Used Guitar and Bass Amplifiers

Used peavey Delta Blues 2x10 combo... great gigging valve tone at an afordable price

The Peavey Classic Series

The Peavey Classic series traces its roots back to the very start of the Peavey Electronics organisation. Inspired by a Bo Diddley concert in 1957, Hartley Peavey began producing guitar amplifiers that captured the rich, haunting tones of blues guitar. The authentic, soulful sound of these amps is matched perfectly by the timeless tv pannel styling that so many guitar players have come to love over the years.

Features

2-channel preamp
All-tube (three 12AX7 and four EL84 tubes)
Two 10 inch Blue Marvel® speakers
Tremolo with speed and intensity
Pre- and post-gain controls on lead channel
Normal volume control on clean channel
3-band passive EQ (bass, middle, treble)
Boost switch
Master reverb
Footswitch selectable channel switching and tremolo
Effects loop
Classic tweed covering
Chrome-plated chassis
External speaker jack
30 watts into 16 or 8 ohms
Weight Unpacked: 45.00 lb(20.412 kg)
Weight Packed: 52.00 lb(23.587 kg)

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Probably Marshall last great classic amp. Nails it to the roof every time.

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Used hot rod deluxe.in full working order. guaranteed fender valve tone for live work on a budget.

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Serial Number - rn418s001

Condition -Very clean

Venus 3 is a compact and lightweight master of tone. Easy to use, with the simplicity of a single channel with footswitchable & adjustable gain boost, 3 band equalization controls and the trademark Rivera Notch switch to choose between vintage tweed, and vintage black face tones.

With two12AX7 tubes, great headroom for clean playing is easily dialed- in, and with the push-pull gain boost feature the available gain and distortion will allow sustain for days. Every nuance of your note will enveloped in a rich harmonic sweetness that the 15 Watt 2-6V6GT Class A power amp section delivers our Celestion G12H-30 Venus 1×12 extension or your favorite cabinet. Although the Venus™3 is compact, it is huge on sound and you will be amazed at how much clean bottom end warmth can be found, regardless of speaker size. Add spaciousness and long lush decay to your instrument with the built-in Accutronics 3 spring reverb. A Presence control adds the final touch of high end brilliance. Power and Standby switches as well as the pilot light are conveniently located on the front panel.

back features

The Rivera Vintage-Modern switch on the rear panel allows the power to be cut down to 7 watts from 15watts while enhancing the even order harmonics, making it indispensable for low volume recording and practice. Two speaker jacks allow connection to the internal as well as external speakers. A Line Out jack gives you the option of slaving another amp or recording directly from power amp signal that is at line level. Effects loop patching is rapid with Preamp Out and Power Amp Input jacks provided as well.

Please email or call us on 01425 478135 for further details.

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With the worldwide success of the Mini Rectifier® Twenty-Five Head, we’re frequently asked to pack all that lightweight expressiveness into a Combo format so those needing a self-contained package can enjoy this mighty little-amp too. Well, your wish is our command - and we didn’t stop there…
Specification

Introducing the Recto®-Verb™ Twenty-Five Head and 1x12 Combo, the Reverb-endowed, fraternal-twins of our little Mini Rectifier lunchbox that’s been taking names all over the globe. These even mightier packages are slightly larger – just big enough to accommodate a 1x12 speaker (in the case of the combo) and long-spring Reverb tank – and boast all the same great performance that the Mini Rec™ is famous for and more. Plus, their classic vinyl-covered birch cabinets provide a wide array of custom finish options to fully personalize them.

The lush tube-driven Reverb widens the sound and sweetens the attack just a bit, increasing its versatility and appeal for players who favor lower to medium gain in their style. But don’t fret... for those into heavier tones the trademark Recto® sounds are all here and completely authentic.

So whether you’re rockin’ out or putting the immense versatility of this new Recto’s four Modes to task on a variety of styles, you’ll find inspiration and a huge fun-factor in these exciting, super-portable 1x12 Combo and Head packages.

Custom Designed AND Handcrafted Exclusively in Petaluma, California
All Tube Amplifier: 2xEL-84 Power Tubes & 6x12AX7 Preamp Tubes
Fixed Bias for consistent, maintenance free performance
Patented Multi-Watt™, Channel Assignable Power Amp (Patent 7,602,927) featuring Mesa’s proprietary Dyna-Watt™ technology providing two power levels with different wiring configurations via independent 10/25 Watt Power Switches
Choose from:
2 power tubes operating in Class A/B Triode for lush harmonics and a sweet liquid feel at lower volumes, producing 10 Watts or;
2 tubes operating in Mesa’s exclusive Dyna-Watt™ Class A/B Pentode for maximum power, punch and clarity, producing 25 Watts

2 Fully Independent Channels with 4 Style Modes
Channel 1 features: Clean or Pushed Modes with Multi-Watt™ Power Switch (10/25 Watts) and Independent Gain, Treble, Middle, Bass, Presence, Reverb (rear panel) & Master Controls
Channel 2 features: Legendary Vintage or Modern High Gain Modes with Multi-Watt™ Power Switch (10/25 Watts) and Independent Gain, Treble, Middle, Bass, Presence, Reverb (rear panel) & Master Controls
All-Tube, Long-Spring Reverb with Independent Channel Control (rear panel)
All-Tube, Fully Buffered FX Loop
Aluminum Chassis
External Switching Jack for Reverb
1 Button Footswitch (Channel 1/2)

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Year of Manufacture -mid 70s

Serial Number - dm07500
Case -

Condition - great, as used by Clapton and Albert Lee

The hybrid design – Get that Fender sound with a solid-state design

Fender amps were basically built for a clean sound. The distortion that is created when a tube amp is overdriven was something invented by creative musicians or by chance when musicians tried to get as much volume out of their amps as possible. Fender didn`t focus on the distorted sound, in the contrary, they even tried to avoid it. In the mid-seventies , the famous Fender Twin Reverb even made use of some tricks often found in HIFI amps to reduce as much distortion as possible (the so-called ultra-linear circuit).

It is surely fair to say that Music Man followed the footsteps of earlier Fender amps, so their amps were also aimed at the best possible clean sound. So it is not a big surprise that they used a solid-state design (ICs and transistors) for the pre-amp section. Solid -state requires lower voltage and less energy and thus causes less heat. For this reason it was considered as more reliable than tubes.

The whole pre-amp section is mounted on a printed circuit board, while Fender amps still used point-to-point wiring for their amps at this time.
music-man-112

Tube power for warmth

The output section of the first Music Man amps used 6CA7 power tubes. A tube output section adds a certain warmth and subtle distortion to the clean sound. This is the opposite approach to the more modern approach of using a tube pre-amp with a heavy-duty solid-state power amp, a setup more suited for that singing, high-gain distortion.

The 6CA7 tube is pin-compatible with the EL34, the tube that was made famous by Marshall amps, while Fender amps mostly used 6L6 tubes (or 6V6 for smaller amps). The 6CA7 can simply be replaced with EL34. As today hardly any tube manufacturer still produces the 6CA7, most Music Man amps meanwhile run on EL34s.

However, the circuit was rather different from Marshall. The power tubes in a Music Man amp operate at up to 700 volts at the plate. Fender or other tube amps – including Marshalls – normally have about 450 – 550 volts here.

About 1980 Music Man changed from 6CA7 to 6L6 tubes. Apparently this had not to do with tonal preference but with supply facilities at that time. Generally the amps kept their typical Music Man sound, no matter whether they had 6CA7/EL34 or 6L6.

The rectifier was solid-state (diodes) and not a tube rectifier like in many early Fender amps. A tube rectifier causes a drop in voltage during the moment the amp is driven to maximum output. Thus, the sound becomes softer, similar to a compressor. Solid-state rectifiers sounds punchier and slightly harder.

Originally there was one pre-amp tube – a 12AX7 – used for the phase inverter stage of the amp. This is the stage between pre-amp and power amp. This way a certain amount of tube distortion was added. In about 1977 this tube was replaced with a solid-state version. The reason was that a certain malfunction of this tube could cause severe damage to the complete output section, including a damage to the power tubes and the expensive output transformer. The amps with the new solid-state phase inverter still sound very similar to the earlier models, but are nevertheless by some considered as sounding not as warm as before.

All Music Man amps can be switched to low power. This is not realized by switching off some of the power tubes like some other manuyfacturers do, but with a reduction of the voltages at which the power tubes run.

Music Man amps look very much like a typical Fender combo amp from the 60ies or 70ies. Like those black-face Fenders, they have a black control plate, a silver grill cloth to protect the speakers, and are covered with black tolex. The handle and the casters on some models are also very similar to Fender. Unlike Fenders, the Music Man amps never had those tilt-back legs that allow to tilt back the amp to adjust the speaker on the player`s ears instead on his knees.

All early Music Man amp models were 2-channel amps. The reverb and the tremolo effect affects the second channel only.

The reverb was based on a Acutronics reverb spring, similar to the one in Fender amps. However, the reverb sound is different – thinner and brighter – than the extremely warm Fender reverb. This is rather due to the circuit design than to the spring itself. The tremolo effect is very effective, but also sounds different than on Fender amps.

The Music Man logos came in two versions: the original one was black on silver, while after 1980 it was silver on black. This way you can tell the older amps from later ones at first glance.

Most early Music Man amps had speaker made by Eminence, typically models with square alnico magnets. About 1980 they changed to round ceramic magnets, still produced by Eminence. However, some models with 10? speakers always had ceramic magnets.

Other important players of that time who used Music Man were Eric Clapton, Johnny Winter or Albert Lee.






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Year of Manufacture -1970

Serial Number -

Condition - great,changed power transformer to original spec

t all started when a drum shop owner couldn’t get rid of three pesky guitarists. If it weren’t for those meddling kids and their gosh-darned guitars, Jim Marshall might have made a name for himself selling drums. The pesky guitarists in question—Ritchie Blackmore, Big Jim Sullivan [the subject of PG’s February 2013 Forgotten Heroes feature], and Pete Townshend—were dissatisfied with their rigs. They yearned for more volume, more distortion, and the right sound. Marshall’s success in addressing those needs sealed the Lord of Loud’s legacy and forever changed the world of guitars and music.

In the early 1960s, after deciding to build handwired amps that rivaled Fender’s current stock, Marshall and his two closest cohorts—Ken Bran, a shop repairman, and Dudley Craven, an 18-year-old apprentice—began building Fender amp clones that used 5881 power tubes. Other small changes included Celestion 15-watt speakers compared to Fender’s preference for Jensen 15-watt models. After working with higher-gain preamp tubes—like the ECC83—and learning how different filters and capacitors had a transformative impact on the tone, Marshall heard a sound he knew guitarists would crave. Thus was born the iconic JTM45—which got its initials from Marshall’s son Jim Terry Marshall. A few years later, Marshall switched to KT66 tubes to create the even louder 100-watt Super Lead 1959. In 1968, the company dialed back the decibels with the unveiling of a 50-watt, small-box head that would be called the JMP—an acronym for “Jim Marshall Products.

This example dates to 1970 and is an early exponent of the change to the bigger box and sounds superb.

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Serial Number - v20561 12.11

Condition - Great

The Maz 38 is one of Dr Z’s most enduring designs. It is the perfect combination of sound and power. 4 EL84s with no negative feedback give you a wide pallet to work from. The 38 has enough clean headroom to make for a great pedal platform and gives up the goods for a great drive sound at reasonable levels. The 38 can satisfy many different styles and playing approaches. You are able to dial in mid 60s blackface sounds as well as UK flavored chime. The Dr. Z MAZ-38 is a truly versatile amp for the working or studio musician. Whether your forte’ is Blues, Country, Roots, or Rock, The MAZ 38 Senior will fit the bill.

The front panel features Volume, Treble, Middle, Bass, Reverb, Cut, and Master. The back panel features a 4,8, and 16 ohm speaker out. An effects loop and our EQ bypass function is also standard. The footswitchable EQ bypass gives a great lead boost which effectively makes the 38 a 2 channel amp. The 38 is powered by a quartet of cathode biased EL84s and a 5AR4 rectifier

Specifications

Power Output 38 Watts

Output Tubes 4 – EL84

Preamp Tubes 4 – 12AX7, 1 – 12AT7

Rectifier 1 – 5AR4

Controls Volume, Treble, Mid, Bass, Cut, Master Volume, Reverb

Other 4, 8, 16 Ohm

Effects loop

EQ Bypass (New variable boost footswitch included)

Configurations Head, 1×12 Studio Combo, 1×12 Ultra Lite Combo, 2×10 Ultra Lite Combo, 2×12 Combo

Colors Black

Dimensions & Weight

Head: 19” W, 9 3/4” H, 9 1/2” D; 35 lbs.

2×12 Combo: 27 1/2? W, 22 1/8? H, 10? D; 68 lbs
.
Owners Manual Download

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Year of Manufacture -1966

Serial Number - A22913

Condition - Great

This is what all the fuss with Fender Vintage Amps is about. Big fat cleans and when you crank it, look out Neil Young. Pure Vintage tone at les than a printed circuit board deluxe reissue


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Used 1964 Fender Blackface Bandmaster Head . Great affordable vintage tone, recently serviced and ready to gig or record.

Bandmaster Specs

Model/Circuit Number: AB763
Years of Production: 1963 – 1967
Era: Blackface
Configuration: Piggyback
Controls: Black forward facing w/ white labels
Knobs: Black skirted w/ chrome center, numbered 1 – 10
Faceplate

Front: Normal: In, In, Bright Sw, Vol, Treb, Bass – Vibrato: In, In, Bright Sw, Vol, Treb, Bass, Speed, Intensity – Pilot Lamp
Rear: AC Outlet, Ground Sw, Fuse (2A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Vibrato Jack

Cabinet
Dimensions:

Head Cabinet: 8? x 24? x 9?
Speaker Cabinet: 21? x 32? x 11-1/2? ~ 1963-1967
Speaker Cabinet: 29-1/2? x 40? x 11-1/2? ~ 1967
Hardware: Large Chassis Straps 5 5/8?, Side Bar Clips, 16? Tilt-Back Legs, Thumb screws, Thumb screw receptacles
Handle: Black strap handle
Feet: Chrome Glides
Corners: Chrome Corners with Lip

Tolex/Tweed:

Smooth Blonde Tolex ~ 1963
Fender Black Tolex ~ 1964-1967

Grill Cloth:

Beige Brown w/ Gold Sparkle ~ 1963
Black / White / Silver ~ 1964-1967

Logo:

Grill mounted, flat Black ~ 1963
Raised, chrome & black, script with tail ~ 1964-1967

Weight: 49.5 lbs.
Speakers:

Size: 2 x 12?
Impedance: 4 ohms
Model: Jensen C12N or Oxford 12T6(For more info, check out the Jensen Replacement Speakers)

Effects: Tremolo
Watts: 40 watts
Tubes:

Pre amp: 2 x 7025 and 12AT7
Power: 2 x 6L6GC
Bias: Fixed bias adjustment pot
Rectifier: Solid State

Comments:
2×12 Cabinet dimensions changed to 29-1/2? x 40? x 11-1/2? with the speakers were placed one above the other.

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Used Marshall Jubilee 25/50c Mint marshall in hard to find grey colourway.

The Marshall Silver Jubilee is one of the most popular amps they have ever made. Now not only can you get your hands on the same legendary tone but now in a much smaller 20w form. Made in the UK these amplifiers are absolutely stunning and certainly come in as one of the best sounding 1x12" combos available today.

Long History

Originally produced in 1987 for Marshall's 25th Anniversary and 50 years of Jim Marshall being in the music business. Sadly not too many were produced due to the short run of just a single year. Taking inspiration (and actually a lot more) from the original circuitry this 20w combo version of the blues and rock legend is here with its all silver tolex and faceplate.

20w Of Power

So while 20w may not sound like much...trust us it is very loud. You can easily take this a small to medium sized gig and be heard above the rest of the band with no real issue. It is still low enough wattage however that taking it home and using it for practice as well is not out of the question. Set up with a two EL34 power amp valves this is a 20w of Marshall rock beauty.

Silver Jubilee Preamp

Even with shrinking the classic 100w to the 20w size you still don't lose any functionality. It still features the same three mode preamp system, Clean/Rhythm, Rhythm Clip and Lead channels each cover their own styles from crystal clean with no gain to all out aggressive hard rock tones that can pull down walls.
Here's what Marshall say about the Mini Jubilee Combo

The JCM25/50 Silver Jubilee Series was produced in 1987 to celebrate 25 years of Marshall Amplification and 50 years of Jim Marshall being in the music business.

Inspired by this acclaimed series the 20 Watt Mini Jubilee combo and 'small box' head combine classic Silver Jubilee preamp tone, features and styling in a lower power, 'mini' design.

This contemporary 'mini' take on the Jubilee Series features: an ECC83 & EL34 valve-set, High/Low output switching, (20 Watt to 5 Watt), FX Loop and independent 4/8/16 Ohm speaker outputs. The 2525C combo is loaded with a single 12" Celestion G12M Greenback speaker.

In keeping with classic Jubilee tone, Mini Jubilee features preamp circuitry taken from the 2555X, released in 2015, made using the original diagrams and checked against the original 2555

Silver Jubilee head in the Marshall Museum.
The amp also features classic silver vinyl and chrome plated panelling to complete the Jubilee look.

The 2525 Mini Jubilee is expertly crafted and is designed, engineered and constructed to the highest possible standards at the Marshall factory in Bletchley, England.
Specifications

GENERAL

MODEL: 2525C MINI JUBILEE
RANGE: MINI JUBILEE
TECHNOLOGY: VALVE
CHANNELS: 2

ELECTRONICS

WATTAGE: 20W
INPUTS: 1
CONTROLS: INPUT GAIN (PULL RHYTHM CLIP), LEAD MASTER, OUTPUT MASTER, TREBLE, MIDDLE, BASS, PRESENCE, HIGH/LOW OUTPUT SWITCH

SPEAKERS

SPEAKER: CELESTION G12M-25

VALVES

PRE AMP VALVES: 3 x ECC83
POWER AMP VALVES: 2 x EL34

ACCESSORIES

CABLES: POWER/SPEAKER
FOOTSWITCH: PEDL-90003 INCLUDED

DIMENSIONS

WEIGHT (KG): 19
DIMENSIONS in mm(W x H x D): 490 x 475 x 280

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Serial Number - 200-22L

Condition - Excellent

First introduced in 1993, the Imperial has become a proven favorite of guitarists seeking authentic vintage tone. Utilizing all-tube circuitry, traditional spring reverb, and a specially voiced, highly resonant cabinet, the Imperial captures the true experience of playing a well-worn vintage amplifier - both in tone and feel.

Think a reliable vintage deluxe Reverb, then add Mark Knopfler.

Please email or call us on 01425 478135 for further details.

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