badpenguin

Welcome to the forum! As always, pictures would help. it helps to see the headstock, label, tuners, etc etc, since different companies have their own stylistic ways. Same serial number or model number?

Ampegs were made by Matsumoku, who begat Univox, Aria, Diamond, Westone, Electra, Phoenix, and a host of others.

I've played them, they're ok at best, but on the HEAVY side of things. 500, fair, 700? It will rot on CL.

I've only seen one or two of these for sale, both ended at about 750.00.

Sure, you buy it, and send it to me for disposal.

Well, 90% of the time any question you ask can be answered with 5 seconds of Google searching. My apologies if you got offended by the search process.

12ax7 tube - Google Search Google is your.... nah, nevermind.....

There just isn't any real info out there, other than it was made sometime between 91-99, and it was close to the upper end of the model line. Most likely built in Korea by Samick.

three guitar stand - Google Search Google is your friend.....

I read all the time about how a tube amp needs to be Biased when you do a tube change. I've never done that in 40 odd years of owning tubers and am curious as to what it is. Yeah, I know, somewhat of a stupid question, but hey I'm a former bassist.

Nice! I haven't been able to find any of the GFS guitars around, but I had 2 Douglas', one solid tele, and one semi hollow. I decided to keep the semi, for the exact same reasons, it just sounds more open. and with a little wiring magic, does just about everything I could want. (Bill Lawrence 5 way switching.)

Your tech should be able to figure out the tapers.

I like the T60, but every time I get one, I ask myself "Why did I get a boat anchor?" The ash/maple combo is nice, but a bit too bright for my taste. And I don't like Peavey's pickups. So I get one, play it, let my leg recover from having the circulation cut off of it, then get rid of it.

Everyone.

I personally loved the ZR trem. Expensive, but smooth and came back to tune everytime.

Best size for pictures are 1800x1350. Simply drag the pics to the area you are typing under with the paper clip pic. And "Firebrand" was a model Gibson put out in the late 70's thru the mid 80's. BUT it was marked Gibson on the headstock.

I agree completely DM! The Franz has such a unique tone to it. And I find the guitar itself to be much more playable than the Gibby 125. And yes, the finish is a shame, but if it was the original gold, it would have been close to the 3K mark. It really doesn't bother me, same with the binding rot. It just shows the history of "Grand Pa".

Greetings all. A while ago I picked a 99 Ric 330.Beautiful guitar, played great, sounded great, but..... I never played it. In the last year, if it got 2 hours of play time, that would be a generous estimate. So with Mrs. Penguin's blessing, we went down to my fav shop, and did some bargaining. I don't need to tell people who know me that I am a serious Ibanez head. Those MIJ's are wonderful guitars, rivaling the American from the same time period, and some of their original designs were beautiful instruments. THIS is one of them. A 1982 Ibanez Musician MC150. Original Super 58 in the neck, minus the cover, a Duncan Distortion in the bridge, wired to push/push coil taps. 5 Piece maple/walnut neck thru construction, mated to a mahogany body. Under the electronic cavity, is a can. A full metal can grounded to the bridge! And, after fixing the monkey wiring job ono the bridge pick up, it's a screamer! Oh, but that wasn't all I picked up. I love a good hollow body. Sat and played a ES137, thought, I could love this.... Then put it down. Whenever I get that "I could love this" thing going on in my head, I NEVER fall in love, and regret getting it! Then I saw this. A 1955 Guild X150 Savoy. Ok, it's ugly... people who don't know what they are doing should NEVER be allowed near a spray paint can. But wow! acoustically, it's a cannon. rich and deep sounding, very easy to play, very nice. Then plugged in... what was said before x's 10! the Franz P90 is so nice sounding, a P90 tone with some nice high end, the kind you don't get from a P90. So of course, it had to join the Ibanez.

What you have is "kinda" normal. You need a set up. You need a PRO to do the work. When I say pro, not Timmy from down the street who kinda plays guitar. A pro will adjust the neck, set action and intonation, do that little bit of fret work, and work on the nut. Yeah, it's 60-100 bucks, but trust me, it's worth it.

It all depends on the bass used also. Take your bass to the nearest store and try out different amps. Each bass will sound a little different thru a different amp. Personally, I have never liked the sound of an Orange, but prefer the tone of a G&K. My old bassist HATED my G&K, and preferred Fender, which I was never a fan of. See, it's all subjective to your ear.

I'm a big believer in "If I can't do it, I'll get a pedal". FLAMMA FV04 Harmony Vocal Processor Effects Pedal Reverb 12 Pitches with 11 Different Harmony Modes 48V Phantom Power : Musical Instruments (amazon.com)

Or you can go this route: No Holes - Humbucker Pickup Cover | eBay

I can't for the life of me see a reason to do that. You want stereo? Two amps, two SEPERATE speakers. I ran a stereo rig for a while. (Roland blues Cube right channel, Roland Bolt 60 left, and a Roland BN60 bass amp for guitar synth monitor, and the outs to the house mains.) And... it was just too much for live applications. I spent more time going "WTF is wrong NOW?" then actually playing and enjoying. K.I.S.S.

Ah yes, the "black doesn't stand out to the Misses.... so I can add another without her noticing.." theory. I go with the color and re-arranging concept myself.