- 1970’s Vintage Guitars
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- Tell me about Univox guitars please. | Harmony Central
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It is not known how these were constructed, but because previous amps had Japanese chassis put into Westbury-made cabinets, these were probably built that way also. The illustration shows a grille with two small circles on top and two large circles for the speakers.
The grille had four round cutouts. The cabinet grille had eight round cutouts. The grille had two large round cutouts with two small round cutouts on the sides. The amps had handles on the top, the cabs handles on the sides, to make life easier for your roadies. The grille had two large square cutouts with rounded corners.
It also had 12 high-frequency horns with crossover networks, usually used with two cabinets. Shaft Lastly, but not leastly, Univox offered a super amp head, the C Group, or UX Series, available with either a guitar or bass cabinet. These were promoted with a flyer that sported a muscular black model with naked torso looking for all the world like Isaac Hayes, the man behind the popular movie Shaft.
The amp was a mean two-channel S. It was set up for lead guitar, bass or PA use, with two guitar inputs, two bass inputs and two mixer inputs. Its watts were obtained with eight tubes — four s, two 12AU7s and two 12AX7s.sis.wt.com.mx/prego/manual/inside-out-an-inside-story-book-1-insiders-series.php
1970’s Vintage Guitars
It had two volume and a master gain controls plus bass, middle, treble and presence controls. Power on and separate standby switches. Four speaker output jacks. For a little extra punch, you could throw a hi-boost switch, too. The UX guitar cabinet was a watter. The Minimax was designed for use with bass, organ, electric piano or guitar, but really was a bass combo amp. The back-mounted chassis had two channels with high and low inputs, plus volume, bass and treble controls for each channel.
The U Bass Amplifier pumped out watts with five inputs covering two channels high and low each and one input that bridged both channels.
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Channel 2 had volume, bass and treble controls. Both channels had master volumes, plus two, four or eight-ohm output. While other Univox brand amps may have existed during this period, these are the only ones on our radar scope. Early Univox electric guitars and basses The precise chronology of the earliest Univox guitars is likewise uncertain. Based on the evidence of the logo on the amplifier, we suspect Univox guitars with the plastic logo debuted at about the same time.
By , Univox was employing decal logos on some models, further corroborating this conclusion. If this assumption is correct, it would suggest that among the first Univox guitar was the Mosrite copy known later as the Hi Flyer, debuting in around The Hi Flyer was a thin-bodied reverse Strat-type with a German carve around the top, almost always seen in sunburst. This was identical to the Aria T. The bolt-on neck had a three-and-three castle head, plastic logo, string retainer bar, zero fret, fret rosewood with large dot inlays.
A white-black-white pickguard carried volume, tone and three-way.
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Two black-covered single-coil pickups were top-mounted, the neck slanted back like on a Mosrite, with six flat non-adjustable exposed poles in the center. An adjustable finetune bridge with round saddles sat in front of a Jazzmaster-style vibrato. The plastic logo was still in use in , though gone was the string retainer, replaced by a pair of little string trees.
Also, at some point the pickups were changed to the distinctive twin-coil humbuckers with metal sides and a see-through pink insert on top. This was a hollowbody with no f-holes, Cremona brown finish, single neck pickup, bolt-on neck with position dots along the top of the fret bound rosewood fingerboard. Controls were volume and tone. A little elevated pickguard sat on the upper treble bout.
The earliest examples of these had the little plastic logo on the head.
The head was a strange, long thing with a concave scoop on top, and the plastic logo. Perhaps the coolest feature of this strange guitar is a string version of the square vibrato system employed on Aria guitars of this era. You can pretty much assume that if there was a strange-shaped solidbody string Univox, it was not the only model! Aria and Univox Les Paul copies began to hit the U.
The headstock was a copy of the Gibson open book. Controls were standard three-way with two volumes and tones. The knobs were those tall, skinny gold kind seen on many early Japanese copies. The Japanese copy juggernaut got off to a fast start, and the second major Univox guitar was the Lucy, a lucite copy of the Ampeg Dan Armstrong, again produced by Arai, introduced in This guitar had a surprisingly thin bolt-on neck especially compared to the Ampeg original and a slightly smaller body.
The fingerboard was rosewood with 24 frets and dot inlays. This had a fake rosewood masonite pickguard with volume, tone and three-way select. However it does not increase their value. In response to Jeff Burgess — June 22, The studio was on eighth avenue across from the Hudson Bay. I would ride the bus at night to get to and from class.
Tell me about Univox guitars please. | Harmony Central
I was 14 years old. The instructors name was Robert Hohn. He contracted a Japanese guitar builder to produce these guitars. Red, Blue and Green. I have the green version. The last five minutes of class were the best.
univox serial number
Hohn being a rock and roll musician would then show us how to play some real music. This guitar is one of the best playing guitars I have used. I still play this guitar all the time. Had the truss rod set once 15 year ago. No other service required ever.
I would imagine only a hand full of these guitars exist today. As to the value??? At that time I thought I would like to have one in each color. Did not buy it. Hope your readers found this to be interesting. I have a Lyle es serial honey burst, ivory colored binding all original guitar except for the strings. If anyone is interested, give me a heads up!! I bought it new in What would be an approximate value of this guitar?
It has every option you could get on the guitar,coil splitters,stereo connections,and mother of pearl inlays. The serial number is Thank You in advance. I have a lotus electric guitar…only about 30 inches long …4 black buttons and a rhythm tremble switch…. I recently picked up an early 70s Pan Trini Lopez copy guitar serial number any info on these?
Was gifted what appears to be a very rare guitar. Lyle L — 30 Martin Knock off with Grover locking tuners. Plays like a dream. Everyone who plays it drools. Any clue what this magic axe is? It says HF made in Italy. It has a 0 fret, Gibson design, Brisby bridge, bolt on neck, roller brisge, well bound, red with cream trim, the truss is adjusted at the heel, rosewood fret board, inlay on first fret. Can anyone tell me about this guitar? I have no information and am not finding anything on the internet. Has anybody on here heard of Ariana guitars?
I have an option to buy one….
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Your email address will not be published. AwesomeOne theme by Flythemes. Vintage Mosrite Electric Guitar. Vintage Guyatone Ricky Electric Guitar. Vintage Hohn Electric Guitar. Hi, I am hoping you can help me with some information on the Morris Tornado xx80 acoustic round back guitar, or put me in touch with someone who can help.
The number on the front of the neck near the sound hole is Hoping you can help me. Many thanks Simon Smith. Any help in identifying it would be appreciated. I had the Sekova Les Paul … really good guitar, just a bit heavy.. Leave a Reply Cancel reply Your email address will not be published. Spotting and identifying early Korean models after production shifted to Korea Early Korean models adopted similar looking serial numbers but were not indicative of the year manufacturered.
Many early Koreans appeared to be nearly identical to the Japanese models with one important thing missing, at least on models with bolt necks and neckplates: Without this, it is not an earlier Japanese model.
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Other tip-offs to later Korean heritage are bridges with squared-off ends, 3rd fret scarf joint in the neck, Schaller style tuners on models previously equipped with keystone style tuners, smaller potentiometers, and Quck-hook tailpieces with standard stop-bar stud spacing among others. You can contact us HERE regading contributions to this archive, or if you have corrections. Please don't contact us with general guitar questions via e-mail as these are better suited to the Message Board's forums.