12/24/2023 0 Comments 67 mamp to amp![]() ![]() ![]() Seven watt amp with six tubes, eight-inch speaker and two inputs. Reverb channel with own amplifier and speaker that can be placed away from main amplifier to provide stereo. Pressure-loaded cabinet with two 12-inch duo-cone heavy duty speakers. Two channels with volume, bass and treble. Six inputs with preset tones, three each for lead and rhythm. Four inputs with preset tones and two channels. Twin depth and two-speed tremolo controls. 12 watts. Three inputs with one treble and two normal or tremolo. Two inputs with volume and one tone control. Described as ideal for students with inputs to plug in record player and guitar and play along. King, and established a national network of 50 Concord dealers with exports to Australia and Fiji.Ĭoncord later branched into guitar manufacture with a purpose-built factory in Northcote but then stepped away from rock and roll after 1965 as the company diversified into industrial electronics, domestic hi-fi and marine electronics, depth gauges and "electronic counting and computing units." Models * Bijou Gunn toured New Zealand with backing bands for acts including Gene McDaniels and B.B. Gunn constantly tested his designs on local and touring international musicians for improvements. One early version of Ray Columbus and his band featured two guitars and vocals all plugged into a Super Chief. Eko guitars from Italy were advertised alongside a Concord Super Chief. Production moved to a backyard factory in Ellerslie after 1960 when Concord was building about 1000 amplifiers a year with high profile users including Tommy Sands and the Sharks, the Quin Tikis and Māori Hi-Five showbands, Johnny Devlin, guitarist Peter Posa and Ray Columbus and The Invaders. The Constellation 9350 combo, rated 35 watts, was described as "a professional amplifier which takes recording sessions, outdoor concerts and the biggest dances all in its stride." ![]() The 10 watt Conquest model with one 12-inch speaker was described as "plenty of power in small to medium-sized halls and clubs" in an era when two watts was regarded sufficient to amplify the larger acoustically-designed town halls. The 10 watt Conquest model with one 12-inch speaker was described as "plenty of power in small to medium-sized halls and clubs." With the arrival of rock and roll he branched into guitar amplifiers and assembled his first Concord combos in the basement of a Symonds Street rooming house popular with jazz musicians. Aged 21, he arrived in Auckland from Wellington in 1957 driving his homemade plywood sports car and intent on becoming a professional jazz musician.īetween gigs the former Broadcasting Service technician and radio engineer designed and built public address systems and office intercoms. Saron grille and gold trim.Ĭoncord was the brainchild of jazz pianist Bennie Gunn. Available with beige or oyster heavy vinyl cover. Marked after 1961 as providing independent channels for two instruments with full tremolo, the Contina produced five watts into an eight-inch speaker with tweeter, a big sound "designed for clubs, parties and small halls". Rockit also produced valve combos and heads before switching to solid-state. Valves retained favour with short-lived boutique labels Gunn and Abbey. The late 1960s marked a transition away from valves to cheaper and lighter transistors, with both Jansen and Holden moving to solid-state during the next decade. Holden Wasp – as the brand was known in Australia – soon gained a reputation for huge power with two 400 watt bright orange-coloured stacks, built for heavy rockers Ticket and for use of the VBL by AC/DC. Jansen also manufactured a popular series of small amplifier tops delivering up to 150 watts, styled after the Fender Bandmaster.Ĭhristchurch-based Holden adopted the Fender style for its first Wasp 100 watt model before switching to a Marshall look for the Australian market with its 100 watt VBL and 200 watt XL. By the late 1960s both Jansen and Fountain were building combos between 15 and 100 watts. Amplifier designs progressed from three valves to more than a dozen. Within a decade guitar amplifiers expanded to 400 watt stacks, more than three times bigger than anything used by The Beatles. In New Zealand, Concord, Jansen, Holden and Fountain built the first combos and amplifier heads.Įarly models from Concord and Jansen ranged from four to 15 watts – tiny alongside a modern domestic stereo – with options of tremolo or reverb effects. In the United States, Fender and Gibson were among the early brands. As electric guitars became widespread in popular music, backyard workshops and production line factories emerged to supply the requisite amplifiers and speaker boxes. ![]()
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