![]() and there's also real good money to be made in sound reinforcement. Remember "Neve" mic pre-amps? Their still being made. Do you ever get the urge? There's a resurgence of upgraded vintage-technology sound gear being offered these days. those sound like GOOD TIMES brother! I'm very surprised that you haven't revisited them along this long-road of life. Even a single 12" speaker/combo will wail. and ask if they have any tube-amps in the 30-50w range that you can try. If there's a " Guitar-Center" chain store near you. but anything higher than a 50w tube-amplified circuit is "overkill" and very hard to tame. I'm guessing that your Fender Deluxe is a "combo" (amplifier and speakers in the same cabinet) Marshall makes combo's and also separate "heads" which are separate from the speaker-cabinet. You could very likely make an even-swap for a similar-vintage Fender tube-amp of 1/2 the wattage. 35-40w of tube-power will give you more control over your tone. unless you trade it for another one with at least 1/2 the tube-circuit wattage. There's a bit of electro-mechanical engineering going on there.Įric, my advice to you on that Fender 100w Deluxe guitar amplifier is don't get rid of it. It took several "oilings" over the course of weeks to free-up my tone-generator. and some say that "sewing-machine" oil will work fine. Some swear by the original blend/viscosity that the Hammond Co. The "proper" oil is widely disputed by Hammond purists. I chose to purchase the proper oil, to try to free it up. and a wick-oiling system fed by 3 funnels through a trogh. It's an electro-mechanical marvel of gears, pick-ups, cams, shafts. These organs have what's called a "tone-wheel generator" that gives them that classic sound. There still isn't a scratch on it's maple cabinet. ![]() it hadn't been played (or serviced) for years. I've got to make a decision within days as to the fate of mine. I'd never seen that! It's the epitome of John Lord's style of " tearing it up" on a Hammond organ! Thanks for the comments guys! I don't know who to address first. I think today's sound processor electronics do NOT have the presence and warmth of a lot of the older analog tube based, near perfect, sounding equivalents.not only amps, speakers but a lot has to do with microphones.some of the Old school mics were absolute wonders and hard to simulate with processing.IMO Of course this experience did a LOT to shape who I am and taught me a lot about customer relations and expectations the music was just for the attendees and they suffered through our lower skill in Loading, set up, and tear down was what we got paid for. We played mostly CCR (Fogerty), Beatles, Rare Earth, Moody Blues,( terribly) and some respectable versions of Jimmy Hendrix or Ike and Tina Turner We needed a small Ryder/Pensky/U-haul van to load and move ALL the stuff and cablingįunny memory.a lot of places did NOT have the JUICE we needed.IE.they thought 15 amp service in only one outlet would cut it.NOT!.thus we had a very long, and very large Gage power cord extension to jack into 60/100/200 amp power panels.one of my jobs ![]() back then.state of the art gizmos and equipment.much like mentioned above.the equipment actually made us more desirable.funny that. not the top desired band in the area, but we did have a "benefactor" ( a band member's rich father) who set us up with most of the. With the bigger names in the area being very expensive, so we had a "season" where we were booked a lot and fairly busy. ![]() Local bands were always in short supply for High School proms.sweet sixteen parties. I was also a pretty good electronics geek (for the time) after being mentored by my dad (helping build Heath kit stuff) and a old neighborhood guy on Ham radio.I am still KD5NCO Very very briefly in the early 70s I was a drummer (high school band) in a back yard neighbor hood band.
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