Crackdowns against the Occupy Wall Street encampments across the country reached the epicenter of the movement on Tuesday, when police rousted protesters from a. The shocking truth about the crackdown on Occupy Naomi Wolf US citizens of all political persuasions are still reeling from images of unparallelled police brutality in a coordinated crackdown against peaceful OWS protesters in cities across the nation this past week. An elderly woman was pepper-sprayed in the face; the scene of unresisting, supine students at UC Davis being pepper-sprayed by phalanxes of riot police went viral online; images proliferated of young women — targeted seemingly for their gender — screaming, dragged by the hair by police in riot gear; and the pictures of a young man, stunned and bleeding profusely from the head, emerged in the record of the middle-of-the-night clearing of Zuccotti Park. But just when Americans thought we had the picture — was this crazy police and mayoral overkill, on a municipal level, in many different cities. The National Union of Journalists issued a Freedom of Information Act request to investigate possible federal involvement with law enforcement practices that appeared to target journalists. The New York Times reported that New York cops have arrested, punched, whacked, shoved to the ground and tossed a barrier at reporters and photographers covering protests. Reporters were asked by NYPD to raise their hands to prove they had credentials: Other reporters wearing press passes were arrested and roughed up by cops, after being — falsely — informed by police that It is illegal to take pictures on the sidewalk. In New York, a state supreme court justice and a New York City council member were beaten up; in Berkeley, California, one of our greatest national poets, Robert Hass, was beaten with batons.
Dating Your Fender Amp
Two Hofner “Staple” humbucker pickups Scale: Five-piece maple-mahogany laminated neck, rosewood fingerboard with pearl position markers, three dots per position. Open gear tuning keys.
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The handcrafted Americana Cutaway is excellent for playing styles that require upper fret access. Gibson Flying V Guitars; Alvarez guitar serial number dating – The … alvarez guitar serial number dating double your dating A9 color made guitars serial find Early serial numbers work alvarez guitar serial number All guitars and basses have serial Godin Guitars Forum Guitarsite There is no serial number on the whole guitar.
It is the description what could be a Multiac but with steel strings. Godin guitars sent me an “F”?? Godin guitars sent me They have Here s a quick breakdown of how their serial numbers work Godin started. When was my guitar made?
Guitar Player December Letters to the editor; Guitaring; Questions; It’s New. VG condition, mailing label on back.
An S9 serial number, original parts and electronics with pots and pickups dating this guitar weighs in at 8lbs and plays well with lots of life in the original frets and a nice low action. Comes with a hard case.
Dating a Marshall amplifier can be a daunting task for even the most savvy of suitors — Amp Archives is here to help. From until Marshall amplifiers were identified by a four-digit sequential number inside the back panel, reportedly starting with in and reaching at the beginning of While there are serial-like numbers during this era, no standard serial number format has been identified. The model numbers can be somewhat confusing because model numbers such as or can be mistakenly interpreted as the production year of the amplifier.
Amplifiers from this era must be dated within this time span based on their features, or component manufacturers and codes, including speakers, potentiometers and transformers. JTM block logos changed to gold-plated plastic script, these are fragile and many have been replaced. Cabinet feet are small round and gray. Handles changed to plastic with larger end cap.
Ampeg Portaflex BN Bass Amp
Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas. Peter Traynor built these things to stand up to road abuse, unlike a lot of vintage stuff.
It sounds great with either bass and guitar, providing a clean and loud tone.
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Known as “C” or peanut body. Sides, neck and bridge blocks were constructed of a Poplar frame, stapled together. The unpainted sides were covered in a whitish vinyl material. Known as the “U” model body. Much like a Fender Jaquar in shape with a double cutaway body with the bass horn being the longest. Danelectro models had solid Poplar body, Coral sitar has a semi-hollow Poplar body.
Peanut style bodies had bolt-on necks with an aluminum neck rod that went from the peghead to the bridge.
What does the label say. Art Lutherie labels there guitars by the top wood. They have both cedar and spruce models. They also had recently discontinued a solid laminate model labeled as Wild Cherry. I believe this model had the painted on rosette but they also used it on some earlier solid topped models.
Ampeg has been a huge part of amplifier history, with amplifiers dating back to the mid s that have been used by bands such as The Rolling Stones, Pink Floyd, Television, Booker T and the MG’s, The Clash and others.
Vintage Guitar Magazine – this is Vintage Guitar and all neophytes are advised to start here. Of course, my favorite part is Michael Wright’s “Different Strummer” column, which covers the history of all those wild, wacky off-brand instruments in elaborate detail. VG has also published several of my own articles over the years, some of which can be found on this site.
The Blue Book – if you’re serious about buying and selling used guitars, the Blue Book provides the most detailed pricing, dating and identification info. Much of it is available online for free. GuitarHQ – a nice all-around mainstream vintage guitar site. All the standard Gibson and Fender type stuff, plus some other interesting odds and ends. All about guitar maintenance and repair. MIMF – the Musical Instrument Makers Forum is a goldmine of information about materials, construction and repair techniques, including a gallery of unique custom built guitars that range from inept to incredible.
If you need professional advice about repairing your old guitar, this is the place to ask. Stewart-McDonald – a good source for replacement guitar parts and repair tools to keep your junker running. Also check out WD and Allparts. I’m not sponsored by or affiliated with these or any other manufacturer or retailer, but I’m often asked to recommend good parts sources.
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Jersey Shore ok, more searching.. The Gemini I was a two-channel 1×12 amp with a cathode-biased watt power section. Although reverb was only available on channel 1, there are evidently examples of a factory modification that put a reverb control for channel 2 on the back of the amp. The Gemini II was a two-channel same preamp as the I 1×15, with a fixed-bias watt power section derived from the earlier cathode-bias design. There was also a Gemini IV, although there were very few made.
It was 1×12″ and fairly quickly got renamed the Rocket 2, except that it had four input jacks instead of the Rocket 2’s two. Both it and the Rocket 2 had that really strange “repeat percussion” feature on the tremolo. This amp is a bit of a hen’s tooth it was never officially in the catalogue.
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Ampeg Portaflex In the late s Jess Oliver invented  a combo amplifier with a chassis that could be inverted and tucked inside the speaker enclosure to protect the vacuum tubes. This combo bass amp was introduced in as the Portaflex , and remained a popular choice through the s. Characteristics[ edit ] A particular characteristic of Ampeg amplifiers in the s is that they were designed to be used for jazz and other types of music where distortion was not sought after — as Everett Hull had a major contempt for rock and roll music, and his hope that it being merely a “passing fancy” never materializing, had merely manifested his dismissive attitude towards the genre.
The closest they came to a rock’n roll endorser at one point, was by way of Joe Long , a left-handed bass player of the Four Seasons , who played the company’s Horizontal Bass. This was further compounded by the one chief competitor Hull disliked the most; Fender , as they continually bested Ampeg in overall sales.
My serial 1A still characteristics the system regular throughout the 80s, and dating peavey amps serial number into the undemanding 90s. I banned the speaker, guaranteed it in for a name of trade, I find’t taken off the front person yet to make what reply of convention has been resting cry a “gay” amp a pleasing Ampeg svt3 pro and opening to.
Submit your Guitar How old is my vintage amplifier? There are several ways to determine when a Fender amp was produced. First use the cosmetic features to get a range of possible years. Next, if applicable look for the date code on the tube chart. Remember, many components could have been changed over the years, speakers blow, caps dry out, transformers melt down, and pots wear out.
Here is a cool link to a Vintage Fender Amp price history chart that tracks sales data for specific amp models by the month. Wide panel, narrow panel, brown, blonde, and black face amps have a date code hand-stamped on the tube chart. This code is made up of two letters. The first letter translates to the year and the second to the month. The reissue amps also made use of this code.
Electronic components such as transformers, potentiometers, speakers, and some capacitors are often stampted with a date code indicating who manufactured them and when.
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I love this bar Dating ampeg amps – Ampeg amplifiers have evolved over the decades. Being able to place specific products in amps time period is a dating way to assess value and impress fellow gearheads. Ampeg ampeg utilize serial numbers when producing their amps, but these numbers can sometimes be inaccurate.
The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. For speakers this code can be 5, 6, 7 or 8 digits long, and it’s ink-stamped or paint-stamped on the “bell housing” of the speaker. In either case, the code works the same. The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code.
The remaining 3 or 4 digits are the date code. In 3 digit dates code, the 1st digit is the last digit of the year. On 4 digits date codes, the 1st and 2nd digits are the last two digits of the year. In either case, the remaining 2 digits are the week of manufacture 01 to With this in mind, remember if the last two digits of the source-date code are greater than 52, you’re not looking at the source-date code!
Also it’s worth mentioning: On 3 digit date codes, you have to “guess” the decade of the pot or speaker.