Gibson ga 50t amplifier research

By axe2 , November 16, in Amps. I'm doin a bit of research on a few old tube amps small enough to crank and mic for a side project. I use mostly Gibson humbuckers in Mahogany bodies. I have a strat and a tele as well but prefer the Gibson equipped guitars. Seems both of these little amps are well favored. Info is much appriciated, Thanks, Rob.

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Content:

• Pasquale Grasso: The Pianistic Guitarist
• Amplifiers
• Gibson GA-5 handwired guitar amp
• The Amp Garage
• Gibson / The Gold / 1991 / Gold! / Amp
• Gibson GA-86 Ensemble 1960 vintage guitar tube amp, Neil Finn
• Message Board
• Welcome To the Hoffman Amplifiers Forum
• Restoring an Abused and Neglected Gibson GA19 RVT Falcon Guitar Tube Amp
• 1952 Les Paul conversion & near mint 1959 1960 Gibson GA-40 Les Paul Model guitar amp

WATCH RELATED VIDEO: Fender or Gibson: 5e3 Deluxe vs. GA-50

Pasquale Grasso: The Pianistic Guitarist

And when the artist is someone as interesting and eclectic as jazz guitarist Bill Frisell, the challenge becomes a bit tougher. The answer for us is Danny Barnes. How do you get your sound out of a backline? Watching you work, it seems effortless. Bill Frisell: Sometimes you just have to go with it. I usually ask for [Fender] Deluxe Reverbs. It was almost worse than not having my guitar.

But then, over the years I just sort of gave up. And then it ends up being a positive thing not to have to have exact, precise things. In the end you end up discovering all these things—maybe it will cause you to play in certain ways or limit you in certain ways. And before that I had another one. I actually have one of those. And there might even be some sort of primitive crossover in there, something. DB: When you were learning, were there any particular books that got you to a new place?

The Nicolas Slonimsky book or any textbooks? BF: I played clarinet in school. That was my first instrument, and everything I did on that was just looking at music and reading. The guitar came along later, and I learned it on my own in the beginning. It was just playing by ear, playing along with records and playing with my friends. The whole way I came about playing music on the guitar, in the beginning anyway, was a completely different path.

With my guitar playing, I met [guitarist and teacher] Dale Bruning at the very end of high school, and he helped me to bring the two things together a little more. There were these books that I used, I think they were saxophone books, maybe by Lennie Niehaus. They were exercises written for saxophone players — certain kinds of phrases and slurs, jazzy-sounding saxophone solos.

And I guess that was a moment where I was kind of bridging that gap from just playing by ear to being able to read on the guitar. I went through all those books. I think I got more from records, trying to write down saxophone solos and trumpet solos. Miles Davis or Sonny Rollins. Although all the stuff from further back, what I did with the clarinet, I think that all filtered in there, too.

DB: I know you like to study. And what would you work on? Or, what did Blind Willie Johnson sound like when he was sitting right next to you? There are so many people.

There are thousands of people who it would have been amazing to be near. I had been out of high school and I was in Denver. It was kind of a dark time, but I was just super fired-up about music, wanting to do it real bad.

A young Bill Frisell tries out a plastic ukulele. It was just in your head? BF: I was determined. Starting with my parents: They were always super supportive of me trying to play music.

They never, ever discouraged me. A lot of my friends growing up had to be sneaking around just to go play. I never had that problem. And I had a lot of teachers along the way — like Dale Bruning in Denver. You should really keep doing it. I met Johnny Smith. I studied with him a little bit at the University of Northern Colorado. It started out as a class — it was like five or six guitar players.

And by the end of the semester it was just a private lesson between me and him. I was the only guy left! But I also think that everybody has some kind of music in them, has their own voice somehow. I guess when I started to get serious about thinking that I wanted to play music for a living, it seemed like that was the place that I knew I had to go to at some time, but I was incredibly intimidated by it.

I grew up in Denver and felt comfortable there. I knew that New York was a place I had to go to but I was really afraid of it.

So I went to Boston. When I felt like I was ready to leave Boston, I had played in New York a couple of times, but it was still so intimidating just to live there. And after a year of being in Belgium, time was up. I had to go and Carole was willing to go with me and help me out and support me.

So we moved to New York and she did all kinds of jobs while I was playing weddings and doing whatever kind of gigs I could get, just to be there. BF: Twenty-eight, it was Living in Belgium, I had made a couple of records, really under the radar. I had recorded a couple of times and did one tour with some more name kind of guys.

So when I got to New York, I worked. I remember there was a chocolate factory; it was horrible work. At first it was like paradise, like I Love Lucy … I went in there and there was all this chocolate and I started eating all these things. After about 20 minutes, I was sick and then I had to actually do the work and clean the caramel that was stuck to these machines. And, pretty soon, some guys I knew from Boston hooked me up with some wedding thing or this or that.

And I finally got sort of a regular gig out of by LaGuardia Airport with this singer. But it was like five sets a night, playing pop music. I was doing jam sessions and stuff, gradually meeting more and more people. New York is a long subject. Two things were going on: You go there to sell yourself so people can hear you there, and you go there to meet people and connect.

And it was also a place of a lot of input. Every day I was hearing new stuff, meeting new people. But it was hard to live; I never even made it to New York! I was actually living in New Jersey. Bill Frisell. Photo by Annie Marie Musselman. BF: But I always had a car. That was the other thing, I was driving everywhere.

But after a couple of years I started to meet this guy, that guy…. And there was drummer Bob Moses. Steve Swallow was playing bass.

These were like heroes of mine. I remember Bob Moses liking what I was playing, so he would ask me to start doing gigs. And through him, I met Julius Hemphill. Pat Metheny was also in Boston when I was in school. Things switched from where I was playing weddings to where I was playing music. I felt like I was being myself more. That was really one of the biggest moments — that one phone call. But after about 10 years of being in New York, I was just kind of burnt on the whole thing.

It was constant input, all the time: hearing new stuff and everything is moving super fast everywhere you go. There was too much going on.

I felt like I needed to process what I had been intaking. Another thing that was messing with me was that my parents had moved to North Carolina. I started thinking that there was stuff going on everywhere: in Europe, Japanese music, stuff in Africa.

My awareness started spreading a bit. Then I went out to California and I was like, wow. I just started hearing people all over the place who sounded amazing. My friends Wayne Horvitz and Robin Holcomb had kids at the same time we did.

Amplifiers

If you're a guitar player, you will fixate over the beautiful amplifiers pictured and described here. Hunter has engaged in a world of research to describe and explain why these 50 or so amps were--and still are--the most played and sought-after pieces in the world. They are classic pieces, and Hunter painstakingly tells you why. He runs through the circuitry and the internal layout of the amps by describing everything from the types of tubes to the actual construction of the cabinets and the types of speakers they house. Here is an excerpt from the author's sonic description of the incomparable Matchless Spitfire: The tonal result of all this workmanship, arguably, is that archetypal Matchless chime and shimmer, with a flowing bloom to notes and chords and a rich, thick harmonic grind when you crank it up and dig in. Even in this little watter, the balance of harmonics and overtones just screams, well, Matchless, and defines a genre that was arguably established by this maker some twenty years ago on the heels of Vox, sure, but in a different and original way.

Gibson GA-5 handwired guitar amp

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The Amp Garage

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Gibson / The Gold / 1991 / Gold! / Amp

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Gibson GA-86 Ensemble 1960 vintage guitar tube amp, Neil Finn

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Message Board

Gibson have always been primarily a fine guitar company see Gibson guitars and Gibson Bass ; many of their other products are often overlooked. But Gibson have produced guitar amplifiers for a very long time, with some models especially the older valve amplifiers have a particularly good reputation: Gibson guitar amps work great in the studio! In the mid s a number of solid-state amps became available, starting with the GSS Gibson Solid State , but despite significant marketing these were seen as a poor replacement to the older valve models. In the late s Norlin period , and with Moogs involvement, a new breed of solid state amplifiers were tried; the Lab series, but despite endorsements from the likes of BB King and significant advertising, again these were unable to compete with the likes of Ampeg , Fender , Marshall and Peavey.

Welcome To the Hoffman Amplifiers Forum

A: The weirdest-shaped guitar I own is by far my '80s Kramer Voyager. I never play it live, but it was actually one of the first guitars I ever bought way back in my early teens. I borrowed the money from my parents to buy it and had a lot of fun with it, mostly just playing in my room. My friend has been borrowing it indefinitely, but I still count it as a part of my guitar collection and will always remember it as my first electric guitar. My current musical obsession is Strand of Oaks' new album In Heaven.

Restoring an Abused and Neglected Gibson GA19 RVT Falcon Guitar Tube Amp

I have a gutted GA-5 Chassis and want to rebuild it to original spec. Do you have a copy of the wiring diagram from above that you could email me? I am a novice builder and could use all the help I can get. Any other advice in regards to the GA-5 would be helpful also. I knew that the grounding scheme was interesting on this one so I am glad to find your blog. I can mostly make out everything on the wiring diagram but a couple of things are a little unclear i. I am going to study up on it more and compare it to my schematic.

1952 Les Paul conversion & near mint 1959 1960 Gibson GA-40 Les Paul Model guitar amp

Combos are possible. Please contact me for more information. The Octal Signature is culmination of many years of work and research into making the ultimate octal amp. It has a warm, articulate cleans and to die for overdrive.