Dating gibson eh 150
These produce hundreds of tones and effects depending on the selection and setup.But even with the number of sounds that I can produce, I don't feel the individual character or persona in that tone.Sources for this article include: Gibson Electric Steel Guitars by A. Duchossoir, Gruhn’s Guide to Vintage Guitars by George Gruhn and Walter Carter, Electric Guitars and Basses by George Gruhn and Walter Carter, and Gibson Amplifiers 1933-2008: 75 Years of the Gold Tone by Wallace Marx, Jr.Rich, I just want to thank you once again for bringing our 1936 Gibson EH-150 amplifier back to life.It does not surprise me that an average person might think that distortion is the sound of the guitar itself.Consider the design of the 1936 EH-150 in a historical context.I read the draft of your first article for guitaramplifiermagazine.com, and a few thoughts come to mind.I have three vintage Gibson amplifiers (the third is a 1946 BR-4) which are similar in size and configuration, yet each has its own unique palette of sound.
Plus you were "right on" when you said the overdrive through the microphone channel is KILLER.
To me each amp seems to have its own distinct character.
Much like each of my guitars has its own sound persona.
Even though the EH-150 was one of the first electric guitar amplifiers, it was designed to enhance the tonal qualities of the guitar through the use of the tone switch, and through the use of an "echo" extension speaker. ID=21) It seems the starting point of guitar amplifier technology was based in tone manipulation that is trying to make the sound of the guitar's tone more pleasant.
(I seriously doubt the Gibson engineers would have ever imagined trying to create distortion by playing the guitar through the microphone channel though) I'm fortunate enough to be able to plug a guitar into some of the newer digital modeling and amplification technologies (Crate DX Series, Line 6 Spyder II and POD XT, and Bose Personal Amplification System).
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