The Gretsch Electromatic Amp was part of a line of amplifiers produced for Gretsch by Valco, who also built amps under names like National, Supro, and Oahu.
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Built from 1946 to 1965 in evolving forms, the Fender Pro Combo amp was the largest of three amplifiers offered when Fender opened. It was replaced in 1966 by the Pro Reverb.
From its first 18 watt incarnation to its 40 watt exit in favour of a Reverb-equipped model, the Fender Pro combo amp featured a single 15 inch speaker. As a higher powered amp, its ‘Harmonic Vibrato’ circuit differs from that used on models past the Vibrolux.
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The Fender Bassman 4×10 was used by countless professional and amateur musicians throughout North America – less so in Europe because of import duties and restrictions – and was the basis for many later classic amplifier designs. Notably, an English drummer turned music shop owner used this amp as the basis for his own designs, sold under the Marshall name.
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Originally introduced as the Dual Professional in late 1946 and renamed in 1947, the Fender Super Amp started as a 20 watt, 2×10 combo, rising to a whopping 45 watts by 1962, and was discontinued in 1963.
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Introduced in 1952 and built until 1954, the Gibson GA40 Les Paul Version 1 amplifier was designed and built in-house at the Kalamazoo plant. It had two channels, with three ‘Instrument’ inputs on one channel and one ‘Microphone’ input on the other, and delivered 14 watts through a single Jensen P12Q 12 inch speaker.
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One of only 100 built – the Watkins Dominator Mark 1 V Front Amplifier Reissue! The Watkins Dominator was bleeding edge for 1956, and its blistering 18 watts and two ten inch speakers struck fear in to the hearts of many promoters. The concept of the V-front is to widen the sonic field, rather than focus it straight ahead. Though it was rapidly pushed off stage by other much higher powered amplifiers, the Dominator was used extensively in studios during the 1960’s and was apparently the basis for the 18-watt Marshall combo design.
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