Power-tube saturation pedal and mic'd cabinet emulator, using 12AX7 as a power tube. Similar to Mesa/Boogie Formula preamp, if I understand the Formula.
Supposedly gets power-tube squashiness, using just a preamp tube and small load. Someone please provide a schematic of the heart of this unit, and for the Hughes & Kettner - Cream Machine, which uses an ECC83 as a power tube, with load and speaker simulator.
This uses the speaker simulator technology of the ADA MicroCAB.
The Ampulator is a 1-rackspace unit with the ability to emulate variations on lots of amp/speaker parameters:
$600 list. $400 street.
ADA Ampulator Manual - Recommends guitar->preamp->ampulator not guitar->ampulator. CBarone at pagoda.com, Christopher J. Barone.
Harmony Central: Ampulator reviews
In Guitar Player Sep 1996 page 58, David Torn doesn't mention the Ampulator, but only "Paul Rivera installed a rather large footswitchable load-resistor in my amp...". However, comparing the interview conducted by Rivera, it appears that he prefers the ADA Ampulator to Rivera's load resistor, and there are even hints that his favorite unit is the Ampulator, not the Rivera amps.
7/3/2000 - wait - revise comments here -- he *could* be using this chain, as I am, essentially:
Rivera amp's preamp
Rivera amp's tube power amp, saturating
Custom load resistor in Rivera
Ampulator preamp tube as power tube into internal load
Ampulator spk sim filter
Interview with David Torn, at Rivera - excerpts:
He also talks about how he uses his favorite gear, including his Rivera M100 combo amp (with one Celestion 12" speaker), as well as his pair of Hundred Duo Twelve combo amps.
How do you get it more kick-ass when you're working at home?
I just kind of take everything over. I actually recorded most of my guitar tracks direct to tape, which is unusual for me, but I found a way to get an absolutely killer sound with feedback and stuff, except at low volumes. I took the output right out of the Rivera M100 amp [the "output right out of the Rivera" almost certainly must mean, merely from its effects loop! - Michael] into an ADA Ampulator and into the mixer. Then I monitored the guitar over speakers. The sound is pretty close to what I get live, but at a low volume. So I would be tracking these ridiculous-sounding guitars at, like, 4:00 in the morning. It worked really, really well. Nobody knows, unless I tell them. If I say to an engineer that these guitars were all printed directly, they go, "Yeah, okay." They don't believe it.
So the M100 is the amp doing the sound-shaping?
Yeah. It' still pretty much the main source [pretty much the main source... pretty much, except when at home when he totally bypasses the tube power amp of the Rivera!] of this strange tone that I've been developing for the past couple of years--this big, fat, hairy beast thing. The recording is strange in that the construction of it--all of the original guitar loops, including riffs and rhythms--were recorded with the M100 with microphones directly to a DAT in improvisational style. Then I took all those riffs and loops and stuff and chucked them into Notator Logic Audio, the computer program, on my Macintosh Centris 650, and arranged them into tunes. With the basic tracks recorded with microphones, I then did all the overdubs and solos and other parts with the M100 into the Ampulator to [Tascam] DA88 tape. It's sort of an odd blend of the improvisational and the arranged. [I can just see Rivera here elbowing Torn -- would you quit mentioning the Ampulator! - Michael]
In "Tone Toys '95: Direct Recording Preamps & An Innovative Power Amp Simulator (Joe Gore, Guitar Player Jan 1995), the ADA Ampulator was reviewed along with the Marshall DRP-1, Tech 21 Tri-OD, and Hughes & Kettner Tubeman Plus. The Ampulator blew them away in the review; he strongly recommended that if you use these others, use them with the Ampulator, which provides squashy, power-tube dynamics. (Emphasis added.)
The remarkable ADA Ampulator is something entirely different: a power amp simulator. You run a preamp or the effects-send of a guitar amp directly into the single-rack-space box, which uses a single 12AX7 preamp tube (running at 175 volts) to mimic the tonal characteristics of a power amp in varying stages of sweatiness as it interacts with a speaker load. The Ampulator also includes a speaker emulator circuit similar to that on ADA's MicroCab (reviewed Aug. '93).
Any tone maven can tell you that great distortion sounds entail a lot more than an overdriven preamp, and the non-MIDI Ampulator does a remarkable job replicating the growling complexity of a hard-working power amp. It even reproduces the hum and noise that most engineers would consider an unfortunate byproduct of tube amplification, but which guitarists have come to view as an important part of classic tube-amp tone. The device greatly improved the performance of each of the [conventional preamp distortion] devices reviewed above. For example, the Marshall DRP-1, decent sounding in its own right, yielded devastating grind through the Ampulator. An ADA MP-2 programmable preamp, itself designed to work as a direct-recording preamp/speaker emulator, took on much greater realism and complexity. Tube distortion pedals, amplifier effects sends, a SansAmp PSA-1-through the Ampulator, the great direct sounds just kept on coming.
A good preamp driving the Ampulator can rival the depth and realism of a fine guitar amp feeding a top-notch speaker emulator. But the Ampulator offers more tonal options than most speaker emulators. In fact, its controls are so highly interactive that they can be quite difficult to suss out, though the excellent manual strives to clarify the complex system.
Front-panel knobs color the power-amp emulation. Tweaking the strength of the incoming signal or the amount of headroom regulates the degree of tube compression and distortion and creates remarkable imitations of amps of various sizes. "Hum-injection" and "tube-matching" controls introduce AC hum, which lends overdriven sounds a real-life complexity you just don't get from preamp-only distortion. You can also choose between class A, AB, and B status and triode- or pentode-style operation.
The speaker-simulation section performs admirable impersonations of 1x10, 1x12, 2x10, 2x12, 4x10, and 4x12 cabinets. You can choose between brighter and darker tones and open-and closed-back simulations. Two EQ pots conjure the proximity boom of close miking and the relative brightness of a microphone situated at different angles towards a speaker cone. Wow.
The Ampulator is loaded with clever, helpful features. A three-stage input LED discloses how much power-amp distortion is introduced; a second one indicates Class A, AB, or B status, while an output-section LED warns of undesirable clipping. There are two bypass switches: one for the entire system, one for just the speaker simulator--very smart. [excellent design; much-needed features - Michael] There are both 1/4" and XLR outputs, the latter switchable between mike and line levels. The metal housing is formidable, as is--yip!--the built-in power supply.
Furthermore, the Ampulator is a fine teaching aid that will educate many players about the complicated variables affecting tube-amp tone. And unlike real power amplifiers, it lets you experiment with "undesirable" settings without risking damage. I was quite intrigued by some of the Ampulator's more freakish sounds. Simulating extreme class B status conjures a harsh, trashy distortion perfect for eerie swamp riffs; a super-clean preamp signal through an ultradistorted power-amp setting yielded equally compelling results. For a new-fangled, rackmountable gadget, this box packs some wonderfully primitive tones. The Ampulator wins highest marks for practicality, originality, and construction; anyone with a vested interest in capturing great direct-to-the-board sounds should definitely investigate it.
Power amp emulation section
Speaker emulation section
At 10:14 AM 11/9/96 +0000, Tod Fiste wrote:
>"Hum Injection" is described as "Induces A.C. hum to high level
>signals". In practice, it seems to add some low-mid frequency cajones
>to the tone (OK, it gives it balls when you're wailing). It doesn't add
>annoying noise, as I first assumed, and overall the sound quality and
>quietness are amazing to me.
David Coffin wrote:
>I just discovered usenet and, as a result, your frequent postings on my favorite topic: getting great tube-amp sounds in a low- or no-noise-allowed situations, as in, on tape, thru studio monitors, and in headphones.
>I use this chain:
>MesaBoogie Studio preamp --> Ampulator --> DP-4 fx unit (eq, pitch shift, delay, reverb)
Everyone take note: he is not making the mistake of putting time-effects before a cranked tube amp. He's avoiding the massively widespread mistake promoted by the industry convention of putting digital multifx unit before a tube amp and then attempting to get a clear, cranked-tube-power-amp tone. Instead, he's doing it the right way, like a studio would:
Does the ADA Ampulator have an output that can directly drive a guitar speaker? If so, how many watts is it? I hear it uses a preamp tube in a power-amp configuration.
>The Ampulator doesn't drive speakers. It has a power amp section, but
>that just feeds an inductive load and delivers a line out. It uses a
>12AX7 as the power amp driver.
To drive a speaker, I'd have to tap the input of the inductive load.
>I have owned a lot of pre-amps, trying to find *my beloved* sound, such as:
Yes, it cost me a fortune!
>Two years ago I read an article about the ADA Ampulator. I decided not to buy this machine because of the fear of killing another deluded hope. But after reading the articles on your website, I decided just to purchase one (without listening first, because you can't find any in Holland).
>And.... I like the Ampulator very much! You don't need to look further, and certainly, don't spend all your money on pre-amps!
At 10:14 AM 11/9/96 +0000, Tod Fiste wrote:
>ADA Ampulator Review
>It's hard to describe how the Ampulator works without going into a bit
>of the theory and history of amplifiers, so that's exactly what the
>manual does. Each control is described in terms of what it does, the
>corresponding amplifier behavior and operation, and how to use it in
>getting the tone you want. Reading the manual was very necessary for
>me, because I'm not an amp tech by a long stretch, but the 12 pages of
>text gave me all I needed to understand how the Ampulator works and what
>it lets you do.
>The big question, of course, is how does it sound. Since this is
>largely subject, some background on the reviewer is in order. I've been
>playing guitar for almost 20 years. I played in various bands
>through high school and college but, with a couple of exceptions, have
>done all my playing in the studio for the last 10 years or so. I have
>my own basement studio. I play all kinds of styles, but mostly a blend
>of pop, alternative, and white-boy funk. I am not a Tone master, and I
>have never owned a Boogie, Marshall, Soldano, or other famous-for-tone
>amp. I do appreciate good guitar/amp tone, though, and want to have
>access to a variety of amp tones without having to own 10 amps and
>cabinets or hassle with miking speakers and having my neighbors call the
>cops when I'm working on a screamin' lead part. My main guitar is a
>stock Strat Plus. And, incidentally, I'm a computer nerd in my day gig.
>I'm going to skip the basic description, which you can get by accessing
>the ADA web site. I will say that what the Ampulator purports to do is
>accurately emulate a tube power amp pushing a mic'd speaker cabinet,
>primarily for the purpose of direct recording. I talked to the new
>marketing guy at ADA (because I couldn't find an Ampulator in a store to
>try out) who claimed that there is no effect on the market competing
>with the Ampulator -- not because the Ampulator is so great, but because
>nobody else makes a power amp/speaker emulator.
There are several now; see my home page.
>I tested the Ampulator by plugging the Digitech 2101 fx-out jack to the Amulator (mono) input and
>the Ampulator (mono) signal out to the 2101 fx in's (I used a splitter
>cable so I didn't have to worry or think about the issues I've been
>seeing questions about fx in's in the 2101 list lately). I turned the
>speaker emulation [primitive; merely treble roll-off] on the 2101 off.
I seem to recall that tried this setup in response to my suggestion in the 2101 listserv. This enables the chain: comp/dist/eq (of the 2101), total tube amp emulator, then post-amp time-fx (of the 2101). The Digitech 2101 is an awesome, full-featured, quiet, high-fidelity, discontinued, studio-oriented guitar multifx unit that enables tremendously detailed control over many effects, and has an effects loop between the analog distortion stage and the digital time-effects stage.
>It didn't take long to get used to the Ampulator controls and what they did, and
>then the tones started happening. The sound of a real miked speaker.
>Wonderful power-tube compression is possible, especially in triode mode, of a
>completely different nature from a compressor and quite different from
>the type of compression I get out of the 2101 preamp. I don't know how
>to describe it -- thick? smooth but without losing its dynamics? round?
>fat? punchy? -- but I know that I like it a bunch, especially for clean
>and slightly overdriven tones. It's not just the tone, it's the feel of
>it. It responds differently and, at many settings, much better than the
>2101 alone. With a little messing around with the different controls
>you can get a good variety of tone, gain, and compression
>characteristics, and most of them sound good in some way or another.
>It's really quiet -- as near as I can tell, it's actually quieter than
>the 2101's preamp section.
>One thing I'm not too sure about is what the source of all this good
>sound and feel. How much of it is the amp emulator and how much is the
>speaker emulator? How much of it is compression, how much distortion
>characteristics, etc.? And, most importantly, could you tweak the 2101
>to get the same sounds? [impossible] I don't know, but I know it would take more
>time and knowledge of EQ and signal processing than I have the patience
>for. Come to think of it, since there definitely is compression going
>on with the Ampulator *after* the 2101 preamp, I suspect you can't
>really get the same sound without it. (Except, of course, for the
>majority of users that go from the 2101 into a power amp and speakers.)
>Negatives: no MIDI implementation, so I'm still stuck with writing down
>very inexact descriptions of all settings for a particular sound. What
>else? Well, I suppose there's the same issue as with all tube gear,
>changing the tubes, etc. It's not footswitchable and there's only one
>channel, so you couldn't use it to emulate different amps and switch
>back and forth between them quickly. But, after all, it's not made to
>do those things.
>I find the Ampulator to be, in most respects, a
>dream come true for me. It's flexible. It's amazingly quiet. It's got
>tube tone and speaker sound. Maybe it doesn't perfectly emulate every
>famous amp/speaker combination known to mankind. For all I know, maybe
>it doesn't emulate any of them - I don't have any way of knowing that.
>But it sounds excellent. It inspired me to fire up some of my favorite
>CD's and jam along, and by god the Ampulator was making it sound as if I
>was miking an amp right alongside my favorite players. If it had MIDI
>implementation I'd call it perfect, but even without it I'm keeping this
>Digitech GSP Users Mail List
>Send SUBSCRIBE/UNSUBSCRIBE mail to: majordomo at portal.com
You can use the chain:
o multieffects unit's compression, distortion, eq
o low-watt tube amp
o inductive load
o multiefffects unit's time-based effects
The Digitech 2101 happens to support this. Unfortunately, the new 2112 does not, and I've been asking Digitech to design a successor to the 2112, including a power tube and inductive load, as well as the ability to use a speaker isolation cabinet rather than the inductive load.
This is essentially the same as the powerful chain I'm promoting:
o Effects A (eq, level, wah, phase, distortion)
o Tube amp
o Speaker cabinet (or inductive load, not quite as good)
o Effects B (eq, level, time-based effects)
If you use two full-featured effects units, you have a choice of placing effects before or after the saturated power tubes.
The ADA and Groove Tubes units have a speaker emulator, which is worse than using a real speaker, but at least they have genuine power tubes and transformers. So they are not as bad as connecting the preamp distortion into the mixing board. At least they have saturating power tubes. The ADA description is below.
One of the products I would most like to see is a *power*-tube saturation pedal. Instead of "fuzz", "overdrive", or "distortion", we could call this type of pedal a "power tube saturation" pedal, or a "saturation" pedal for short.
In a convenient modular form such as this, you could incorporate a tube power amp into your "direct to console" approach; it would practically dissolve the distinction between cranking a real amp and plugging straight to the console. The problem I'm really addressing is poorly done direct-to-console, used where it's not appropriate.
(The future of guitar is *diversity* and *hybrids*.)
I bought one of the first Groove Tubes units that had power tubes, an inductive load, and a line-level output. The idea was interesting, but the implementation lacked the modularity and control I needed. I wanted to be able to control the eq before distortion, after distortion, and after the load. I wanted to be able to bypass the speaker simulator.
The ADA unit is on the right track, and I'd *love* to see fifty more products providing variations on this theme of including a power tube and transformer in a modular package. I might buy this ADA unit.
The ADA Ampulator
The ultimate in Guitar Amp Emulation, includes tube power amp.
The AMPULATOR is a single rack space tube power
amp emulator and cabinet emulator which takes into
account every characteristic and nuance of real tube
poweramps, drivers, and speaker cabinets. It takes a
guitar preamp signal and processes it for direct recording
or a line level feed to a house sound system. The
AMPULATOR incorporates a tube power amp directly
coupled to a reactive speaker load emulator, eliminating
the need for large power amps (guitar heads), speaker
cabinets, or microphones. The guitarist can simply dial-in
power amp and speaker cabinet characteristics on the
AMPULATOR while listening through the control room's
reference monitors. The front panel of the AMPULATOR
is divided into two main sections: a vacuum tube power
amp and a reactive load speaker emulator. The Push-Pull
Tube Amp & Power Emulator section allows for choice of
power type and class (triode/pentode) and class A, AB,or
B (smooth to harsh distortion). The power amp can be
overdriven, compressed and even have AC hum added at
high signal levels to simulate power amps run beyond their
operating limits. Tube matching allows the user to match or
mismatch the output tubes to simulate the raspy
characteristics found in some power amps. The Miked
Cabinet Emulator section provides a real reactive load for
the push-pull tube power amp. Controls include section
bypass, cabinet design (open/closed back), number of
speakers (1, 2 or 4), and size of the driver ( 10 or 12
inch). The EQ section the cabinet Lo Frequency
Resonance and Hi Balance (microphone proximity and
placement axis). The rear panel includes 1/4" balanced and
unbalanced inputs and XLR balanced (switchable ground
lift) and 1/4" unbalanced outputs.
I sent to ADA:
Your Ampulator is the perfect solution, and suggests many more product packaging approaches along these lines.
Please develop many more products incorporating a low-wattage power tube.
For example, put a power tube and load in the middle of a multieffects processor, so that time-based effects happen *after* power tube saturation. Delay, for example, normally belongs after all saturation stages. This preserves the Basic Tone of preamp- and power-tube saturation.
I would also snap up a *power*-tube "saturation pedal" so quickly.
user comments about the Ampulator - excerpts:
Easy to use, although there are some _very_ subtle knobs on the front pannel. It pays to read the manual, which is pretty good. I use this in conjunction with a Mesa/Boogie TriAxis preamp. The combination of the TriAxis preamp and the Ampulator is wonderful. It improves the feel of the system and not just the sound. This is the only thing in its class. It is a power amp simulator as well as a cabinet simulator. It improves the feel of my preamp, making it feel like I'm really bouncing an amp around stage.
GSP2101 FAQ: Mike - (bluestat at erols.com) 12/12/96: "I bought an Ampulator and FINALLY figured out how to get the best sound (IMHO) from it. I have it in effects loop of the GSP. If there's any raspyness in the GSP distortion, you can set the Ampulator to slightly compress (different sound entirely than pre tube compressor of the GSP) the signal. The result is a fluid, cleaner, rounder sounding singing distortion ala Larry Carlton, Robben Ford. The "feel" improves also, I think someone else stated it best...."makes the strings fell rubbery". In addition, the Ampulator adds balls that I don't believe you can get EVEN WITH a tube power amp, unless it's CRANKED TO FULL (or almost full). IMHO the most benefit obtained from a tube power amp is with it maxed out. I tried to get close to the Ampulator effect with EQ and GSP compression, and nothing comes close."
My demo of this unit indicates that it has potential, but you need an extraordinary clean boost before the Ampulator, to reach the sweet spot of its power-tube saturation. I am researching what a good, very strong clean-boost pedal would be. Run this chain: compressor, eq, strong clean boost, Ampulator, eq.
As far as user interface, the Ampulator is really overkill -- it's a fine and revolutionary product, but I'd like to see a greatly stripped down version placed in the middle of the Digitech 2101 multieffects processor. This product is still thinking in terms of traditional boundaries of gear -- thinking that an "amp" has to be complicated and expensive. They are making too big a production out of what should be a ubiquitous stomp box. Just provide a good basic tone internally, with a few visible controls -- then use an eq before and after to really shape it.
As a designer, I would provide several EQ banks, rather than all those limited "mic position", "mic angle", "speaker size", and "cabinet type" switches, using the following chain:
power tube saturation
This would give greater tonal flexibility and ease of use. Instead of saying "12 inch" vs "10 inch" guitar speakers, the unit should dismiss with that, and just provide a final eq, which is (I suppose) what those settings are doing anyway but inefficiently and unclearly and with less control.
What ADA should do is put all this inside of a multieffects processor, forming this processing chain:
compressor, phaser, preamp distortion
power tube saturation
DejaNews query: "Ampulator"
Messages 1-100 of exactly 135 matches for search Ampulator:
Date Scr Subject Newsgroup Author 1. 98/10/09 023 Re: FS: Peavey Tube-Fex, ADA alt.guitar.amps MPKearns 2. 98/10/06 022 FS: Peavey Tube-Fex, ADA Amp alt.guitar.amps Ben Dover 3. 98/10/15 021 Re: Q: which guitar preamp f alt.guitar Michael 4. 98/10/15 020 Re: Q: which guitar preamp f alt.guitar Michael 5. 98/06/12 019 Re: preamp that sounds most alt.guitar.amps Fmplautus 6. 97/12/29 019 Re: Speaker simulator alt.guitar Aaron Turner 7. 98/03/17 018 Re: Amp Emulator Question alt.guitar.amps Zzlacc 8. 97/11/14 018 Re: Anyone used an ADA Ampul alt.guitar Banal Boy 9. 97/07/30 018 FS: ADA Ampulator alt.guitar.amps Dpcoffin 10. 97/07/30 018 FS: ADA Ampulator alt.guitar Dpcoffin 11. 97/07/30 018 Re: FS: ADA Ampulator alt.guitar.amps BlueStrat 12. 97/06/11 018 Re: ADA Ampulator? alt.guitar Dpcoffin 13. 98/06/18 017 Re: preamp that sounds most alt.guitar.amps GD 14. 98/03/21 017 Re: The Quest for the perfec alt.guitar.amps Fmplautus 15. 98/01/10 017 Re: Whats the best distortio alt.guitar Ijfur 16. 97/12/31 017 very low powered amps with d alt.guitar.amps Puentstein 17. 97/11/11 017 Re: Anyone used an ADA Ampul rec.music.makers.guit josh 18. 96/12/07 017 Re: Q: AMPULATOR POWER AMP S alt.guitar.amps distrtn9 19. 96/11/27 017 Q: AMPULATOR POWER AMP SIMUL alt.guitar.amps BlueStrat 20. 96/11/25 017 AMPULATOR REVIEW? alt.guitar.amps BlueStrat 21. 96/03/09 017 Opinons: ADA Ampulator alt.guitar Matthew F. McCa 22. 97/12/29 016 Re: Speaker simulator alt.guitar My name is Greg 23. 97/12/13 016 Re: Question on making a loa alt.guitar.amps Puentstein 24. 97/10/29 016 Re: best guitar amp simulato alt.guitar.amps Highcoyote 25. 96/12/23 016 AMPULATOR REVIEW? DejaNews a alt.guitar.amps Michael 26. 96/12/22 016 Re: Rvw of Power Brake, Hot alt.guitar.amps Duncan Markley 27. 96/11/23 016 Re: Rvw of Power Brake, Hot alt.guitar David N. Barnet 28. 96/11/23 016 Rvw of Power Brake, Hot Plat alt.guitar ratman 29. 96/11/03 016 Re: Rvw of Power Brake, Hot alt.guitar.amps Michael 30. 97/10/28 015 Re: best guitar amp simulato alt.guitar.amps Aaron Turner 31. 97/10/28 015 Re: best guitar amp simulato alt.guitar.amps HUMAN 32. 97/10/14 015 Re: Amp/Speaker simulators alt.guitar Aaron Turner 33. 96/12/21 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Dave Stork 34. 96/12/21 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Mark Garvin 35. 96/11/21 015 Re: Rvw of Power Brake, Hot alt.guitar DANIEL ROBERTS 36. 96/11/19 015 Re: Rvw of Power Brake, Hot alt.guitar JohnDoe 37. 96/11/18 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Hamish Hubbard 38. 96/11/17 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Michael 39. 96/11/16 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Michael 40. 96/11/16 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Carl Fiadino 41. 96/11/14 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Jeff Vineburg 42. 96/11/14 015 Re: Rvw of Power Brake, #2/2 alt.guitar.amps Michael 43. 96/11/14 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Yontz Sucre 44. 96/11/14 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Mark Garvin 45. 96/11/13 015 Re: Rvw of Power Brake, Hot alt.guitar.amps M. Diewald 46. 96/11/13 015 Re: Rvw of Power Brake, Hot alt.guitar DANIEL ROBERTS 47. 96/11/12 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Michael 48. 96/11/12 015 Re: Rvw of Power Brake, Hot alt.guitar.amps James Andrews 49. 96/11/11 015 Re: Rvw of Power Brake, Hot alt.guitar.amps Ron Traweek 50. 96/11/10 015 Re: Rvw of Power Brake, #1/2 alt.guitar.amps Michael 51. 96/11/10 015 Re: Rvw of Power Brake, #2/2 alt.guitar.amps Michael 52. 96/11/10 015 Re: Actual cranked tube #1/2 alt.music.4-track Michael 53. 96/11/09 015 Re: Rvw of Power Brake, Hot alt.guitar.amps M. 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