My Senior Thesis From The University Of The Arts: Where It All Began

This blog is intended to serve as a history of Voltic Electronic Devices and my csdjkfnbkesjgbesgkjbskg So, for those that so care, this is what my thesis from senior year at the University of the Arts looked like.

The 1950s and 1960s were the era that standardized the sound of the amplified guitar both creatively and mechanically. Guitarists such as Jimi Hendrix and Keith Richards were introducing listeners across the globe to the sounds of overdriven guitars and effects pedals, while makers such as Leo Fender (Fender), Jim Marshall (Marshall), Thomas Jennings (Vox) and Everett Hull (Ampeg)  were all pushing the envelope, in their quest to create the ideal musical instrument amplifier. Although they frequently borrowed and, on occasion, outright stole ideas from one another, these men each approached their builds in unique ways yet never strayed too far from those original amplifier designs that were based on published schematics by tube manufacturers in the 1930s and 1940s. (Verlinde)

Still, it is impressive that despite the relatively small number of components -  especially compared to modern day amplifiers - these four men were able to craft musical instrument amplifiers with entirely unique voices. Hull created a low-distortion amplifier capable of reproducing previously unheard bass frequencies, Jennings developed “Class A” guitar amplification, Marshall established himself as the “King of Loud” and, finally, Leo Fender introduced the Dual Professional in 1946, which essentially served as the DNA that most modern amplifiers would claim in the ensuing decades. 

These amplifiers were able to make a lasting sonic impact for a variety of reasons, however the root of their “evergreen-ed-ness” amongst guitarists is that they are easy to repair and modify to suit the needs of individual players. Hull, Jennings, Marshall and Fender constantly sought out the expertise of professional musicians when designing amplifiers; additionally, detailed schematics of these amplifiers were easily attainable by laymen well into the 1970s. (Verlinde) This corporate ethos that repairable, working amplifiers are important, coupled with a shrewd business sense, was the driving force behind many of the innovations that are considered to be “standard” features nowadays. The most obvious example here being when Fender discontinued their phase-shifting harmonic tremolo circuit and outboard Fender Reverb Unit in the 1960s as a response to guitarists requesting that both circuits be housed in their line of combo amplifiers. (Jim Walton, personal communication, 25 February 2022)

After the introduction of the guitar amplifier, the two most important eras are, probably, the introduction of the transistor amplifier in the 1960s and the advent of the tube amplifier hobbyist in the 1990s; this latter era is the one that we will focus on. Up until this point, the guitar amplifier industry had been dominated by corporations; though Fender, Marshall, Vox and Ampeg remained in name, their parent companies had, in many instances, implemented severe cost-cutting measures, leaving these once great companies shadows of their former selves. The 1990s introduced the guitar amplifier community to boutique builders; names such as Matchless, Dumble, and Trainwreck became commonplace during this time.

The introduction of the Internet, in addition to a newfound affordability of components and 30+ years of amplifier repair knowledge created a bubble that was ready to burst. Though, today, Matchless and Dumble are, arguably, more well known, Ken Fisher from New Jersey has, perhaps, the longest lasting influence amongst amplifier builders and repair persons. Throughout the 1990s, Kenny Fisher published a regular column in Vintage Guitar Magazine that would go on to inspire legions of now legendary builders, such as Fuchs, Carr and Dr. Z, amongst others. These writings, for better or worse, also served as a cue for many hobbyists to begin modifying and repairing their own amplifiers. (Verlinde) In 2022, we are still seeing the effects of this movement — “half-power Twin”, “high-power Deluxe” and “Marshall-style Bassman” amplifiers — though, certainly, they are not nearly as prevalent as they once were.

All of this is to say that, for many, the repair and modification of amplifiers and effects pedals serve as one of the last bastions of hands-on mechanical creativity; the process is more important than the product and the value gained or lost is immaterial compared to the knowledge gained. Robert Keeley, of Keeley Electronics, one of the most well-known boutique effects pedal makers on the planet, described the feeling of modifying pedals early in his career as follows:

“It felt like hot-rodding cars and car stereos to me,” says Keeley. “I had a blast building a motor for a [Chevrolet] Camaro and adding nitrous as well as all the suspension tricks one could do. So, adding switches for more bass, more boost, more highs, more ‘tone flow’ from pedals was a natural extension! Home stereo tube-amplifier designs and other high-fidelity marvels influenced my mods and what I brought to the pedal world.” (Hunter)

Robert’s sentiment, here, is hardly unique. Many of those inclined to wrench on amplifiers and effects pedals are also, arguably, predisposed to working on cars, stereos and other mechanical hobbies. (Verlinde) However, due to the advent of computer technologies many hobbyists have been “priced out”, both in knowledge and cost of equipment, from partaking in these recreations at even an amateur level. 

As amplifier repair persons, it is important to be able to not only repair amplifiers, but also recognize the state of the instrument amplifier industry. That being said, truthfully, the 1990s were not the only era of suspect amplifier repair and modification; as a community, we’ve simply allowed this to become a bit of a running joke. Unfortunately, due to how widespread the joke is, and the propensity of forums and magazines, it has become a “truth”. We should note, however, that there has been shoddy work done throughout the decades – a vintage Fender Deluxe from the golden age is not anymore prone to good or bad work just by the nature of it being a Deluxe, the same is true of a Fender Blues Junior. 

Afterall, without the tinkerer's spirit found within Leo Fender, Jim Marshall, Thomas Jennings and Everett Hull, the world of instrument amplification would be a much less rich place. It is not for us to judge the equipment that customers present to us, nor, at the end of the day, is the “gig” simply about making broken items work again. No, amplifier and effects repair is an anthropological study of how and why musicians produced sound in their given environment throughout history. As such, we should view ourselves as not only repair persons, but as stewards of the equipment that we are charged with maintaining.

Podcast:

Verlinde, Jason. The Truth About Vintage Amps. The Fretboard Journal, 2018 – , tinyurl.com/2s4m2m87

Website:

Hunter, Dave. “‘It Felt like Hot-Rodding Cars to Me’: Robert Keeley on His Career Switch from Engineering Professor to Star Pedal Maker.” Guitar.com | All Things Guitar, 28 May 2020, https://guitar.com/features/interviews/robert-keeley-electronics/. 

Primary Source: 

Walton, Jim (Philadelphia, PA) – amplifier repairman, personal communication