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Features like bolt-on necks and pickups wired into the pickguard all helped the Fender factory churn out guitar after guitar, day after day.

Through the playing of Hendrix, Clapton, Page, and Kossoff – and that of countless others who plugged in through the ’70s and beyond to achieve that tone – the gut-punching thud, midrange grind, and crispy crackly high-end sizzle of the Super Lead’s beating EL34-fueled heart became the sound of rock for decades, virtually unrivalled in that arena until recent years. With an alternative look and badge, these creations by Marshall for the Kitchen Music chain in North London often included minor circuit twists, and were among earlier Marshalls to use EL34 output tubes.

The Vox AC30 garnered more attention for years, but in this age of reduced stage volumes and project-studio recording practices, the smaller AC15 has become even more desirable in some players’ estimation.

Dick Denney’s creation benefited from several design elements that were specifically intended to flatter the voice of the electric guitar, rather than merely amplify it, and these babies achieve that in spades.

The Bassman consolidated several major design components for the world of production guitar amps – including the long-tailed-pair phase inverter, cathode-follower tone stack, and fixed-bias output stage – many of which remain mainstays of virtually all larger amps to this day, and sounded utterly glorious in the process.

Often described as “a Bassman with only three ten-inch speakers,” the Bandmaster is actually a different beast in several ways, with a little less power, an earlier breakup, and an edgy-yet-snappy tone.

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