble spots. For more advanced problems, Fender has an extensive online support and troubleshooting resource on their website. Check the resource section below for the address.

Step 2
Obtain replacement parts.
Once you have isolated the source of trouble, determine if the item can be repaired or needs replacement. Wiring and connection issues are often easy repairs, where damaged circuit boards require more experience to repair. If you decide to attempt the repair yourself, use Fender original parts, if possible. This will ensure quality parts and compatibility with your existing circuits. If you are not comfortable with performing the repair yourself, check the Fender website for authorized repair centers in your area.

Step 3
Repair the amp.
If you have decided to repair the amp yourself, approach the project with great care and caution. Not only will you be working on an expensive piece of musical equipment, it is also a high-voltage electrical device. Be sure to unplug the amp before you begin and confirm connections and grounding before plugging the amp back in. Follow any directions that you received with the replacement part to ensure correct installation. When you have completed the repair, test the amp to confirm that the new part is working correctly.

Step 4
Repair cosmetic issues.
If the repair is related to cosmetic or structural damage, refer to the Fender website for details on possible replacement parts or information on possible repairs. Many items such as vinyl coverings, handles, wheels, knobs and speaker covers are best replaced with original Fender parts, but can be purchased on the secondary market on as a generic replacement pair. These items are not as sensitive to replacement as electrical or electronic parts

Marshall guitar amplifiers come in a variety of shapes and sizes to accommodate guitarists of every skill level across the spectrum. From enthusiastic beginners eager to annoy their parents while they crank up the volume in their bedrooms to bona fide world wide rock stars who tour the globe and require a precise sound to fit their playing styles. Marshall guitar amplifiers were first made back in 1962 by Jim Marshall in London, England. The original amplifiers were called the JTM45 models. This model endured over the next few years, but with alterations to its character as time went on. Changes came in the way of logo size and placement, colors, to shapes and on to twin speaker outputs. In 1966 the JTM45 changed to the JTM50 and 100 watt production became standardized. The changes kept coming and the legend of Marshall amplifiers continued to grow with endorsements by some of the worlds largest rock stars including Jimi Hendrix, Jimmy Page, and Eric Clapton. With such a stellar wealth of stars supporting Marshall amps the company needed to expand often to meet the demands of such a world renown product.

Today there are around eighteen different styles of amps to choose from with each style having its own subdivisions. Marshall guitar amplifiers can cater to the person on the go with Micro Amps, which in a case measure a tiny 14cmx11cmx6cm, and are extremely portable and easy to travel with. The Micro amps also come with a headphone output for the guitarist who might want to go metal in privacy or to keep it down and not upset a neighbor or mom and dad. For the rocker who wants to get inside a musicians head Marshall offers the signature series, amps designed by rock stars for rock stars. Dave Mustaine has two signature products to his name in the Marshall line, the DM1960 amp and the MG15FXMSDM which is considered a Megastack of analogue tones. The signature series line also comprises of Marshall guitar amplifiers for Paul Weller, Randy, Rhoads, Lemmy of Motorhead, and Kerry King of Slayer. When Marshall guitar amplifiers are mentioned out loud the first thing that comes to mind is a loud, thundering, rock and roll sound, but Marshall also has acoustic amps for those who do not wish to electrify the entire neighborhood. The AS50D and the AS100D will satisfy the mellow moments for a musician while emitting an amazingly pure sound into the air. So, whether a rocker, a traveler, or a folk junkie, Marshall guitar amplifiers will have an amp to suit anyone ready to plug in and let the music flow.

Choosing the right amplifier for your guitar is by no means an easy task. Usually a guitarist will think of style, as well as price first, when considering options. Assuming you have bought a guitar recently, this guide will suggest a few tips, for buying a new or used amplifier. There are dozens on the market – with low to “sky’s the limit” prices. Assuming that you are a beginning or aspiring guitarist, this guide should give you some guidance. Perhaps you have just bought a Fender, Epiphone, Gibson, Dean, Ibanez, Kramer or other guitar, of fairly good to good quality, you will need a good amp to compliment your style.

One cannot think of a guitarist performing live, without thinking about their guitar to some extent. Visualizing Jimi Hendrix’s “Stratocaster” with a wall of amplifiers behind him, – yes the much emulated and desired Marshall Stacks, which are quite expensive. Eric Clapton, in his early years, preferred Marshalls as well, though he did also prefer to play a Les Paul, or his legendary “The Fool” SG, before he switched over to a Stratocaster as well. Speaking of “The Fool’s” current owner, Todd Rundgren, who prefers an old Fender Mustang, is known to like the crispness of Peavey amplifiers. I have owned several Peavey amplifiers, including a P.A. and must admit, they are really hard to beat for clarity of sound. I also owned a Marshall Stack 100 Watts at one time, and attribute much hearing loss from it. Honestly, I think the same classic sound, with less decibels can be achieved, through smaller amps.

Really you must ask yourself, in relation to the guitar you have, what kind of sound are you wishing to project? Will this be acoustic? Straight ahead Rock and Roll? Country? Blues? Heavy Metal?

What kind of budget are you on? If you are like me, I would rather start with a smaller amplifier to get a feel, for how I like the sound and how it sounds with the guitar.

SOLID STATE VS. TUBE AMPLIFIERS

There are many guitar purists who swear by tube amplifiers over solid state. They want that warm crunch or presence of vintage tube analog sound. The cost of a vintage amplifier is expensive. One can also emulate or simulate the sound of a tube amplifier, from effects pedals, such as Ibanez Tube Screamer, which is quite popular, for this purpose. Behringer and Peavey have smaller amps which sound fairly good, with trans-tube technology, in relation to the vintage Fenders, Vox, and Marshalls. But for our purposes, we shall focus on solid state amplifiers due to cost for the beginner, versatility, and the simple fact, that digitally the sound can be reproduced, to an extent, only a professional would notice.

$100 Budget

Let us assume that you have $100 to spend on an amplifier at this time. Note, you can always add effects pedals. In addition, due to digital technology, you can also purchase pedals which will simulate all the classic and vintage amplifiers.

There are inexpensive practice amplifiers out there ranging from $30-80, but it would be safe to say, that the bedroom, backstage or den is the only context you will be able to use them in. Usually they are about 10 Watts of power, although good in tone, you may want to consider something that can be used in other atmospheres, such as jamming along with friends, or even having enough power for small clubs, or coffeehouses. Among those smaller amps for practice:
Rogue, Peavey Audition, Rocktron, Ibanez, Behringer V Tone, Kustom, Fender Frontman 15G, Behringer Ultracoustic, Pignose, even a 10 Watt Marshall.

These amplifiers may be what you are seeking if you are considering to mic them through a P.A. System, or you really just want an amplifier, to jam along with songs in the comfort of your bedroom, but it is best to consider amps starting in the 15 watt range and going up from there.

By the way, don’t feel embarrassed by the use of pedals and effects you will find that most guitarists use them.

Lastly, you may want to get a custom handmade amp built for you by someone like Jack at jacksaxe.com. Custom amps have the advantage of being built to your desires and needs.

Whatever you do, make sure that you have done your research before buying an amp. You will be glad you did.

The Mesa Boogie Mark Series is a series of guitar amplifiers drafted by Mesa Engineering. It was Mesa’s flagship yield until the introduction of the Rectifier series, and the amplifiers are very collectible.

The very first Mark I was drafted in 1969, past Smith, as a jest, corrected Barry Melton’s (Country Joe and the Fish) Fender Princeton amplifier. He extracted the yardstick 10 inch speaker and corrected the chassis to fit the enlarged transformers that were was deficient by the 4-10 tweed Fender Bassman, the circuit that he had supplemental into the 12 watt Princeton. Finally, mounting a 12 inch JBL D-120, a republican speaker of the time, Smith had written what would be the first Boogie.

Randall Smith took the “hot-rodded” Princeton into the front store. Coincidentally, Carlos Santana was prevailing and “wailed through that tiny amp until population were blocking the sidewalk.” Impressed, Santana articulated Smith, “Man, that tiny amp truly boogies!”, consequently delivering the existing call for the amplifier and the company.

“Mark I” is the moniker given to the first Boogies ever drafted, even so they were not summoned “Mark I” until the Mark II came along. They were 100 or 60 watts combo amps with a 12-inch speaker, at the start Altec-Lansing 417-8H Series II. The Mark I had couple channels: one bathe (voiced quite interchangeable to the original Fender) summoned “Input 2,” and one “high gain,” summoned “Input 1,” which effected the overdriven “Boogie lead” utterances adapted bulk notably by Carlos Santana on the “Abraxas” album, and later by The Rolling Stones, with Keith Richards and Ron Wood including the amps survive from 1977 until 1993 and in the studio on classic albums as Some Girls and Tattoo You.

This amp in its original variety is very collectible, but does not have foot switching capabilities–one plugs into one or the other input for the couple tones. Reverb was optional, and not prevailing on more early Boogies. Later, Mark I models were available with reverb and/or graphic EQ.

Early models have “slave out” and “reverb” labeled on the behind with Dymo stick; they do not have any “pull lead” competency on the volume controls. Later models had “Pull Bright” and “Pull Boost” on the volume controls. The front panel controls were Volume 1, Volume 2, Treble, Middle, Bass, and Master. These early models are rightly differing, since more of them were “custom” models, alone fitted out for various buyers.

Mesa/Boogie has stated the original and the reissue have a “looser” lead utterances since the first couple preamp points in time eventuates in the past the tone controls. In the various later Mark II and III models, there is simply one gain point in time in the past the tone controls. This indication chain is an subject of numerous contest among Boogie owners.

The Mark II introduced channel foot switching, and wasn’t referred to as the “Mark IIA” until the Mark IIB was issued. It was also available as a chief, which could be hooked higher to a diagram of dissimilar speaker combinations, even so a 1×12 spy voice recorder add secret voice recorder cabinet was typical. However, the reverb circuit is considered noisy and the foot switching drafted a popping utterances past used; both of these attributes were later transformed on the Mark IIC. The preamp gain on the Mark IIs eventuates later the tone controls and so, according to Mesa/Boogie, the IIA has a “tighter, more fled accent on sound” than the Mark I.

The IIA and IIB, and numerous late-model Mark I amps, adapted a silicon implement summoned “fetron” in place of one of the 12AX7 preamp tubes, and included a switch for configuring the amp for either fetron or 12AX7 operation. The intent for including a fetron was to appraise numerous of the difficulties joined with microphonic 12AX7 tubes in a high-gain situation; its exercise was later discontinued.

The Mark III was launched by Mesa/Boogie in 1985. It introduced a third channel, a “crunch” rhythm utterances right in between the rhythm and lead channels. This amp has a many foot switch system: one foot switch replacements between the existing rhythm mode and the lead mode, and the other decides either the bathe rhythm mode or the crunch rhythm mode. The couple rhythm modes detail all of their controls, where the lead mode simply allocations the rhythm modes’ tone heap, featuring independent gain and master volume controls. The Mark III suspended demonstration in 1989.