12/31/2022 0 Comments Marshall amp key holder new york![]() “The repair person did the best he could just to make the amp operate again after a terrible tumble,” Margouleff says. “It was a bit like Humpty Dumpty.” Soon after, the American-made amp was deposited at an England repair shop. “They had to put it all back together,” Margouleff says. While the group was on the road, the amp fell out of the back of the van and was severely damaged. That’s when I said to him, ‘I think we can do this, but I really need to take your amp home.’ He was amenable to the idea and said, ‘You’re working hard at this, so let’s give it a shot.’ So I took the amp home to New York, and Mitch and I discovered a number of anomalies in it.”Īs Margouleff explains, Page used his Supro Coronado in the early 1960s when he was touring with Neil Christian and the Crusaders. “I realized right then that we were pretty darn far away from his amp. ![]() You plug into the real thing, and it’s a whole other feeling of touch sensitivity and the type of distortion, and what I like to refer to as the ‘swirl,’ where you get a little amp that sounds like you’re listening to a Marshall. We plugged the two of them in, and it was close, but it just really wasn’t it. I didn’t know about all the variations of that model, but we took my amp and put a 12-inch Oxford speaker in it, along with some good tubes, and I brought it back to Jimmy. But I didn’t want Jimmy to give me something that precious and valuable, so I went home and found an old Supro Coronado in my amp collection that had a 15-inch speaker in it. “I had already given him one of Mitch Colby’s Lil’ Darlin amps, and Mitch had helped me with the restoration of Jimmy’s 100-watt Marshall, and so I said that Mitch and I could do it. ![]() I’m doing it with the guys at Fender, and we’re also going to make a reissue of the guitar.’ I asked Jimmy if he thought it might be a good idea to also reissue the amp that goes along with it, and he said, ‘Yeah, that is a good idea, but how am I going to do that?’ “Well, one thing led to another, and before I visited Jimmy in London again - which was a few months - he says, ‘You know, I’m restoring the guitar and will be able to do this with the Met. I said, ‘How would you feel about restoring the guitar and painting it again? You painted it in the first place, and you could do this again.’ ![]() “I went to Jimmy and told him that these guys at the Met really wanted him to be part of this thing and would love to have the Dragon Tele. ![]() It was this personal relationship that opened the door to a deep exploration of the amplifier Page used to create his groundbreaking tones on “Good Times, Bad Times, “You Shook Me,” Communication Breakdown” et al. The Sundragon project is a partnership between New York amp maker Mitch Colby and musician/producer/guitar collector Perry Margouleff, the latter of whom has known Page for more than 35 years. That changed big time in January 2019, when the Sundragon combo made its debut at Winter NAMM in a limited run of 50 hand-built models - at $12,500 a piece - that duplicate the circuit elements of the late-’50s Supro Coronado that Jimmy Page used on Led Zeppelin’s first album. But it’s fair to say that dead-nuts-accurate reissues of iconic artist amplifiers have been fewer and farther between. Sure, Marshall has made signature models for Slash and Joe Satriani, and Fender has done likewise for Eric Clapton, George Benson, The Edge and, most recently, Chris Stapleton. But the guitar amplifiers that often made those guitars come to life have received far less attention in the marketplace, even though the role they played in crafting groundbreaking tones may have been just as significant. ![]()
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