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Citation for published item: Scarre, Chris (2008) ’”Beings like themselves” ? anthropomorphic representations in the megalithic tombs of France.’, Arkeos., 24 . pp. 73-96.
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FICHA TÉCNICA ARKEOS – perspectivas em diálogo, n.º 24 Propriedade: Direcção: Coordenação deste volume:
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ARTE RUPESTRE DO VALE DO TEJO E OUTROS ESTUDOS DE ARTE PRÉ-HISTÓRICA Textos de: A L J A Zˇ O R Zˇ ANABELA B. PEREIRA CHRIS SCARRE FERNANDO COIMBRA GEORGE DIMITRIADIS LUIZ OOSTERBEEK MILA SIMÕES DE ABREU M U N I Q U E C AVA L C A N T E R I C A R D O S I L VA
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Tomar 2008
ÍNDICE
Introdução ao volume, por Luiz Oosterbeek . . . . . . . . . . . . . . . . . . . . . .
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El Arte del Tejo (Portugal)en el marco de los estudios de arte rupestre en Portugal, por Luiz Oosterbeek . . . . . . . . . . . . . . . . . . .
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Neolithic Idols in Megalithic Structures in the Iberian Peninsula: a symbolic review regarding shape, ornament and raw material, por Alja Zˇ orzˇ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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“Beings like themselves”? Anthropomorphic representations in the megalithic tombs of France, por Chris Scarre . . . . . . . . . . . . . . .
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As Gravuras da Mão do Homem , por Mila Simões de Abreu e Anabela B. Pereira . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Portuguese rock art in a protohistoric context, por Fernando Coimbra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 As Estelas Funerárias Rectangulares da Comenda de Casével – Santarém, por Ricardo Silva . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Arte Rupestre da Serra do Cabral – algumas considerações , por Munique Cavalcante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Prehistoric Fauna Archives: Hunting Knowledge Necessity or Artistic Naturalistic Expression? Guidelines for a Future Research Project, por George Dimitriadis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Emmanuel Esteves (8.8.1945 – 14.6.2008). Recordações de um investigador e o estudo da arte rupestre em Angola, por Mila Simões de Abreu e Cristina Martins . . . . . . . . . . . . . . . . . . . 199
ANEXOS (em CD-Rom) Arte Rupestre Pré-Histórica da Margem Esquerda do Rio Erges, por Luís Nobre Grafismos Puros ou Ideomorfos Repetidos na Arte Rupestre do Vale do Tejo: uma perspectiva socio-cognitiva, por Maria Fernanda de Carvalho
“BEINGS LIKE THEMSELVES”? ANTHROPOMORPHIC REPRESENTATIONS IN THE MEGALITHIC TOMBS OF FRANCE
CHRIS SCARRE
“There is an universal tendency among mankind to conceive all beings like themselves, and to transfer to every object, those qualities, with which they are familiarly acquainted, and of which they are intimately conscious.” David Hume Dialogues concerning Natural Religion 1779
In 1918, a curious discovery was made within Le Déhus, a megalithic tomb on the Channel Island of Guernsey. On the underside of the second capstone from the end of the chamber, the faintly worked image of a human figure was recognised (De Guérin 1919). Most striking was the face, with eyebrows, nose and moustache in low relief, completed by sunken eyes and mouth. Lower down were two five-stranded symbols probably to be identified as hands, while lower still was the shallow incision of an archer’s bow, and what have sometimes been interpreted as a belt with attached hooks (Kinnes & Hibbs 1989). The distribution of these motifs across the slab made clear that the stone as a whole was meant to represent the human body, an effect enhanced by the narrowing of the block towards the ‘face’ end, where the natural shape of the stone appears to form a ‘head’. The Déhus carving is remarkable in a number of respects. First, it is surprising that the carving was not noticed for so many years, given that the tomb was first excavated in 1847. Second, the slab is clearly not in its original position, since the pillar that supports it also partly obscures
its decoration. Indeed, the presence of such a pillar in itself is an unusual feature in a monument of this kind, and draws our attention to the narrow fissure that crosses the under surface of the decorated capstone. The pillar was perhaps introduced by the builders to prevent the fracturing of the stone. In choosing to employ this fissured slab the builders cannot have been attracted by its mechanical strength but wmust have been motivated rather by the desire to incorporate the decorated block within the structure (Kinnes & Hibbs 1989, 162). There is every reason to suppose that the decorated slab placed as a capstone at Le Déhus began life in a different location, or at the very least in a different context, probably as an anthropomorphic standing stone. Stylistically it is without parallel, and the subtly carved features gazing down from within the darkened confines of the tomb chamber make it an extraordinarily evocative image. In a broader sense, however, the Déhus slab is far from isolated, but forms part of a series of former standing stones – sometimes shaped, sometimes decorated, sometimes anthropomorphic – that were re-used in megalithic burial chambers across northwest France, the region to which the Channel Islands, though today part of the United Kingdom, essentially belong. The recognition that megalithic tombs in Brittany incorporated blocks that could be recognised as statue-menhirs draws on observations made since the 19 th century (e.g. De Closmadeuc 1873; De Mortillet 1894; Le Rouzic 1913; Minot 1965; L’Helgouach 1983, 1997). In 1913, the Breton archaeologist Zacharie Le Rouzic drew attention to the stones of ogival form in megalithic tombs of the Carnac region, several of which were carved or decorated. He likened them to human forms, and concluded that they should be classified as statue-menhirs (Le Rouzic 1913). Le Rouzic did not directly state that they were re-used standing stones, although he was clearly thinking in those terms when describing the Mané Lud floor slab as “couchée” (implying that it once stood upright). The argument was carried a stage further in 1965 when Minot demonstrated that many of the decorated slabs in Breton megalithic tombs could not have been carved in situ but must have been taken from
earlier monuments (Minot 1965). It was not until the 1980s, however, that the original character of these re-used blocks came to be widely recognised. The twin foundations of the new understanding were the reappraisal by Jean L’Helgouach of the Mané Rutual capstones, and the discovery by Charles-Tanguy Le Roux of carvings on the upper (hidden) face of the capstone of the famous Gavrinis passage grave. The Mané Rutual capstone is a massive block of granite which, although broken at one end and snapped at the other, still measures almost 12 metres in length. On its underside is carved a symmetrical figure known variously as an écusson or bouclier, from its shield-type shape. Above the bouclier, at the apex of the slab, is another smaller carving. What is particularly striking about the Mané Rutual carvings is that they are on that part of the capstone which oversails the end of the chamber and was buried in the mound beyond. Thus the carvings could never have been visible once the stone was incorporated in the passage grave; indeed the massive slab appears to have been expressly positioned in such a way that the écusson motif was hidden from view. The surfaces of the stone have been carefully worked to give parallel sides and (before breakage) a regular rounded or pointed top; the other end of the stone, by contrast, had been left largely unworked. This unworked end was probably the base of the decorated menhir, which had originally been erected as a free-standing monolith (L’Helgouach 1983, 61). In addition to this massive chamber capstone, two of the smaller passage capstones at Mané Rutual also appear originally to have been free-standing menhirs; one of them carries a carved motif on its upper surface. In the same year, 1983, excavations at the Gavrinis passage grave, only 4 kms east of Mané Rutual, revealed a series of carved motifs on the previously hidden upper surface of the capstone. These carvings included an enigmatic motif of the kind long referred to as the hachecharrue or ‘axe plough’ (recently argued to represent a whale: Whittle 2000; Cassen & Vaquero 2000). Below that motif was the carved outline of a curved-horn quadruped, probably a bovid, and below that again, the curved horns of a second animal and the upper line of its back, truncated
by the break at the edge of the stone. The truncated lines made an exact join with the quadruped on the capstone of La Table des Marchand, another passage grave close to Mané Rutual (Le Roux 1984, 1985). Thus is became clear that, originally, the capstones of La Table des Marchand and Gavrinis had together formed parts of a single large decorated menhir, at least 10 metres tall (Le Roux 1984, 241; 1985, 186). This had not been an anthropomorphic menhir. The stone in itself had not had a recognisably human profile, nor were the carvings representations of the human form. It did, however, provide graphic confirmation of Minot’s observation that many of the carved stones in Breton passage graves had been re-used from earlier monuments. More specifically, it showed that they had originally been free-standing menhirs. These discoveries prompted a reappraisal of the ogival slabs discussed by Le Rouzic seventy years before, and it became clear that many (if not all) of them had not been carved in situ. They had not been intended from the outset to be elements of megalithic tombs, but had been free-standing stones that were later toppled and sometimes broken up in what has on occasion been interpreted as a wave of Neolithic iconoclasm (L’Helgouach 1983; 1997). The destruction and re-use may be seen as evidence of the power of human imagery; formerly standing in the open and hence visible to all, these stones were now systematically demolished and hidden away within chambered tombs.
CARVED MOTIFS: THE STONE AS CANVAS Not all of these early Breton menhirs, as we have seen, were overtly anthropomorphic. Among those that did embody the human form or human attributes, however, two categories can be distinguished. In first place were those stones that bore a human representation carved in outline or raised relief. A good example is the carved slab in the Ile Longue passage grave, which now stands as second orthostat on the left-hand side on entering the passage (L2 in Shee Twohig’s classification:
Shee Twohig 1981, 172) (Fig. 1). Here the principal element is a deeply carved outline with rectangular lower part and domed top: the typical “buckler” motif of earlier writers. This is the same motif as that carved on the underside of the Mané Rutual capstone. An anthropomorphic interpretation might see it as a human face, with the loops to either side representing the ears, and the wavy lines the hair. Attention has sometimes been drawn to the slight notches that separate the curved top of the motif from its rectangular lower part. These may be intended to indicate shoulders, and to separate the head from the body (L’Helgouach 1993, 11). In that reading, the loops become arms (Luquet 1910). For L’Helgouach, figures such as this (and there are no fewer than three more examples in Ile Longue alone) were the “représentation d’une puissance incontestable, divinité probable qui protège le monde des morts” (L’Helgouach 1993, 11). That statement raises a series of issues developing around the nature of the motifs and the context of their discovery. We might first question the anthropomorphic identification itself. If this indeed a representation of the human form, it is highly schematic in nature. There are no facial features, the body is merely a rectangular outline, and the head is barely separated from the trunk. The protuberance at the top of the ‘head’, which is a common feature of this series of motifs, is difficult to explain, and attempts to relate it back to similar features present on the Sesklo figures of Greece hardly carry conviction (L’Helgouach 1993, 11). Péquart & Le Rouzic eighty years ago listed a series of objections to the notion that they depicted human forms (Péquart & Le Rouzic 1927, 35). So ambiguous is the anthropomorphic nature of these motifs that one recent review reinterprets them as representations not of head or body but of the phallus, the wavy lines representing human hair, the side loops the testes (Cassen 2000, 668ff). Even if we accept them as human representations, it is mere speculation that identifies them as divine or supernatural, or indeed as female. They might equally well represent living individuals or the recently dead, either male or female. Le Rouzic, while rejecting the anthropomorphic hypothesis, suggested
that they could nonethless have been symbols of divinities, or the spirits of the dead (“mânes des ancêtres” (Le Rouzic 1913, 18). But the final and most telling problem with the “déesse des morts” interpretation is the recognition that these stones were in fact re-used menhirs, and had not initially been intended for placement within chambered tombs (L’Helgouach 1997). They need not originally have had any special connection with funerary contexts. As L’Helgouach observed in his later writings, the process of reuse could be seen as the transfer of images from the world of the living to that of the dead, although he still identified the motif as a “divinité” (L’Helgouach 1997, 122).
SHOULDERED SLABS: THE STONE AS STATUE A notable feature of the Ile Longue figure is the manner in which the form of the motif echoes and complements the form of the slab on which it is carved. There is evidence that the slab itself had been deliberately shaped to present an ogival outline with incurving sides and pointed top. The hair, indeed, sweeps back over the curved top of the stone (Péquart & Le Rouzic 1927, pl. 65). Hence, by extension, if the ogival carved motif represents the human form, then the shape of the stone itself must do so also. This brings us to the second category of human representations, those which rely not on carvings made on the surface of the block, but on the shape of the block itself. In the megalithic tradition of northwest France the most striking example of an anthropomorphic slab is the massive granite block that the chamber of passage grave II at Le Petit Mont was built around (Lecornec 1994) (Fig. 2). The slab measures 4.3 metres in length by 3.4 metres wide. It has been carefully pecked to a regular surface and shaped with straight sides tapering towards a narrower base part, of which has been chipped away. The stone bears no carvings on its visible surface but the anthropomorphic form is indicated by the curved shoulders and the rounded, clearly identified head. Originally this stone would have
stood upright, as a stele or statue menhir. Excavations have shown that the passage grave (of which it forms the floor) was built over a low earthen long mound (Fig. 2). An empty socket at one end of the earthen mound may be the original emplacement for the stone (Lecornec 1994). At some subsequent stage it was felled to the ground and dragged to its present position, where the passage grave was built around it. Shouldered stones have been identified – or claimed – in a growing number of chambered tombs in Brittany (L’Helgouach 1997). These tombs, mainly passage graves, date to the final centuries of the 5th millennium or the early centuries of the 4 th millemnnium BC, implying that the standing stones are still older and belong probably to the mid 5th millennium BC. In some cases, the shouldered form of these blocks is an intentional outcome resulting from the pecking and shaping of at least the upper part of the stone. In other cases, however, stones of naturally shouldered form have been claimed to be anthropomorphic: that is to say, they have not been shaped, but have been selected because their natural shape suggests the human form. Among the clearest examples of this category of naturally shouldered menhir are the standing stones within passage graves A, B and C of cairn III on Ile Guennoc (Giot 1987; Le Roux 1998, 219). The stone within chamber C has a particularly convincing ‘shouldered’ form (Fig. 3, left), and the contention that these may have been considered human-like is supported by the fact that in all three chambers these stones were placed as free standing monoliths, not built into the side walls. The shouldered stones of the Guennoc passage graves may have been thought to represent shadowy ancestors or supernatural beings: and unlike the other Breton monoliths referred to above they appear to have been located in a funerary context from the very outset. There is nothing to indicate that they have been recycled, or that they were orginally erected in the open air. The recognition of human shape in these stones does however become problematic if we extend the anthropomorphism to include less distinct examples such as the menhir of Men Ozac’h at Lilia. This isolated standing stone occupies a curious
position in a tidal inlet. It is deeply submerged at high tide, and only becomes visible at low tide, a situation which suggests it was erected during an early stage of the Neolithic period when sea level was significantly lower than today (Devoir 1912; Giot 1990). Neither the shape nor the size of the stone are in themselves especially remarkable, but this has not deterred some from perceiving “sa silhouette vaguement anthropomorphe” (Le Roux 1998, 219). The Lilia menhir highlights the issues surrounding the identification of anthropomorphs in natural stone forms. Psychologists and anthropologists have argued that anthropomorphism is a basic tendency of human perception and understanding, and have noted the widespread and pervasive attribution of human characteristics to inanimate objects (Guthrie 1993). This observation has a long ancestry in western thought. Two hundred and fifty years ago, the Scottish philosopher David Hume observed “There is an universal tendency among mankind to conceive all beings like themselves, and to transfer to every object, those qualities, with which they are familiarly acquainted, and of which they are intimately conscious. We find human faces in the moon, armies in the clouds; and by a natural propensity, if not corrected by experience and reflection, ascribe malice or good-will to every thing, that hurts or pleases us. Hence… trees, mountains and streams are personified, and inanimate parts of nature acquire sentiment and passion” (Hume 1779). Such attributions are of course especially likely where the inanimate object has elements of a human shape. Art historian Ernst Gombrich noted the especial sensitivity of human perception to human forms: “Whenever anything remotely facelike enters our field of vision, we are alerted and respond” (Gombrich 1962, 87). Folklore adds another dimension to this argument in the frequent identification of prehistoric standing stones as petrified humans, turned into stone for some impious act. Thus the Merry Maidens, a stone circle in western Cornwall, were thought to be a group of young girls turned to stone as punishment for dancing on the Sabbath (Hunt 1865). Such widespread folk traditions may not be of great antiquity but they highlight the ease with which standing stones –
especially narrow pillar-like slabs of approximately human dimensions – lend themselves to an anthropomorphic interpretation. In conclusion, among the megalithic blocks used by Neolithic communities in northwest Europe we have effectively a smooth transition from those which are shapd or carved in human form, and those which without any added human characteristics may nonetheless in some sense have been considered humanlike: • the carved motifs on the surfaces of megalithic slabs, such as those of Le Déhus or Ile Longue; • carefully shaped shouldered stones such as the Petit Mont floor stone; naturally shouldered slabs which may have been selected for their humanlike form, such as the Ile Guennoc menhirs; • and finally, an extensive and diverse group of standing stones with no specifically human features, but which both ethnography and folklore indicate may also have been considered to stand for humans in some way. It is clear, in sum, that megalithic blocks do not have to have human form or features to function as anthropomorphic in the eyes and minds of the beholders. In order to pursue the implications of this conclusion, let us first turn to the issue of statue-menhirs, where the intentional creation of a human form is generally not in question.
STATUE MENHIRS The statue menhirs of southern France are unambiguously anthropomorphic, in that they are shaped or carved with clearly human features. That in itself does not make them straightforward representations of individuals living or dead, or of anthropomorphic deities, but it does suggest that these stones, or the subjects they depict, were shaped to portray certain humanlike qualities. In terms of naturalistic representation, the statue-menhirs of southern France reach their apogee in the Rouergue group. These are true statue-
menhirs in the sense that they are three dimensional forms carved in the round, as opposed to the flat two-dimensional representations which are more accurately described as stelae. That said, viewed as a series the Rouergue menhirs are simply rounded blocks of stone on which human features have been inscribed; clothing and accessories are as prominent, if not more so, than arms and legs, and the face, if it is indicated at all, is squeezed into a small triangular or rectangular space at the top of the stone. No attempt has been made to separate the head from the body of the block. Indeed, in the last analysis it is difficult to decide whether these are schematic representations of human forms or whether instead it is the blocks that are being represented as animate. One of the most striking of the Rouergat statue-menhirs is the figure from Saint Sernin-sur-Rance (D’Anna 1977, 41; Serres 1997, 262; Philippon 2002) (Fig. 4). The sandstone slab has been carefully worked to give parallel sides and a rounded or pointed top. Facial features are schematic: small circular hollows for the eyes, and a straight, beaklike nose flanked by parallel horizontal lines that may indicate face paint or tattoos. Below the face, the series of curving deeply incised lines indicates a parallel-stranded necklace from which, or from a separate cord, is suspended an enigmatic Y-shaped object encountered on a number of these statue-menhirs. Small roundels represent the breasts and indicate that this is a female figure; others are male. Arms and legs are indicated schematically, and both appear foreshortened. It has been argued, in the case of the legs, that this may imply that these are representations of seated individuals (D’Anna 1977, 171; Serres 1997, 37-38). Clothing consists a long pleated robe (more apparent on the back of the figure), crimped around the middle by a prominent double-strand belt or girdle. The Rouergue statue menhirs are not large – the Saint-Sernin-surRance example measures only 1.2 m tall, and is hence a little below life size. Most had been disturbed or displaced when first discovered, and little is known of their original context of display. There is no evidence to suggest that they stood within or adjacent to settlements, however, nor that they were raised as grave markers next to burials.
The Rouergue menhirs did not appear from nowhere, fully-formed, but are part of a longer and geographically broader tradition of human representations in stone. Although dating is difficult and necessarily imprecise, the Rouergue statue-menhirs were fashioned probably in the 3rd millennium BC. On the opposite of the Rhône valley in Provence, a different type of human representation is found in the Trets basin and the Durance valley (D’Anna 1977, 212ff). This consists of flat rectangular stone plaques with straight sides converging towards a pointed base. The broader, upper part of the plaque has a decorated border (perhaps indicating a head covering or even hair) framing a sunken central panel that represents the face. Eyes are sometimes represented by small round bosses or shallow circular hollows, while a bar-like nose descends from the top of the frame. Laboratory examination of examples from La Bastidonne revealed that the carved frame surrounding the face had been embellished by red paint. Simpler examples from Château-Blanc at Ventabren, without frame or facial features, had been painted red all over (Walter et al. 1997). It is significant, and a little surprising, that the painted decoration seems not to have been used to pick out facial features. The schematic or blank nature of faces on the stelae and statue-menhirs of southern France, including even the Rouergue group, is a striking feature of this group of stones. More is known of the original setting of the Trets stelae than of the Rouergue statue menhirs. Those from La Bastidonne were associated with cremation graves; the Château-Blanc stelae came from tumuli containing inhumation burials. Hence they may have been grave markers, though whether they were representations of living or deceased individuals, or of supernatural or mythological beings, remains open to debate. Both Trets and Rouergue groups are generally attributed to the 3rd millennium BC (or at earliest the late 4 th millennium) but the origin of the tradition itself may lie a millennium earlier. There is evidence for an early phase in which stones were selected for their naturally anthropomorphic form, and erected with little additional shaping or modification. This was followed by a scond phase in which menhirs
were shaped but not carved, and finally by the carving or sculpting of the surfaces (Rodriguez 1998). A worked limestone slab from Chabrillon in Provence may represent the first stages in the transition from natural forms to intentionally shaped slabs. The stone has been worked so as to disengage a bulbous lump which may represent the head. It is argued to have come from a Chasséen context and would hence be dated to the late 5 th or early 4 th millennium BC (Saintot 1998). The shaping of the stone is not in doubt, though the contention that it represents a schematic human form is less compelling. Taken as a whole, however, the evidence from southern France suggests that the tradition of anthropomorphic representations arose from the perception of human features in natural forms. In northwest France, by contrast, the evidence does not at present suggest that natural forms preceded human carvings (Scarre 2007). This may imply differences in the way the communities of these two regions projected anthropomorphic features onto the natural world; but it is equally possible that it relates merely to traditions of representation, to the degree to which different communities thought it necessary to convey human images in realistic fashion. Underlying both is the common tendency to attribute anthropomorphic qualities to pillar-like blocks of stone.
GENDERED STONES Anthropomorphism, as we have seen, does not demand the depiction of complete human bodies, but may be restricted to shaping or inscribing a few characteristic human elements. Facial features, hands or feet, or sexual indicators may all be recognisable anthropomorphic indicators, even where they occur in the absence of a complete human outline. Towards the end of the Neolithic period in northwest France the imagery found within the megalithic tombs changes. In place of shouldered blocks or schematic representations of complete human bodies, the later imagery includes pairs of conical bosses that are
generally held to depict female breasts. These are found at six sites, five of which – Tressé, Kergüntuil, Prajou Menhir, Mougau Bihan and Mein Goarec – fall typologically within the category of allées couvertes: elongated parallel-sided chambers formed of massive orthostats and capstones (Shee Twohig 1981, 70-75; Kinnes 1980; Villes 1998). In three of the five cases, the paired bosses are located in a separate cell at the rear of the chamber, which may have functioned as a kind of shrine for offerings. At Kergüntuil and Mougau Bihan, however, the bosses are found within the chamber itself. Another feature of these pairs of bosses is that they do not occur singly: there are two pairs, one above the other, at Mougau Bihan; two pairs side by side at Prajou Menhir and Tressé; and no fewer than eight pairs side by side, and spread across two adjacent orthostats, at Kergüntuil (Fig. 5). Several of the Kergüntuil breast pairs are accompanied by a semicircular loop that extends below them as if pendant from them. In two examples, the loops consist of small individualised bosses carved in relief and connected together. It is generally recognised that these loops represent necklaces, the small bosses indicating the individual beads (Shee Twohig 1981, 73). Hence the paired bosses and pendant loops can be interpreted as female breasts with necklaces beneath, the only oddity of this arrangement being that the necklaces seem not to be hung around the neck but to be suspended from the breasts. A sixth example of this same motif, breasts and a pendant necklace, is found in a different category of tomb, the lateral entry grave of Crec’h Quillé (L’Helgouach 1993, 16). These later Neolithic carvings differ from the earlier anthropomorphic representations in a number of respects. First, they constitute not entire human forms but only one isolated element. Their disembodied character is highlighted by the close spacing of breast pairs at Kergüntuil, Prajou Menhir and Tressé, and by the positioning of breast pairs above each other on the surface of the same slab at Mougau Bihan and Kergüntuil. Second, the slabs that carry these motifs do not appear to have been introduced into these tombs as reused stones, but to have been carved in situ. This is indicated by the manner in which the series
of eight breast pairs within the Kergüntuil chamber extends across the surfaces of two adjacent stones. There is nothing to suggest that they could originally have been free-standing menhirs. Third, unlike the earlier images, these carvings are very clearly gendered: they carry explicitly female messages. Wider reference for these carvings can be sought in two separate directions. The first is a group of four three-dimensional figures from Brittany and the Channel Islands. The most striking of these is the statue-menhir at Le Câtel on Guernsey, a complete if schematic threedimensional human figure which shares with the megalithic slabs the presence of prominent rounded bosses representing the breasts (Fig. 3, right). A necklace is also shown, positioned as if worn round the neck. Breasts figure too on the figure from Saint Martin, also on Guernsey, which is thought to have originated as a Neolithic statue-menhir but was subsequently recarved in Gallo-Roman or Medieval times (Kinnes 1980). Two further fragmentary figures, from Kermené and Trévoux in Brittany, belong to the same series. They have breasts and necklaces, and in the case of the Kermené example, short stubby arms (Giot 1960; 1973). None of the four was found in a secure context and they are hence difficult to date, but comparison with the carved breasts in Breton megalithic tombs, and the similar figurations in Paris basin tombs, suggest that a Late Neolithic attribution is most likely. The Paris basin figures provide a second line of reference. The most spectacular of these are the human forms carved in the soft chalk of the hypogées (rock cut tombs) of the Marne (Villes 1998). Three of these (Coizard 23 & two examples from Coizard 24) are complete human outlines, with schematic faces (eyebrows and bar-like descending nose, a hint of the mouth in two cases and of eyes in the third). They also have necklaces, and, in two cases, prominent rounded breasts. A fourth representation (Courjeonnet 2), appears to show only the upper part of the human figure, with a hafted axe beneath which may be part of the same composition though it is possible that axe was added to figure or vice versa (Villes 1998, 33). The occasional presence of breasts indicates
that some at least of these figures are feminine. As on the Câtel statuemenhir, the breasts are here not disembodied elements but parts of complete human representations. Paradoxically, a short distance to the east, a number of disembodied breasts (paired bosses associated with necklaces) are found in the allées couvertes of the lower Seine valley. These must be related to the Breton series, and it is possible that one set inspired the other. If this were the case, then the fact that the necklaces are placed more ‘naturally’ in the Paris basin tombs, as if worn around the neck, whereas those of the Breton tombs are depicted as if suspended from the breasts, may indicate that the Breton series is derived from the Paris basin series (Villes 1998, 42). Links between the two regions are demonstrated by the occasional presence of other Breton motifs in Paris basin tombs, though here the transmission was probably in the other direction (‘palette’ motifs from Breuil-en-Vexin “La Cave aux Fées”; rectangular motif with finial from Marly-le-Roi “Mississipi” (Shee Twohig 1981, 136; L’Helgouach 1986).
BODIES, BODY PARTS AND ANTHROPOMORPHIC STONES If the Breton breast motifs are indeed derived from the Paris basin, then their ultimate origin may lie in the complete human figures carved in the Marne hypogées. The connections that can be drawn with statue menhirs from northwestern France represented by the Le Câtel menhir also place the pairs of breasts within the setting of the complete human form. Yet, as has already been observed, the tight spacing of pairs of breasts side by side in some of the Breton tombs, and occasionally one above another, suggests that these are not in fact elements of complete human forms. There is little likelihood, for example, that the breasts are the only surviving remains of whole human depictions that were originally completed in paint or charcoal. The close spacing of the breasts simply does not allow sufficient room for that. They can only always have been disembodied elements: body parts, not bodies.
What, then, is being represented here? Do the breasts stand, in some sense, for complete bodies? Or was their carving undertaken in order to imbue these megalithic slabs with certain anthropomorphic properties? Crucial to this debate is the relationship of the motif to the material. We have already observed that human forms in earlier Neolithic Brittany fall into two categories: those carved on the surface of the stone, and those where the stone itself was shaped into a human form. The latter case is exemplified by the ‘shouldered’ figure reused as a floorstone in the chamber of Petit Mont II. This is not a human form carved on a stone surface but the conversion of the entire slab into a human form. The same observation can be applied to the Le Câtel statue-menhir and its analogues in northwest France. It does not hold so convincingly, however, for the statue-menhirs of southern France since, as we have seen, their evocation of the human form appears limited. Is the block of stone being transformed into the schematic image of a human individual, living or dead, or was the addition of carved human attributes intended to bring the block of stone to life, or to make it animate in some way? Ethnographic accounts provide vivid testimony of the rituals frequently associated with such carved images that are designed to activate them. Such rituals address the figurations as if they were animate images able to see, to hear, to accept offerings, and to respond (e.g. Gell 1998). The disembodied female breasts present additional enigmas. Where only parts of whole bodies are represented, it might be logical to conclude that only a restricted set of human attributes – those connected with these particular anatomical elements – are being evoked. Thus breasts may have been carved in order to draw out and emphasise feminine qualities that were considered to lie within the granite blocks. Breasts also carry associations of nurturing and feeding, and their presence in a funerary context may have been connected with cycles of death and rebirth (cf. Hodder 1990, 242; Bloch & Parry 1982; Tilley & Thomas 1993, 316). Marija Gimbutas saw in them another manifestation of the Neolithic Goddess religion. We do not need to accept her speculative
religious scenario in order to agree with her that, in the megalithic tombs of northwest France, “[t]he breasts are not nourishing the living alone; more importantly, they are regenerating the dead” (Gimbutas 1989, 40-41). This is far cry from the concept of statue-menhirs carved to represent ancestors or even living individuals. The breasts and necklaces in the Breton tombs belong to an altogether different discourse, one in which the focus was not on complete human forms but on specific anthropomorphic properties in a funerary context. These are not the ‘déesses des morts’ of earlier writers, but expressions of a belief, perhaps, that the dead were to be nourished and fed. What all these stones have in common – the shouldered slabs, the naturally human shapes, the three-dimensional images – is the quality of metaphor. Their anthropomorphic character signals clearly to the observer their reference to people, to human social beings. Yet they are more than mute representations, as we have seen. For the societies that created them, they did not simply depict human qualities and attributes, but probably embodied them as well.
REFERENCES BLOCH, M. & J. PARRY (eds.), 1982. Death and the Regeneration of Life, Cambridge: Cambridge University Press. CASSEN, S., 2000. La forme d’une déesse, in Éléments d’architecture. Exploration d’un tertre funéraire à Lannec er Gadouer (Erdeven, Morbihan). Constructions et reconstructions dans le Néolithique morbihannais. Propositions pour une lecture symbolique, eds. S. Cassen, C. Boujot & J. Vaquero. Chauvigny: Association des Publications Chauvinoises, 657-81. CASSEN, S. & J. VAQUERO, 2000. La forme d’une chose, in Éléments d’architecture. Exploration d’un tertre funéraire à Lannec er Gadouer (Erdeven, Morbihan). Constructions et reconstructions dans le Néolithique morbihannais. Propositions pour une lecture symbolique, ed. S. Cassen. Chauvigny: Association des Publications Chauvinoises, 611-56.
CLOSMADEUC, G. de, 1873. Sculptures Lapidaires et Signes Gravés des Dolmens dans le Morbihan. Vannes: Gustave de Lamarzelle. D’ANNA, A., 1977. Les statues-menhirs et stèles anthropomorphes du midi méditerranéen. Paris: Centre National de la Recherche Scientifique. DEVOIR, A., 1912. Témoins mégalithiques des variations des lignes des rivages armoricains. Bulletin de la Société Archéologique du Finistère 39, 220-39. GELL, A., 1998. Art and Agency. An anthropological theory. Oxford: Clarendon Press. GIMBUTAS, M., 1989. The Language of the Goddess. London: Thames & Hudson. GIOT, P.-R., 1960. Une statue-menhir en Bretagne (ou le mystère archéologique de la femme coupée en morceaux… ). Bulletin de la Société Préhistorique Française 57, 317-30. GIOT, P.-R., 1973. Circonscription de Bretagne. Gallia Préhistoire 16, 401-26. GIOT, P.-R., 1987. Barnenez, Carn, Guennoc. Rennes: Travaux du Laboratoire d’Anthropologie, Préhistoire, Protohistoire et Quaternaire Armoricains. GIOT, P.-R., 1990. Le niveau de la mer: changeant, fluctuant, mouvant… Bulletin d’Information de l’Association Manche-Atlantique pour la Recherche Archéologique dans les Iles 3, 5-16. GOMBRICH, E. H., 1962. Art and Illusion: a study in the psychology of pictorial representation. London: Phaidon. GUÉRIN, T. M. W. de, 1919. Notes on the recent discovery of a human figure sculptured on the capstone of the dolmen of Déhus Guernsey. Transactions of the Guernsey Society of Natural Science and Local Research 8, 214-20. GUTHRIE, S. E., 1993. Faces in the Clouds: a new theory of religion. New York & Oxford: Oxford University Press. HODDER, I., 1990. The Domestication of Europe. Oxford: Blackwell. HUME, D., 1779. Dialogues concerning Natural Religion. London. HUNT, R., 1865. Popular Romances of the West of England. London: J.C. Hotten. KINNES, I., 1980. The art of the exceptional: the statues-menhir of Guernsey in context. Archaeologia Atlantica 3, 9-33. KINNES, I. & J. Hibbs, 1989. Le Gardien du Tombeau: further reflections on the initial Neolithic. Oxford Journal of Archaeology 8, 159-66. L’HELGOUACH, J., 1983. Les idoles qu’on abat… (ou les vicissitudes des grandes stèles de Locmariaquer). Bulletin de la Société Polymatique du Morbihan 110, 57-68. L’HELGOUACH, J., 1986. Les sépultures mégalithiques du Néolithique final:
architectures et figurations pariétales. Comparaisons et relations entre massif armoricain et nord de la France. Revue Archéologique de l’Ouest Supplément no. 1, 189-94. L’HELGOUACH, J., 1993. Du schématisme au réalisme dans la figuration anthropomorphe du mégalithisme armoricain, in Les Représentations Humaines du Néolithique à l’Age du Fer. Actes du 115e Congrès National des Sociétés Savantes, Avignon 1990, eds. J. Briard & A. Duval. Paris: Comité des Travaux Historiques et Scientifiques, 9-19. L’HELGOUACH, J., 1997. De la lumière au ténèbres, in Art et Symboles du Mégalithisme Européen. Actes du 2ème Colloque International sur l’Art Mégalithique, Nantes 1995, eds. J. L’Helgouach, C.-T. Le Roux & J. Lecornec. Nantes: Revue Archéologique de l’Ouest, supplément no.8, 107-23. LE ROUX, C.-T., 1984. À propos des fouilles de Gavrinis (Morbihan): nouvelles données sur l’art mégalithique armoricain.’Bulletin de la Société Préhistorique Française 81, 240-5. LE ROUX, C.-T., 1985. New excavations at Gavrinis. Antiquity 59, 183-7. LE ROUX, C.-T., 1998. Du menhir à la statue dans le mégalithisme armoricain, in Actes du 2ème Colloque International sur la Statuaire Mégalithique, Saint-Pons-de-Thommières du 10 au 14 septembre 1997, ed. J. Guilaine. Archéologie en Languedoc 22, 217-35. LE ROUZIC, Z., 1913. Carnac. Menhirs-Statues avec Signes Figuratifs et Amulettes ou Idoles des Dolmens du Morbihan. Nantes: Imprimerie Armoricaine. LECORNEC, J., 1994. Le Petit Mont, Arzon, Morbihan. Rennes: Association pour la Diffusion des Recherches archéologiques dans l’Ouest de la France. LUQUET, G. H., 1910. Sur la signification des pétroglyphes des mégalithes bretons. Revue de l’Ecole d’Anthropologie de Paris 1910, 348-53. MINOT, R. S., 1965. Sur les gravures mégalithiques du Morbihan. Bulletin de la Société Polymathique du Morbihan 92, 89-98. MORTILLET, A. de, 1894. Les figures sculptées sur les monuments mégalithiques de France Revue de l’Ecole d’Anthropologie de Paris 1894, 273-307. PEQUART, M., S.-J. PEQUART & Z. LE ROUZIC, 1927. Corpus des signes gravés des monuments mégalithiques du Morbihan. Paris: Picard & BergerLevrault. PHILIPPON, A. (ed.) 2002. Statues-Menhirs: des énigmes de pierre venues du fond des âges, Rodez: Editions du Rouergue. RODRIGUEZ, G., 1998. L’évolution de la statuaire mégalithique en Haut-Languedoc et ses différences avec la Rouergate, in Actes du 2ème
Colloque International sur la Statuaire Néolithique. Archéologie en Languedoc , ed. J. Guilaine. 167-81. SAINTOT, S., 1998. La dalle anthropomorphe chasséenne du site de “La Prairire” à Chabrillan (Drôme), in Actes du 2ème Colloque International sur la Statuaire Néolithique. Archéologie en Languedoc, ed. J. Guilaine. 113-8. SCARRE, C., 2007. Changing places: monuments and the Neolithic transition in western France, in Going Over: the Mesolithic-Neolithic transition in northwest Europe, eds. V. Cummings & A. Whittle. London: British Academy. SERRES, J.-P., 1997. Les statues-menhirs du groupe rouergat Rodez: Musée du Rouergue. SHEE TWOHIG, E., 1981. The Megalithic Art of Western Europe. Oxford: Clarendon Press. THOMAS, J. & C. TIlley, 1993. The axe and the torso: symbolic structures in the Neolithic of Brittany, in Interpretative Archaeology, ed. C. Tilley. Oxford: Berg, 225-324. VILLES, A., 1998. Les figurations néolithiques de la Marne, dans le contexte du Bassin parisien. Bulletin de la Société Archéologique Champenoise 91, 7-45. WALTER, P., C. LOUBOUTIN & A. HASLer, 1997. Les stèles anthropomorphes de la Bastidonne, Trets (Bouches-du-Rhône) et l’usage de la couleur sur les stèles provençales de la fin du Néolithique. Antiquités Nationales 29, 27-33. WHITTLE, A., 2000. ‘Very Like a Whale’: menhirs, motifs and myths in the Mesolithic-Neolithic transition of northwest Europe-Cambridge Archaeological Journal 10, 243-59.
FIG. 1 – Ile Longue, Brittany: carved motif on passage orthostat L2 variously interpreted as a “buckler”, a divinity, or a phallus. (Above after Shee Twohig; below from Le Rouzic).
FIG. 2 – Petit-Mont, Brittany: ‘shouldered’ menhir re-used as the floor-stone of passage grave II. (After Lecornec).
FIG. 3 – Shouldered slab from passage grave C in cairn III at Ile Guennoc (left); Le Câtel statue-menhir, Guernsey (right). (After Le Roux (left) and Shee Twohig(right)).
FIG. 4 – Statue-menhir of Saint Sernin-sur-Rance, Aveyron (France). (From D’Anna 1977).
FIG. 5 – Row of paired breast carvings with necklaces below, from allée couverte of Kergüntuil in northern Brittany. (Photo: Chris Scarre).
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Click on photo for larger view | Revisit™ VTL5C1 OPTO-ISOLATOR Replaces VTL5C1 from Vactec or Excelitas at an affordable price. Used in many Mesa-Boogie and Crate models in the channel switching circuit. 100dB dynamic range, fast response (2.5ms turn-on), very high dark resistance (50 M Ohm). Light resistance 200 Ohms at 20mA LED current. See datasheet here. Part #VTL5C1 | $4.95 | ||
| 10-Conductor Ribbon Cable 3' Used to interconnect circuit boards in a variety of amps. • 3 inches long • 10 conductors set at 0.1 inch spacing -complete cable is 1 inch wide • Bare wire termination for soldering to PC board at 0.1' hole spacing - no connectors • May be easily cut with an X-Acto knife to make a cable of fewer than 10 conductors. • Not recommended for use in the Fender Hot Rod Deluxe / Deville or Blues Deluxe / Deville. the ribbon cables used in those amps have ribbon cables with conductors set at 0.156' spacing - this cable is too narrow for that application. Part #RJ-310 | $0.99 | ||
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Click on photo for larger view | L-PAD FACE PLATE AND KNOB, for 3/8' diameter threaded bushing found on most L-Pad Level controls. Face plate AND knob only! L-Pad ordered separately. Fits many bass cabinets including the SWR Goliath, Marcus Miller Golight 410, Workingman 8x10, Working Pro 2x10, Ampeg PN-210HLF, PN-410HLF, SVT-410HLF, SVT-610HLF, SVT-810SPC, BXT210M, BXT410HL4, PR-1528HE, PN-115HLF, PR-810H, PB-250, the Kustom G410H, theEngl B115 as well as many others. This is the face plate and knob only - L-PAD itself ordered separately. Raised lettering in charcoal gray instead of white. 3 1/8 inches in diameter, 7/8 inch depth into cabinet. Requires 2 inch diameter hole for mounting. Screws not included. Part #LFP-380 | $3.99 | ||
8 Ohms Click on photo for larger view | L-PAD, 8 Ohms, 3/8' threaded bushing (3/8' long), with plate, knob and hardware. May also be used with the LFP-380 face plate and knob. 8 ohms - for use with 8 ohm speakers, horn drivers or tweeters. L-pads adjust the relative volume of drivers connected to them by placing added resistance in series and parallel, keeping impedance a constant 8 ohm load. This L-pad is rated at 100 watts RMS, is designed to be used with 8 ohm loads, features a 3/8' shaft length, and comes with mounting hardware. This style of L-Pad is found on many popular bass cabinets to control the horn/tweeter level. 2.5 inches in diameter, 1 inch thick. Included face plate is 2 1/8' x 2 1/8'. Part #LPD-262 | $17.95 | ||
16 Ohms Click on photo for larger view | L-PAD, 16 Ohms, 3/8' threaded bushing (3/8' long), with plate, knob and hardware. May also be used with the LFP-380 face plate and knob. 16 ohms - for use with 8 ohm speakers, horn drivers or tweeters. L-pads adjust the relative volume of drivers connected to them by placing added resistance in series and parallel, keeping impedance a constant 8 ohm load. This L-pad is rated at 100 watts RMS, is designed to be used with 16 ohm loads, features a 3/8' shaft length, and comes with mounting hardware. This style of L-Pad is found on many popular bass cabinets to control the horn/tweeter level. 2.5 inches in diameter, 1 inch thick. Included face plate is 2 1/8' x 2 1/8'. Part #LPD-261 | $17.95 | ||
Click on photo for larger view | Ampeg® 'a' Logo Used on modern Ampeg Speaker Cabinets, this 3 inch x 4 inch plastic logo is affordably priced. Mounting screws included. Mounting centers are2 ¼' x 2 ⅜'. Part #AL-921 | $4.95 | ||
Click on photo for larger view | Black Logo Mounting Screws Set of 4 logo mounting screws. these are #5 x 7/16' black oxide screws, set of 4. Fit the AL-921 Ampeg logo, and the Fender FAL-912 logo. Part #LS-504 | $0.99 (for a set of 4 screws) | ||
Click on photo for larger view | TUBE RETAINER WITH GRIP TEETH, DESIGNED FOR OCTAL TUBES WITH PHENOLIC BASE SUCH AS 6L6 OR EL34. Used in many different amplifier brands. 1 1/2' Mounting Centers. Part #TC-142 | $1.79 | ||
Click on photo for larger view | LARGE TUBE RETAINER WITH SPRINGS, DESIGNED FOR 6550 OR KT-88 TUBES. Part #TC-143 | $2.89 | ||
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(TUBE NOT INCLUDED) Click on photo for larger view | Revisit™ PRE-AMP TUBE DAMPER RINGS. Use two (or three) of these rings around a pre-amp tube to reduce noise and microphonics. An economical alternative to more expensive tube dampers. Will withstand high temperatures of pre-amp tubes, reusable when you change tubes. Set of 6 rings - will equip either 2 or 3 tubes, depending on the number of rings you choose for each tube. Note: Tube shields will not fit over the damper rings, and must be removed from the tubes.these dampers are NOT for 9-pin power tubes, such as the EL84 or 6BQ5. Part #PTD-6 | $2.99 (Set of 6 rings) | ||
Click on photo for larger view | Ground Connection Terminals - Flat Made from tin-plated brass - will not rust. Used to connect a ground wire to a screw and nut on a chassis. Flat, with one hole for wire. With built-in lock washer to keep the screw and nut from loosening. Designed for a #8 size screw. Pack of 10 terminals. Part #2310915 | $2.99 (Pack of 10 terminals) | ||
Click on photo for larger view | TERMINAL STRIPS, 6 LUG, SET OF 2. Perfect for amplifier circuit additions or modifications. End terminals on each strip are the mounting lugs, so they become a ground lug if attached to a metal chassis. Each terminal strip is 2 1/4 inches long. the lugs are set on 3/8 inch centers. Each lug will accept wires up to 16ga - smaller gauge allows multiple wires to be connected to each lug. Set contains 2 terminal strips as pictured. Mounting hardware not included. Part #2320822 | $2.89 (for a set of 2 terminal strips) | ||
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Click on photo for larger view | SPEAKER BAFFLE MOUNTING SCREW WITH BOTH WOOD AND MACHINE THREADS, SET OF 4. Locking nut and washer included. Phillips head. Drill hole, insert and tighten screws into wood from front of baffle. Install grill cloth, and you have professional speaker mounting studs. Set of 4. Part #SC-409-4 | $2.29 (For a pack of 4 screws with nuts and lock washers) | ||
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Click on photo for larger view | CAGE NUT, ZINC, 10-32 THREAD. Used on square-punched amp chassis rails to secure the chassis to the cabinet. Frequently found in Peavey, Crate, Ampeg, other brands. NOT used in Marshall® - see the MCN-4. Works with all 10-32 screws. Verify screw thread before ordering, as not all cage nuts are 10-32. Zinc coating retards oxidation. Pack of 4 nuts. Made in Canada by Hammond Industries. Part CNA-1421 | $4.29 (pack of 4) | ||
Click on photo for larger view | SMALL BLACK RUBBER FEET, PACK OF 4. 3/4' DIAMETER AT TOP, 5/8' DIAMETER AT BOTTOM, 5/16' TALL. BLACK RUBBER WITH METAL INSERT. USED TO SUPPORT EFFECTS, SMALLER AMPS, SMALLER MIXERS. SCREWS NOT INCLUDED. Part #BRF-4 | $2.95 (pack of 4) | ||
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Click on photo for larger view | MEDIUM BLACK TAPERED RUBBER FEET, SET OF 4. This heavy-duty rubber foot offers a sure grip on all types of surfaces. Ideal for rack-mount amps, combo amps, or small speaker cabinets. the integral metal washer in the mounting hole helps prevent mounting screw 'break-through' and adds overall durability. 1' diameter (wide end) x 3/4' diameter (narrow end) x 0.85' tall. Mounting screws not included. Set of 4 feet. Part #BRF-9105 | $4.95 (pack of 4) | ||
Click on photo for larger view | MEDIUM BLACK RUBBER FEET, SET OF 4. This heavy-duty rubber foot offers a sure grip on all types of surfaces. Ideal for amp heads, combo amps, or smaller speaker cabinets. the integral metal washer in the mounting hole helps prevent mounting screw 'break-through' and adds overall durability. 1' diameter x 5/8' tall. Mounting screws not included. Part #BRF-1692 | $4.95 (pack of 4) | ||
Click on photo for larger view | MEDIUM BLACK RUBBER FEET, SET OF 5. This heavy-duty rubber foot offers a sure grip on all types of surfaces. Ideal for amp heads, combo amps, or smaller speaker cabinets. the integral metal washer in the mounting hole helps prevent mounting screw 'break-through' and adds overall durability. 1' diameter x 5/8' tall. Mounting screws not included. This set of 5 works well for the main feet used on the Ampeg BA-210 when the cabinet is in the upright position. Part #BRF-1692-5 | $6.25 (pack of 5) | ||
Click on photo for larger view | MEDIUM BLACK RUBBER FEET, SET OF 4. Tapered: 1 3/16' Diameter At Small End, 1 1/4' Diameter At Large End. 1/2' Tall. Black Rubber With Metal Insert. Used To Support Effects, Amps, Mixers. Mounting Screws Not Included. Part #BRF-9112 | $4.95 (pack of 4) | ||
Click on photo for larger view | X-LARGE BLACK RUBBER FEET, SET OF 4. Tapered - 1 5/8' Diameter At Large End, 1 1/4' At Small End. 3/4' Tall. Black Rubber With Metal Insert. Used To Support Amp Heads, Speaker Cabinets. Mounting Screws Not Included. Part #BRF-9107 | $7.95 (pack of 4) | ||
Click on photo for larger view | Fender® Style Flat Mount 2' Caster Wheels - Set of 4. Great for Fender® and many other brands of amps or cabinets. Each wheel capable of supporting 45 lbs, or 180 lbs total for the set of 4. Wheels 2' in diameter. Specifications found here. Note: Mounting screws NOT included. Part #FCW-4F | $24.95 (Set of 4 casters) NOT SOLD OUTSIDE the USA | ||
Click on photo for larger view | Fender® Style Pop-Out 2' Caster Wheels - Set of 4. Great for Fender® and many other brands of amps or cabinets. Each wheel capable of supporting 45 lbs, or 180 lbs total for the set of 4. Wheels 2' in diameter. the same type of removable caster wheels used on Fender® amps since the 1960s. Note: Mounting screws NOT included. Must drill 5/8' hole in bottom of cabinet to accomodate post for wheel. Part #FCW-4R | $28.95 (Set of 4 pop-out casters) NOT SOLD OUTSIDE the USA | ||
Click on photo for larger view | Revisit™ AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, BLACK WITH BLACK STITCHING Good replacement for Ampeg, Mesa Boogie, Randall®, Bogner, Ashdown, Rivera, Blackstar, many others. Handle length is 8-9/16 inches (8.57'), center-to-center mounting distance is 7-3/8 inches (7.38') Black with black stitching, nickel mounts. More details Mounting screws not included - use SC-402 screw pack. Part #AH-281 | $12.95 | ||
'SHORTY' AMP HANDLE Click on photo for larger view | Revisit™ 'SHORTY' AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, BLACK WITH BLACK STITCHING Similar to the AH-281 handle above, but 1-3/4 inches shorter. Handle length is 6-13/16 inches (6.80'), center-to-center mounting distance is 6 inches (5.98') Black with black stitching, nickel mounts. Mounting screws not included - use SC-402 screw pack. This is a great handle to consider for smaller combo amps, practice amps, etc. Delivers a professional quality look and reliability in a smaller size for smaller amps. More details Part #AH-281-S 'Shorty' | $8.95 | ||
Click on photo for larger view | Revisit™ AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, DARK BROWN WITH BROWN STITCHING Good replacement for Ampeg, Mesa Boogie, Randall®, Bogner, Ashdown, Rivera, Blackstar, many others. Handle length is 8 9/16 inches (8.57'), center-to-center mounting distance is 7 3/8 inches (7.38') Dark brown with brown stitching, nickel mounts. More details Mounting screws not included - use SC-402 screw pack. Part #AH-270 | $12.95 | ||
Click on photo for larger view | Revisit™ AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, TAN WITH TAN STITCHING Good replacement for Ampeg, Mesa Boogie, Randall®, Bogner, Ashdown, Rivera, Blackstar, many others. Handle length is 8 9/16 inches (8.57'), center-to-center mounting distance is 7 3/8 inches (7.38') Tan with tan stitching, nickel mounts. More details Mounting screws not included - use SC-402 screw pack. Part #AH-108 | $12.95 | ||
Click on photo for larger view | Revisit™ AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, DARK BROWN WITH WHITE STITCHING Good replacement for Ampeg, Mesa Boogie, Randall®, Bogner, Ashdown, Rivera, Blackstar, many others. Handle length is 8 9/16 inches (8.57'), center-to-center mounting distance is 7 3/8 inches (7.38') Dark brown with white stitching, nickel mounts. More details Mounting screws not included - use SC-402 screw pack. Part #AH-318 | $12.95 | ||
Click on photo for larger view | Revisit™ AMP HANDLE, VINTAGE LEAtheR-LOOK STYLE, DEEP NAVY BLUE-GREY WITH WHITE STITCHING Good replacement for Ampeg, Mesa Boogie, Randall®, Bogner, Ashdown, Rivera, Blackstar, many others. Handle length is 8 9/16 inches (8.57'), center-to-center mounting distance is 7 3/8 inches (7.38') Dark navy blue-grey with white stitching, nickel mounts. More details Mounting screws not included - use SC-402 screw pack. Part #AH-319 | $12.95 | ||
Click on photo for larger view | Fender® or Ampeg® VINTAGE STYLE GUITAR AMP HANDLE, RAISED, BLACK STITCHED SIMULATED LEAtheR.Black handle strap, made of simulated leather, replacement for Fender® 'tweed' style amps or vintage Ampeg amps (as well as other vintage amps. Has slight 'raised' bump near the center of the handle. Black, white stitched. 6-1/4 to 6-1/2 inches between mounting posts. Total length 8-3/4'. Mounts and screws are included. Part #GAH-782 | $15.95 | ||
Click on photo for larger view | Revisit™ BLACK GUITAR AMP HANDLE, WITH HARDWARE. Rugged rubber black handle strap, steel reinforced. Black metal caps. Black 10-32 screws and T-Nut mounting hardware are included. Handle strap is 7/8'wide. Designed for screw holes set 8 1/4 to 8 3/8 inches apart. Total length of handle when properly mounted is 10 1/4'. Part #GAH-271B | $7.99 | ||
Click on photo for larger view | Revisit™ GUITAR AMP HANDLE - BLACK. Rugged rubber black handle strap, steel reinforced. Black metal caps. Screws not included - recommend using our SC-403B 10-32 type screws along with a 10-32 T-Nut for secure mounting. Handle strap is 7/8' wide. Designed for screw holes set 8 1/4 to 8 3/8 inches apart. Total length of handle when properly mounted is 10 1/4'. Part #GAH-1 | $6.99 | ||
| BLACK HANDLE SCREWS Pack of 2 stainless-steel handle screws finished in satin black for use with black end-cap handles, such as our GAH-1, OAH-456, or GAH-271B. 1' Long, 10-32 threads, finished in satin black to match black end caps. Designed to work with a 10-32 T-Nut, in cabinet wood of 3/4' or less. Will not work with external nut - must be a T-Nut. Will not work with cabinet wood thicker than 3/4'. See Data Sheet here Part #SC-403B | $0.99 (for a pack of 2 screws) | ||
Click on photo for larger view | Revisit™ CHROME/BLACK GUITAR AMP HANDLE - CHROME, WITH HARDWARE. Rugged rubber black handle strap, steel reinforced. Chrome metal caps. 10-32 screws and T-Nut mounting hardware are included. Handle strap is 7/8'wide. Designed for screw holes set 8 1/4 inches apart. Total length of handle when properly mounted is 10 1/4'. Not recommended for Fender, as the screws are set too far apart for Fender® amp specifications. Part #GAH-271C | $7.99 | ||
| HANDLE SCREWS Pack of 2 stainless steel handle screws for GAH-271C Handle. 1' Long, 10-32 threads. Designed to work with a 10-32 T-Nut, in cabinet wood of 3/4' or less. Will not work with external nut - must be a T-Nut. Will not work with cabinet wood thicker than 3/4'. See Data Sheet here Part #SC-403 | $0.99 (for a pack of 2 screws) | ||
Click on photo for larger view | LARGE SIZED STRAIN RELIEF FOR 35/64' X 5/8' HOLE Popular strain relief found on most vintage guitar amplifiers with round power cords. Designed for 5/16' cord diameter. Click here for specific dimensions of chassis hole. For a strain relief removal / installation tool to make the job much easier, see the YTH-205 below. Part #SR-1200 | $0.99 | ||
Click on photo for larger view | STRAIN RELIEF INSTALLATION/REMOVAL TOOL Removing and installing strain reliefs can be a frustrating job. Standard pliers just do not get the job done and can damage the strain relief. these special strain relief pliers are just what you need. they fit perfectly on AC power cord strain reliefs and give you the leverage you need to compress the strain relief for easy removal and installation, without damage. Part #YTH-205 | $12.95 | ||
Click on photo for larger view | EXTRA-LARGE SIZED STRAIN RELIEF FOR 3/4' X 27/32' HOLE Popular strain relief found on a few larger vintage bass amplifiers and power amplifiers with very thick power cords. Designed for 11/32' cord diameter. Click here for specific dimensions of chassis hole. Part #SR-1300 | $0.99 | ||
Click on photo for larger view | SMALL RUBBER CHASSIS GROMMET FOR 3/8 INCH CHASSIS HOLE (GROMMET INNER HOLE 1/4 INCH) Chassis grommet, for electrical insulation, wire protection and management, shock absorption, or mechanical isolation. This grommet has a 1/4 inch diameter inner hole, and mounts in a 3/8 inch chassis hole. Full datasheet here. Part #RCG-739 | $0.49 each | ||
Click on photo for larger view | LARGE RUBBER CHASSIS GROMMET FOR 1/2' CHASSIS HOLE (GROMMET INNER HOLE 3/8 INCH) Chassis grommet, for electrical insulation, wire protection and management, shock absorption, or mechanical isolation. This grommet has a 3/8 inch diameter inner hole, and mounts in a 1/2 inch chassis hole. Full datasheet here. Part #RCG-745 | $0.49 each | ||
Ampeg Fans | ||||
Click on photo for larger view | thermoCool Fan. 80 x 38mm Sleeve Bearing 19 CFM. thermocool axial fans provide enhanced cooling for a variety of electronic devices. Leading air flow technology is designed into every thermocool product resulting in reduced turbulence, low noise levels and a more energy efficient product. thermocool fans are ideal for use in computer systems, portable CD and DVD players, stereo components, overhead projectors, laptop computers, and many other electronic applications where circulation is a key concern. This fan is the replacement for the fan used in the Ampeg SVT Classic, Ampeg® part number 24-321-03. Specifications: • Power: 120V AC, 60 Hz • Sleeve bearing • Lead wire connection • 0.13 amps • 2400 RPM • 28dB noise level • 23 CFM air flow • Dimensions: 80 mm (H) x 80 mm (W) x 38 mm (D) [3 1/4' (H) x 3 1/4' (W) x 1 1/2' (D)] For use on 110-120VAC System only, as found in North America. Part #G8038HAS | $19.95 | ||
Ampeg® & Crate® Jacks | ||||
Click on photo for larger view | JACK, 1/4', CHROME NUT, CLOSED CIRCUIT, PC MOUNT, L-LEG, TIP-SLEEVE, 4 PINS. Generally found only in Crate or Ampeg products.Common input, footswitch or effects loop jack exclusive to Crate® and Ampeg®. (Other brands with chrome-nut jacks use a straight pin jack such as the J-580.) 4 pins, PC mount, with chrome nut and washer. Note 'L-Leg' pins as shown in photo. Original Crate or Ampeg part number 39-119-01. Part #J-580L | $3.95 | ||
Click on photo for larger view | JACK, 1/4', CHROME NUT, CLOSED CIRCUIT, PC MOUNT, BRITISH STYLE, L-LEG, TIP-SLEEVE, 4 PINS, GOLD CONTACTS. Generally found only in Crate or Ampeg products.Common input, footswitch or effects loop jack exclusive to Crate® and Ampeg®. (Other brands with chrome-nut jacks use a straight pin jack such as the J-580.) 4 pins, PC mount, with chrome nut and washer. Gold contacts for improved conductivity, performance, and reliability. Note 'L-Leg' pins as shown in photo. Part #J-580LG | $4.95 | ||
Click on photo for larger view | JACK, 1/4', CHROME NUT, CLOSED CIRCUIT, PC MOUNT, GENUINE CLIFF UK, L-LEG, TIP-RING-SLEEVE, 6 PINS. Generally found only in Crate or Ampeg products.Common input, footswitch or effects loop jack exclusive to Crate®, Ampeg®. (Other brands with chrome-nut jacks use a straight pin jack such as the J-581.) 6 pins, PC mount, with chrome nut and washer. Note 'L-Leg' pins as shown in photo. Original Crate or Ampeg part number 39-120-01. Part #J-581L | $4.50 | ||
Click on photo for larger view | JACK, 1/4', INPUT, CLOSED CIRCUIT, PC MOUNT, L-LEG, TIP-SLEEVE, 4 PINSCommon input jack in Crate®, Ampeg®, others. Ampeg and Crate® part number 39-116-01. 4 pins, PC mount, with nut and washer. Note 'L-Leg' pins as shown in photo. Part #J-503L | $3.79 | ||
Click on photo for larger view | JACK, 1/4', INPUT, CLOSED CIRCUIT, PC MOUNT, L-LEG, TIP-RING-SLEEVE, 6 PINCommon input jack in Crate®, Ampeg®, others. Ampeg and Crate part number 39-117-01. 6 pins, PC mount, with nut and washer. Note 'L-Leg' pins as shown in photo. Part #J-504L | $3.95 | ||
Click on photo for larger view | JACK NUT, PLASTIC, BRITISH STYLE, REPLACEMENT FOR Marshall® AND OtheRS. Note: Replaces most black plastic jack nuts EXCEPT for Roland. Will NOT fit Roland jacks. Replacement jack nut as found on the J-502, J-503, J-504, J-505, J-503L and J-504L jacks. Also fits the J-518 and J-519 jacks. Part #J-5NT | $0.50 | ||
Click on photo for larger view | JACK NUT MULTI-PACK - SAVE! 6 JACK NUTS, PLASTIC, BRITISH STYLE, REPLACEMENT FOR Marshall® AND OtheRS. Note: Replaces most black plastic jack nuts EXCEPT for Roland. Will NOT fit Roland jacks. Replacement jack nut as found on the J-502, J-503, J-504, J-505, J-503L and J-504L jacks. Also fits the J-518 and J-519 jacks. Part #J-5NT-6 | $2.39 | ||
Click on photo for larger view | JACK NUT/FERULE, CHROME, with BLACK PLASTIC BEZEL/WASHER - GENUINE CLIFF UK Replacement nut and bezel washer for the J-501, J-501S, J-580, J-581, J-580L and J-581L jacks. Note: the threads on this nut are coarse (3/8-20), and are for genuine Cliff jacks. Note: there are some generic jacks on the market with finer thread nuts. This nut will not fit those jacks. This nut is for genuine Cliff UK jacks. Bezel is included with this nut. Part #JN-200W | $0.79 | ||
Click on photo for larger view | JACK NUT/FERULE, BLACK, with INTEGRAL BLACK PLASTIC BEZEL - GENUINE CLIFF UK Replacement nut and bezel washer which will fit the J-501, J-501S, J-580, J-581, J-580L, J-580LG, and J-581L jacks. Note: the threads on this nut are coarse (3/8-20), and are for genuine Cliff jacks. Note: there are some generic jacks on the market with finer thread nuts. This nut will not fit those jacks. This nut is for genuine Cliff UK jacks. Bezel is integral to the nut and cannot be removed. This is the jack nut used on the Marshall JMP-1 Preamp, and on some versions of the Marshall DRP-1 Direct Recording Preamp. Part #JN-864 | $0.79 | ||
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| JACK, 1/4', PC MOUNT, STEREO, 5 PINS, SWITCHED, INSULATED. Both tip and ring conductors are switched (normally closed). Used in Crate® and other brands. NUT & WASHER NOT INCLUDED - REUSE ORIGINAL OR ORDER JNUT-38, BELOW. Part #J-527 | $4.50 | ||
JACK NUT AND WASHER, METAL, SWITCHCRAFT® Genuine Switchcraft® nut and washer set for the blackface/silverface Fender® bias pot, Mesa Boogie pots, and the CTS or Alpha pots with 3/8' bushing (found on original vintage Fender® blackface and silverface), as well as Peavey® and Switchcraft® 1/4' jacks. Does NOT fit the 24mm Marshall® pots. Part #JNUT-38 | $0.89 (Set of 1 washer and 1 nut) | |||
| Dual Chassis-Mount Banana Binding Posts. Used on the rear panel of many power amplifiers and some bass amps, such as the Ampeg B4R. Red and black posts, accepts either single or dual banana plugs. Mounts in two 1/2' holes on 3/4' centers, panel thickness up to 1/4'. 15A rating, gold plated contacts. | $4.99 | ||
Click on photo for larger view | JACK, 1/4', MONO, OPEN CIRCUIT, WIRED, Switchcraft® Found in many guitars, effects pedals, amps speaker output. Includes nut and washer. Part #J-11 | $2.25 | ||
Click on photo for larger view | JACK, 1/4', MONO, CLOSED CIRCUIT (SHORTING), WIRED, Switchcraft® Found in vintage amps as the input jack. Includes nut and washer. Part #J-12A | $2.79 | ||
Click on photo for larger view | JACK, 1/4', TIP-RING-SLEEVE, OPEN CIRCUIT, WIRED, Switchcraft® Used with T/R/S plugs for either balanced connections or stereo connections. Also very common in guitars with active pickups, and as the input jack on some effects pedals. the ring conductor is used in these cases to 'turn on' the battery by tying one leg of the battery to ground via the plug. Part #J-12B | $2.99 | ||
Click on photo for larger view | JACK, 1/4', TIP-RING-SLEEVE, OPEN CIRCUIT, WIRED, Switchcraft®, LONG BUSHING Same as the J-12B jack, but with longer (3/8') threaded bushing for mounting in thicker panels. Includes nut and washer. Part #J-L12B | $3.99 | ||
Click on photo for larger view | JACK, 1/4', TIP/RING/SLEEVE, WITH TIP SHUNT. Switchcraft 13B Jack. Tip/Ring/Sleeve Switchcraft jack. Tip has a shunt contact, ring contact is open circuit. Part #J-13B | $6.95 | ||
Click on photo for larger view | JACK, 1/4', MONO, CLOSED CIRCUIT, RIGHT ANGLE PC MOUNT, Switchcraft® STYLE, NYLON THREADS, 3 PINS Common input jack in Crate® & Ampeg®, and in some solid state products from Fender® during the early 1980s. Nut and washer included. Part #RN112APC | $5.79 | ||
Click on photo for larger view | JACK, 1/4', STEREO, CLOSED CIRCUIT, RIGHT ANGLE PC MOUNT, Switchcraft®STYLE, NYLON THREADS, 5 PINS Common input jack in Crate® & Ampeg® products. Nut andwasher included. Switchcraft RN114BPC. Nut and washer included. Part #J-114PC | $5.99 | ||
Click on photo for larger view | SAVE WITH MULTIPACK! JNUT-38 JACK NUT AND WASHER, METAL, SWITCHCRAFT®, SET OF 6 Genuine Switchcraft® nut and washer set for the blackface/silverface Fender® bias pot, Mesa Boogie pots, and the CTS or Alpha pots with 3/8' bushing (found on original vintage Fender® blackface and silverface), as well as Peavey® and Switchcraft® 1/4' jacks. Does NOT fit the 24mm Marshall® pots. Set of 6 washers and 6 nuts. Part #JNUT-38-6 | $4.50 (Set of 6 washers and 6 nuts) | ||
JACK NUT AND WASHER, METAL, SWITCHCRAFT® Genuine Switchcraft® nut and washer set for the blackface/silverface Fender® bias pot, Mesa Boogie pots, and the CTS or Alpha pots with 3/8' bushing (found on original vintage Fender® blackface and silverface), as well as Peavey® and Switchcraft® 1/4' jacks. Does NOT fit the 24mm Marshall® pots. Part #JNUT-38 | $0.89 (Set of 1 washer and 1 nut) | |||
| JACK, 1/4', TIP/RING/SLEEVE, 7 PIN, PC MOUNT, Fender®, Hartke® and Crate® Amps. Fender®, Hartke® or Crate® PCB mount 1/4' jack. 7 pins. Fits several Hartke® amp models 1990 - present, and several Crate® models, especially in the GX series. Used in the Fender® SKX65R and SKX100R for the input jacks. Used in some Fender® Squier and Sidekick amps as the headphone jack. Hartke® part number 350023 and 300519. Fender® part number 022923. NUT & WASHER NOT INCLUDED - ORDER JN-916. | $6.95 | ||
NUT AND WASHER, CHROME, KOBICONN OR JALCO TYPE. | $0.39 | |||
SAVE WITH MULTIPACK! NUT AND WASHER, CHROME, KOBICONN OR JALCO TYPE, SET OF 6. | $2.09 | |||
Click on photo for larger view | JACK, 1/4', Peavey® PC MOUNT, STEREO, 5 PINS, SWITCHED, METAL BUSHING. Both tip and ring conductors are switched (normally closed). 5 pins. Original Peavey® part number 31466217. Used in Peavey®, Mackie, Fender, Crate, Ampeg and other brands. Replaces Switchcraft 114BPCX and 114BPCSX. Nut and washer on this jack ARE included. Part #J-529 | $2.99 | ||
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| JACK, 1/4', PC MOUNT, STEREO, 4 PINS, SWITCHED, METAL BUSHING. Tip is switched (normally closed), ring conductor is not switched. Made by Neutrik/Rean. Used in a variety of brands. Replaces Switchcraft. NUT & WASHER NOT INCLUDED - REUSE ORIGINAL OR ORDER JNUT-38, BELOW. Part #J-524A | $3.50 | ||
Click on photo for larger view | SAVE WITH MULTIPACK! JNUT-38 JACK NUT AND WASHER, METAL, SWITCHCRAFT®, SET OF 6 Genuine Switchcraft® nut and washer set for the blackface/silverface Fender® bias pot, Mesa Boogie pots, and the CTS or Alpha pots with 3/8' bushing (found on original vintage Fender® blackface and silverface), as well as Peavey® and Switchcraft® 1/4' jacks. Does NOT fit the 24mm Marshall® pots. Set of 6 washers and 6 nuts. Part #JNUT-38-6 | $4.50 (Set of 6 washers and 6 nuts) | ||
JACK NUT AND WASHER, METAL, SWITCHCRAFT® Genuine Switchcraft® nut and washer set for the blackface/silverface Fender® bias pot, Mesa Boogie pots, and the CTS or Alpha pots with 3/8' bushing (found on original vintage Fender® blackface and silverface), as well as Peavey® and Switchcraft® 1/4' jacks. Does NOT fit the 24mm Marshall® pots. Part #JNUT-38 | $0.89 (Set of 1 washer and 1 nut) | |||
Click on photo for larger view. Jack is in the picture to demonstrate how the washers are installed - jack is NOT included with the washers. | INSULATING SHOULDER WASHER, FIBER Pair of fiber insulating shoulder washers for Switchcraft jacks with metal bushings. Used to mount standard jacks in a 1/2' diameter chassis hole, while insulating the metal bushing (ground) of the jack from the chassis. ID 3/8', OD 1/2'. Works great when replacing isolated plastic jacks with a more durable metal jack, which is frequently done on the input jacks of the Fender® Hot Rod Deville/Deluxe and Blues Deville/Deluxe. Two washers are used on each jack, and the 'shoulders' are placed facing each other through the chassis. the washers not only isolate the ground of the jack electrically for noise reduction, but also stabilize the jack in the 1/2' diameter hole. Jack shown in picture NOT included. Works well with the Switchcraft J-11, J-L11, J-12A, J-L12A, J-12B, J-L12B, J-13, J-13A, J-112APC, J-112BX, J-114BX, J-521 and J-524 jacks. Part #ISW-3069 | $0.49 (For a pair of washers. Each jack needs two washers.) | ||
Click on photo for larger view | JACK, SPEAKON, CHASSIS-MOUNT - MADE FOR PC BOARD (SOLDER PINS). Made by Neutrik. 4 pins (1+, 1-, 2+, 2-) Used in a variety of brands, including Ampeg®. Part #J-NL4MD-V | $4.95 | ||
Click on photo for larger view | JACK, SPEAKON, CHASSIS-MOUNT - MADE FOR WIRE ATTACHMENT (3/16' PUSH ON CONNECTORS OR SOLDER TABS). Made by Neutrik. 4 pins (1+, 1-, 2+, 2-) Used in a variety of brands, including Ampeg®. Part #J-NL4MP-2 | $4.95 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS COMPLETE WITH GENUINE SWITCHCRAFT #11 JACK and 24' SPEAKER WIRE FOR SINGLE SPEAKER. Preassembled for speaker cabinets with one speaker. Includes Switchcraft #11 jack, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors. For two-speaker cabinets, see the SCH-2411X2, below. Part #SCH-2411 | $10.49 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS COMPLETE WITH GENUINE SWITCHCRAFT #11 JACK and 24' SPEAKER WIRE FOR TWO SPEAKER CABINET. Preassembled for speaker cabinets with two speakers in parallel. Includes Switchcraft #11 jack, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors, plus an additional 24' jumper cable. Part #SCH-2411X2 | $14.99 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS COMPLETE WITH 1/4' STRAIGHT PLUG and 24' SPEAKER WIRE FOR SINGLE SPEAKER. Preassembled for combo amps with one speaker. Includes 1/4' straight plug, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors. For 2-speaker cabinets, add the SJ-150 jumper, below. Part #SCH-224 | $10.49 | ||
Click on photo for larger view | Revisit™ SPEAKER JUMPER CABLE polyvinyl insulated silver plated copper speaker wire, 18 gauge, twisted pair, black and white. Terminated at each end in standard 3/16' speaker fast-on connectors. Great for connecting speakers in parallel in 2x12 or 4x12 cabinets. 24 inches (61 cm) long. Made in USA. Part #SJ-150 | $5.99 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS COMPLETE WITH 1/4' RIGHT-ANGLE PLUG and 24' SPEAKER WIRE FOR SINGLE SPEAKER. Preassembled for combo amps with one speaker. Includes 1/4' straight plug, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors. For 2-speaker cabinets, add the SJ-150 jumper, above. Part #SCH-287 | $10.99 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS, 2 ft LONG, RIGHT-ANGLE PLUG TO BARE TINNED WIRE, 16 GAUGE CABLE Replacement right-angle plug with 24' cable and stripped, tinned bare wire. Used to replace speaker cable in many combo amplifiers where the speakers are connected to the amplifier chassis via a 1/4' jack and plug. Heavy-duty 16ga round black speaker cable, right-angle plug and bare wire ready for soldering to one speaker. Part #SCH-7090 | $4.99 | ||
Click on photo for larger view | Revisit™ SPEAKER HARNESS Replacement right-angle plug with 34' cable and 3/16' fast-on connectors. Used to replace speaker cable in most combo amplifiers where the speakers are connected to the amplifier chassis via a 1/4' jack and plug. 18ga black zip cord, right-angle plug and fast-on connectors for attachment to one speaker. Part #SCH-280 | $6.50 | ||
Click on photo for larger view | Revisit™ SPEAKER CABLE - HEAD TO CABINET - 4 FEET LONG Black 4 feet 16 gauge speaker cable, with one straight 1/4 inch plug and one right-angle 1/4 inch plug. Used to connect amplifier head to cabinet. Part #SCH-7028 | $4.99 | ||
Click on photo for larger view | JACK PLATE, BLACK METAL, SINGLE 1/4' JACK, 2' OUTSIDE DIAMETER. Similar in style to vintage Fender® jack plates. Works well with the Switchcraft J-11 1/4' jacks that we carry. Hole is 3/8', for most Switchcraft type jacks. Easy to install, economical. Includes 3 black oxide coarse-thread mounting screws, #6x3/4'. Jack not included - order separately. For size specifications, click here. Part #JP-180 | $1.49 | ||
Click on photo for larger view | Revisit™ JACK PLATE COMPLETE WITH SWITCHCRAFT #11 JACK. Switchcraft #11 jack preinstalled with lock washer and trim washer. Outside diameter 2 inches (51mm). Designed to fit flush against a 1 1/8' (29mm) cabinet hole. Easy to install - drill 1 1/8' hole in cabinet, attach speaker wiring to jack and speaker, attach plate to cabinet. Part #JPC-180 | $4.95 | ||
Click on photo for larger view | Revisit™ JACK PLATE COMPLETE WITH GENUINE SWITCHCRAFT #11 JACK and 24' SPEAKER WIRE. Preassembled - includes 2' diameter single jack mounting plate with Switchcraft #11 jack preinstalled with lock washer and trim washer, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors. Outside jack plate diameter 2 inches (51mm). Designed to fit flush against a 1 1/8' (29mm) cabinet hole. Easy to install - drill 1 1/8' hole in cabinet, attach speaker wiring to speaker, attach plate to cabinet. For two-speaker cabinets, see the JPH-182, below. Part #JPH-180 | $11.95 | ||
Click on photo for larger view | Revisit™ JACK PLATE COMPLETE WITH GENUINE SWITCHCRAFT #11 JACK and 24' SPEAKER WIRE, PLUS ADDITIONAL 24' JUMPER. Preassembled - includes 2' diameter single jack mounting plate with Switchcraft #11 jack preinstalled with lock washer and trim washer, and 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors. Outside jack plate diameter 2 inches (51mm). Designed to fit flush against a 1 1/8' (29mm) cabinet hole. Includes a second 24 inch polyvinyl-insulated 18 ga speaker wire terminated in 3/16' push-on speaker connectors to connect to a second speaker in the same cabinet. Easy to install - drill 1 1/8' hole in cabinet, attach speaker wiring to speakers, attach plate to cabinet. Part #JPH-182 | $15.95 | ||
Click on photos for larger views | JACK PLATE, MONO/STEREO, PLUG AND PLAY This unit eliminates the confusing switch found on most stereo cabinets. Just pick your impedance and plug in. Labels shows the common 4 or 16 Ohm Mono and 8 Ohm Stereo option. Ready to install with a steel dish, wires, and speaker connectors already assembled - as shown in the photo. Requires a 3 inch x 3-7/16 inch rectangular hole cut in the cabinet. Direct easy replacement for many existing small jack dishes. No soldering required. Complete wiring directions included - click here for more details. Designed to be used with 2x12 cabinets containing two 8-ohm speakers, 4x12 cabinets with four 16-ohm speakers, or 4x12 cabinets with four 4-ohm speakers. Can be used for the following configurations:
Part #CJP-1 | $25.95 | ||
Ampeg Knobs | ||||
Click on photo for larger view | KNOB, Ampeg®, Classic Genuine Ampeg® amp knob, black with white pointer. Fits pots with 1/4' D-shaft type shafts. Part #K-324 | $5.95 | ||
Ampeg Relay | ||||
Click on photo for larger view | RELAY, Ampeg®, SVT-4PRO and other models Protection relay used in the SVT-4PRO. Common failure item - contacts become oxidized or burned and fail to connect the speakers to the power amp, even when the relay clicks in. there are two of these relays in the SVT-4 PRO, at locations K-101 and K-201. Original Ampeg part number 82-090-01 Part #82-090-01 | $18.95 | ||
Crate® Pots | ||||
Crate Amplifiers is no longer in business as of 2018, and potentiometers for their amps are no longer available. | ||||
Ampeg® & Crate® AC Power | ||||
Click on photo for larger view | IEC POWER CONNECTOR, AMPEG®, NON-FUSED, PCB MOUNT Used in the Ampeg® SVT-3-PRO, SVT-4-PRO, SVT-5-PRO, SVT-6-PRO, B2R, B4R, B5R bass amplifiers. Original Ampeg® part number 17-604-01. Datasheet here. Part #17-604-01 | $4.95 | ||
Click on photo for larger view | Revisit™ 6 ft POWER CORD, DETACHABLE, 3-WIRE, 18ga, 6 ft LONG, IEC CONNECTOR AT EQUIPMENT END. COMMON REPLACEMENT CORD FOR MANY GUITAR AMPS, POWER AMPS, EFFECTS UNITS, ETC.Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. IEC connector at equipment end. Used only in North America. Part #PC-300 | $5.95 | ||
Click on photo for larger view | Revisit™ 10 ft POWER CORD, DETACHABLE, 3-WIRE, 18ga, 10 ft LONG, IEC CONNECTOR AT EQUIPMENT END. Replacement Cord For Many Guitar Amps, Power Amps, Effects Units, Etc. 10 Ft Length Give Extra Flexibility In Equipment Placement, Reduces Use Of Extension Cords. Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. IEC connector at equipment end. Used only in North America. Part #PC-600 | $10.95 | ||
Click on photo for larger view | SUPER-LONG Revisit™ 4 METER (about 13 ft) POWER CORD, 3-WIRE, 18ga, SVT type, 'Thin Line'. OUR LONGEST POWER CORD! Cut ends for installing (soldered connection) into many vintage amps using a 3-wire cord (or for upgrading 2 wire cords in older amps). Cord length is a super-long 13 feet, cord thickness is 0.24 inches (about 1/4' or 6.2mm). Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. Used only in North America. Part #PC-183SVT13-TL | $14.95 | ||
Click on photo for larger view | EXTRA-LONG Revisit™ 12 ft POWER CORD, 3-WIRE, 18ga, SJT type. Cut ends for installing (soldered connection) into many vintage amps using a 3-wire cord (or for upgrading 2 wire cords in older amps). Cord length is an extra-long 12 feet, cord thickness is 0.29 inches(about 9/32' or 7.3mm). This cord is of appropriate gauge and physical thickness for application in most medium to large guitar amps with 'hard-wired' power cords. Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. Used only in North America. Part #PC-183SJT12 | $13.95 | ||
16 gauge: Click on photo for larger view | LONG 10 ft POWER CORD, 3-WIRE, 16ga, SJT type. Cut end for installing (soldered connection) into many vintage large power amps or large bass amps using a 3-wire cord. This 16 gauge cord is not normally used on guitar amps, as they do not require the heavy 16 gauge. Cord length is 10 feet, cord thickness is 0.32 inches (about 5.6' or 8.1mm), wire gauge is 16ga. Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. Used only in North America. Part #PC-163SJT10 | $12.95 | ||
18 gauge: Click on photo for larger view | LONG 10 ft POWER CORD, 3-WIRE, 18ga, SJT type. Cut end for installing (soldered connection) into many vintage amps using a 3-wire cord (or for upgrading 2 wire cords in older amps). Cord length is 10 feet, cord thickness is 0.29 inches (about 9/32' or 7.3mm). This cord is of appropriate gauge and physical thickness for application in most medium to large guitar amps with 'hard-wired' power cords (Fender, for example). Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. Used only in North America. Part #PC-183SJT10 | $11.95 | ||
Click on photo for larger view | Revisit™ 8 ft POWER CORD, 3-WIRE, 18ga, SJT type. Cut ends for installing (soldered connection) into many vintage amps using a 3-wire cord (or for upgrading 2 wire cords in older amps). Cord length 8 feet, cord thickness is 0.29 inches (7.3mm). Part #PC-183SJT8 | $9.95 | ||
Click on photo for larger view | 8 ft POWER CORD, 3-WIRE, 18ga, SVT type, 'Thin Line'. Cut ends for installing (soldered connection) into many vintage amps using a 3-wire cord (or for upgrading 2 wire cords in older amps). Cord length 8 feet, 18 gauge, cord thickness is 0.24 inches (about 1/4' or 6.1mm). Thinner than the PC-183SJT8 cord, this cord is better suited for replacing amp cords in smaller amplifiers where there was formerly a 2-wire cord without ground. Standard NEMA 5-15 plug for North American use at 110-120 Volts AC. Used only in North America. Part #PC-183SVT8-TL | $9.95 | ||
Click on photo for larger view | Fender® style reverb or AC cable clamp. Used on Fender amps since the early 60s to hold the reverb cable to the side of the cabinet. Clamp is 3/8' diameter, comes with 3/4' screw for mounting. Also used in some amplifiers to hold the AC cord to the cabinet wall. Fender® part number 022941. Works on many other brands of amplifiers as well. Part #RCC-381 | $0.99 | ||
Ampeg® & Crate® Reverb Tanks | ||||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 3 spring, equivalent to Accutronics 9AB2C1B. Input impedance 10 ohms, output impedance 2575 ohms, medium decay (1.75 - 3 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Common replacement for Hughes & Kettner®, MarshallTM, Ampeg, Crate, Fender®, Mesa Boogie, Guytron, Rocktron, DOD, Summit Audio, and Smokey. See explanation of Accutronics reverb tank numbering systemhere. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #9AB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $38.99 In stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 3 spring, equivalent to Accutronics 9EB2C1B. Input impedance 800 ohms, output impedance 2575 ohms, medium decay (1.75-3.0 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Common replacement for Hughes & Kettner®, MarshallTM, Ampeg, Crate, Fender®, Mesa Boogie, Guytron, Rocktron, DOD, Summit Audio, and Smokey. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #9EB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $38.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4AB3A1B. Input impedance 8 ohms, output impedance 2250 ohms, long decay (2.75 - 4.0 seconds), input grounded/output grounded, designed for horizontal mounting, open side down. Replacement for the Gibbs Type F reverb tanks used in the 60's and early 70's, including Ampeg models Echo Jet, Echo Twin, B12X, B12XY. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty detailshere. Part #4AB3A1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4AB3C1B. Input impedance 10 ohms, output impedance 2575 ohms, long decay (2.75 - 4.0 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Common replacement for Hughes & Kettner®, MarshallTM, Ampeg, Crate, Fender®, Mesa Boogie, Guytron, Rocktron, DOD, Summit Audio, and Smokey. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4AB3C1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Accutronics Reverb Tank, 17' long, 2 spring, 4AB3C1B current production. Input impedance 8 ohms, output impedance 2250 ohms, long decay (2.75 - 4.0 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Primarily used by all Fender® amplifiers with tube reverb from 1963-1990. Also used in Reissue models like: Fender® Princeton Reverb, Fender® Deluxe Reverb, Fender® Vibrolux Reverb, Fender® Pro Reverb, Fender® Super Reverb , Fender® Twin Reverb, Fender® Quad Reverb , Fender® Super Six Reverb,Fender® Vibrosonic , Fender®`63 Reverb Unit Reissue, Fender®`65 Princeton Reverb Reissue,Fender®`65 Deluxe Reverb Reissue, Fender®`65 Super Reverb Reissue, Fender®`65 Twin Reverb Reissue, Fender® 65 Twin Custom(TM) 15, Fender® Concert II, Fender® Dual Professional. Also used in Mesa Boogie® MK2C and others, LAB Series L5, L7, L9,Koch® Powertone I, Ampeg® VT-40, Ampeg® Super Rocket SR212 and B-52® AT-100. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Accutronics products are made in South Korea. Part #ACC-4AB3C1B | $35.99 | ||
Click on photo for larger view | Belton Reverb Tank, 17' long, 2 spring, 4AB3C1B, current production. Belton part number BL2AB3C1B. Input impedance 8 ohms, output impedance 2250 ohms, long decay (2.75 - 4.0 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Primarily used by all Fender® amplifiers with tube reverb from 1963-1990. Also used in Reissue models like: Fender® Princeton Reverb, Fender® Deluxe Reverb, Fender® Vibrolux Reverb, Fender® Pro Reverb, Fender® Super Reverb , Fender® Twin Reverb, Fender® Quad Reverb , Fender® Super Six Reverb,Fender® Vibrosonic , Fender® 63 Reverb Unit Reissue, Fender® 65 Princeton Reverb Reissue,Fender® 65 Deluxe Reverb Reissue, Fender® 65 Super Reverb Reissue, Fender® 65 Twin Reverb Reissue, Fender® 65 Twin Custom(TM) 15, Fender® Concert II, Fender® Dual Professional. Also used in Mesa Boogie® MK2C and others, LAB Series L5, L7, L9,Koch® Powertone I, Ampeg® VT-40, Ampeg® Super Rocket SR212 and B-52® AT-100. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Belton products are made in South Korea. Belton part number BL2AB3C1B. Part #BL-4AB3C1B | $32.99 | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4BB2C1B. Input impedance 150 ohms, output impedance 2250 ohms, medium decay (1.5 - 2.75 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4BB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4BB3C1B. Input impedance 150 ohms, output impedance 2250 ohms, long decay (2.75 - 4.0 seconds), input insulated/output grounded, designed for horizontal mounting. Upgrade for Crate part number 79-201-02 - tank for the Crate V-32 Palomino and Vintage Club 30 / VC3112. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4BB3C1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4BB3C1D. Input impedance 150 ohms, output impedance 2250 ohms, long decay (2.75 - 4.0 seconds), input insulated/output grounded, designed for vertical mounting, connectors down. Common replacement for MarshallTM, Ampeg, Crate. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4BB3C1D 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4EB2C1B. Input impedance 600 ohms, output impedance 2250 ohms, medium decay (1.75 - 3 seconds), input insulated/output grounded, designed for horizontal mounting, open side down. Common replacement for Ampeg, Crate V50 Palomino. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4EB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB2B1A. Input impedance 1475 ohms, output impedance 2250 ohms, medium decay (1.5 - 2.75 seconds), input grounded/output insulated. Mounts horizontal, open side up. Common replacement in vintage Ampeg. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB2B1A 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB2D1A. Input impedance 1475 ohms, output impedance 2250 ohms, medium decay (1.5 - 2.75 seconds), input isolated/output isolated, designed for horizontal mounting, open side up. Used in some versions of the Ampeg V4. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB2D1A 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB2D1B. Input impedance 1475 ohms, output impedance 2250 ohms, medium decay (1.5 - 2.75 seconds), input isolated/output isolated, designed for horizontal mounting, open side down. Used in some versions of the Ampeg V4. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB2D1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB2C1C. Input impedance 1475 ohms, output impedance 2250 ohms, medium decay (1.5 - 2.75 seconds), input isolated/output isolated, designed for designed for vertical mounting, long axis horizontal, connectors up. Common replacement for Ampeg VT-22. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB2D1C 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB3A1A. Input impedance 1475 ohms, output impedance 2250 ohms, long decay (2.75 - 4 seconds), input grounded/output grounded, designed for horizontal mounting, open side up. Common replacement for certain versions of the Ampeg Gemini and also found in some vintage Kustom amps from the 1960s and early 70s. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB3A1A 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB3A1B. Input impedance 1475 ohms, output impedance 2250 ohms, long decay (2.75 - 4 seconds), input grounded/output grounded, designed for horizontal mounting, open side down. Common replacement for Ampeg and Music Man. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB3A1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB3D1A. Input impedance 1475 ohms, output impedance 2250 ohms, long decay (2.75 - 4 seconds), input isolated/output isolated, designed for horizontal mounting, open side up. Used in some versions of the Ampeg V4. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB3D1A 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 17' long, 2 spring, equivalent to Accutronics 4FB3D1B. Input impedance 1475 ohms, output impedance 2250 ohms, long decay (2.75 - 4 seconds), input insulated/output insulated, designed for horizontal mounting, open side down. Common replacement for Ampeg and Music Man. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tankshere. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #4FB3D1B 'Bringing back the sound of vintage Accutronics tanks' | $34.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8AB2A1B. Short Tank, Medium Decay, input impedance 10 ohms, output 2575 ohms, grounded input and grounded output. Mounts horizontal, open side down. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8AB2A1B 'Bringing back the sound of vintage Accutronics tanks' | $33.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8BB2A1B. Short Tank, Medium Decay, input impedance 190 ohms, output 2575 ohms, grounded input and grounded output. Mounts horizontal, open side down. Primarily used by Crate and Ampeg. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8BB2A1B 'Bringing back the sound of vintage Accutronics tanks' | $33.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8BB2C1B. Short Tank, Medium Decay, input impedance 190 ohms, output 2575 ohms, insulated input and grounded output. Mounts horizontal, open side down. Primarily used by Rivera PUBSTER 25 & CHUBSTER 40 , Rivera Knucklehead Reverb, Vox® AC30, with solid state reverb as used in the Seventies, Ampeg® Jet II J12R, Crate® G212, Crate® GT212, Crate® Palomino V32 & V16, Music Man® RD50, Kitty Hawk Supreme, Marshall® G80RCD, Marshall® G100RCD. Upgrade for Laney® VC15 (part nr. 10006), Brunetti Singleman, Mesa Boogie® Rectoverb. Replaces Ampeg® / Crate® part number 79-201-02. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8BB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $33.99 In stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8EB2C1B. Short Tank, Medium Decay, input impedance 800 ohms, output 2575 ohms, insulated input and grounded output. Mounts horizontal, open side down. Used in Crate, Fender, Peavey, Music Man. This is the most popular short tank. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8EB2C1B 'Bringing back the sound of vintage Accutronics tanks' | $33.99 In Stock | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8EB2C1E. Short Tank, Medium Decay, input impedance 800 ohms, output 2575 ohms, insulated input and grounded output. Mounts vertical wall, long axis vertical. Used in Crate® Tube Driver series of amps, such as the TD-70. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8EB2C1E 'Bringing back the sound of vintage Accutronics tanks' | $33.99 | ||
Click on photo for larger view | Revisit™ Reverb Tank, 9' long, 3 spring, equivalent to Accutronics 8FB2A1B. Short Tank, Medium Decay, input impedance 1925 ohms, output 2575 ohms, grounded input and grounded output. Mounts horizontal, open side down. Primarily used in Crate Amps. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. Unlike some tanks, Revisit™ Reverb Tanks include the soft mounting grommets to acoustically decouple the outer channel from the amplifier cabinet. View the 2-year warranty details here. Part #8FB2A1B 'Bringing back the sound of vintage Accutronics tanks' | $33.99 In Stock | ||
Click on photo for larger view | Rubber mounting grommets for reverb tanks, package of four. Provides shock absorption for tanks mounted directly to the inside of a wooden amp cabinet. Mounting Hole Diameter = 3/8' Outer Diameter = 1/2' Part #RRG-4 | $1.99 (For a pack of 4 grommets) | ||
Click on photo for larger view | 3 foot Revisit™ right angle RCA cables for Reverb Tanks and other electronic devices. Dual cable, excellent shielding properties, 3 feet long. Part #RC-173 | $3.95 In Stock | ||
Click on photo for larger view | 3 foot Extra Heavy-Duty Revisit™ right angle RCA cables for Reverb Tanks and other electronic devices. Heavy duty thick cable, gold RCA connectors, excellent shielding properties, additional ground conductor provided. Part #RC-273 | $6.95 In stock | ||
Click on photo for larger view | 4 foot Revisit™ right angle RCA cables for Reverb Tanks and other electronic devices. Dual cable, excellent shielding properties, 4 feet long. Part #RC-174 | $4.95 In stock | ||
Click on photo for larger view | 4 foot Revisit™ right angle cables for Reverb Tanks. RCA at one end, stripped cable at opposite end. For connecting reverb tanks directly to a PC board via a soldered connection at the PC board end. Used by a number of manufacturers. Dual cable, excellent shielding properties, 4 feet long. Part #RC-374 | $4.95 In stock | ||
Click on photo for larger view | 5 foot Revisit™ right angle RCA cables for Reverb Tanks and other electronic devices. Dual cable, excellent shielding properties, 5 feet long. Part #RC-175 | $5.95 In stock | ||
Click on photo for larger view | 6 foot Extra Heavy-Duty Revisit™ right angle RCA cables for Reverb Tanks and other electronic devices. Heavy duty thick cable, gold RCA connectors, excellent shielding properties, additional ground conductor provided. Part #RC-276 | $9.95 In stock | ||
Switches | ||||
| FOOTSWITCH W/LED Sturdy metal construction, an aftermarket replacement from Revisit™. Works with the Crate VC3112 Vintage Club 30 and Crate VC5112 Vintage Club 50. Mono 1/4' Plug, 16 ft. cable. LED indicates condition of switch. Can be rewired internally to work with other amplifiers. Click here for wiring diagram. NOTE: Will not work with many amplifiers, even those that used LED's on the original footswitch, without rewiring. Electronics background suggested. Also - will generally NOT work with amplifiers which did not have an LED indicator on the original footswitch. Part #FBS-470L | $21.95 | ||
| DUAL FOOTSWITCH W/LED Sturdy metal construction, an aftermarket replacement footswitch from Revisit™. Works with the Crate BV120H Blue Voodoo 120 Head. Stereo 1/4' Plug, 16 ft. cable. LEDs indicate condition of switches. Can be rewired internally to work with other amplifiers. Click here for wiring diagram. NOTE: Will not work with many amplifiers, even those that used LED's on the original footswitch, without rewiring. Electronics background suggested. Also - will generally NOT work with amplifiers which did not have LED indicators on the original footswitch. Part #FBS-471L | $26.95 | ||
Click on photo for larger view | ORIGINAL Crate® PUSH SWITCH DPDT Mini Short-Throw Push Switch. Has 6 electrical terminals on bottom of switch (DPDT). Used for channel switching, level switching, FX switching, etc on the front panels of many Crate® amps from the 1990s to present. Found in the Palomino, BT50, and many other models. Original Crate® part number 88-302-02. Has actuator shaft of 2.7mm square. Part #88-302-02 | $4.95 | ||
Click on photo for larger view | ORIGINAL Ampeg® PUSH SWITCH DPDT Mini Short-Throw Push Switch. Has 12 electrical terminals on bottom of switch (2XDPDT). Used for pre-post switch on Ampeg SVT4-PRO. Original Ampeg® part number 88-303-02. Has actuator shaft of 3.3mm square. Part #88-303-02 | $9.95 | ||
Click on photo for larger view | ROCKER SWITCH, BLACK. Has 4 electrical terminals on back of switch (DPST). Non-lighted. 1/4' push-on terminals, or solder directly to terminals. Rated 20A @ 125VAC, 16A @ 250VAC. Needs rectangular cutout of 0.82' wide x 1.15' tall (21mm x 29mm) Part #SW-5072 | $3.95 | ||
Click on photo for larger view | ROCKER SWITCH, LIGHTED POWER, RED. Has 4 electrical terminals on back of switch.1/4' push-on terminals, or solder directly to terminals. Rated 20A @ 125VAC, 16A @ 250VAC. Needs rectangular cutout of 0.82' wide x 1.15' tall (21mm x 29mm). Internal neon lamp powered by either 125VAC or 250VAC. Used in some Crate model amps - but may not fit all. Verify the dimensions of the hole cutout in the panel before ordering. Also used on many Engl Amp models.Also replaces the # 700048-3159 power switch in most models of Furman power conditioners.ReplacesAmerican DJ part # Z-PDP/900-PS-Nfor use in the American DJ PC-100A PC-4 power centers. Part #SW-5075 | $4.95 | ||
Click on photo for larger view | ROCKER SWITCH, LIGHTED POWER, AMBER. Has 4 electrical terminals on back of switch.1/4' push-on terminals, or solder directly to terminals. Rated 20A @ 125VAC, 16A @ 250VAC. Needs rectangular cutout of 0.82' wide x 1.15' tall (21mm x 29mm). Internal neon lamp powered by either 125VAC or 250VAC. Used in some Crate model amps - but may not fit all. Verify the dimensions of the hole cutout in the panel before ordering. Also used on many Engl Amp models. Part #SW-5076 | $4.95 | ||
Click on photo for larger view | ROCKER SWITCH, LIGHTED POWER, GREEN. Has 4 electrical terminals on back of switch (DPST).1/4' push-on terminals, or solder directly to terminals. Rated 20A @ 125VAC, 16A @ 250VAC. Needs rectangular cutout of 0.82' wide x 1.15' tall (21mm x 29mm). Internal neon lamp powered by either 125VAC or 250VAC. Used in some Crate model amps - but may not fit all. Verify the dimensions of the hole cutout in the panel before ordering. Part #SW-5077 | $4.95 | ||
Click on photo for larger view | SWITCH, CARLING SPST TOGGLE, ORIGINAL REPLACEMENT FOR 60's and 70's Fender® AMPS (POWER & STANDBY SWITCHES) Part #SW-495 | $4.95 | ||
Click on photo for larger view | SWITCH, CARLING DPST PROGRESSIVE TOGGLE (OFF-STANDBY-PLAY) Replacement for amps which use a single toggle switch for both power and standby. Or, may be used to engineer a modification to amps which have a toggle power switch switch, but do not offer a standby switch (such as the Peavey Delta Blues, Fender® Blues Junior, etc). Seewiring information here. Part #SW-520 | $7.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - Rated at 20 Amps (125VAC) or 15 Amps (250VAC). Fits 1/2' chassis hole. Solder terminals or 1/4' push on, single pole / single throw (SPST). Two position - on/off. NOTE: RATED FOR AC SERVICE ONLY AT 250V MAX - DO NOT USE AS A GUITAR AMPLIFIER STANDBY SWITCH. Part #STS-20 | $3.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - MADE BY CARLING Rated At 15A/125VAC, 10A/250VAC. Two Position (on/off), Double Pole (DPST). Fits 1/2' Chassis Hole. Solder Terminals Or 1/4' Push-on. Fender® Part Number 0036570000. Part #SW-525 | $6.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - Made by Carling®- rated at 15A/125VAC, 10A/250VAC. Two position (on/off), single pole (SPST). Fits 1/2' chassis hole. Solder terminals. Part #SW-526 | $4.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - RATED AT 10 Amps (125VAC) or 10 Amps (250VAC) - TWO POSITION (ON/ON). Fits 1/2' chassis hole. Screw terminals, or remove screws for soldered connections. Double-pole double-throw, no center off - two positions (ON/ON). Part #STS-10-DPDT | $3.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - RATED AT 15 Amps (125VAC) or 10 Amps (250VAC) - TWO POSITION (ON/ON). Fits 1/2' chassis hole. Screw terminals, or remove screws for soldered connections. Double-pole double-throw, no center off - two positions (ON/ON). Part #STS-15-DPDT | $4.95 | ||
Click on photo for larger view | SWITCH, STANDARD SIZE TOGGLE - RATED AT 15 Amps (125VAC) or 10 Amps (250VAC) - THREE POSITION (ON/OFF/ON). Fits 1/2' chassis hole. Screw terminals, or remove screws for soldered connections. Double-pole double-throw, with center off - three positions (ON/OFF/ON). Part #STS-15-DPDT-CO | $5.95 | ||
Click on photo for larger view | FOOT SWITCH, CARLING BRAND, SPDT, LATCHING Found in many type of footswitches. Has 3 electrical terminals (single pole, double throw). Solder lugs for wire. Part #FS-492 | $9.95 | ||
Click on photo for larger view | FOOT SWITCH, CARLING BRAND, SPST, LATCHING, REPLACEMENT FOR Fender®, ETC. Carling SPST footswitch. Used in Marshall® etc. Reverb/tremolo/channel switching pedals.Has 2 electrical terminals (single pole, single throw). Solder lugs for wire. Part #FS-493 | $9.95 | ||
Click on photo for larger view | FOOT SWITCH, DPDT, LATCHING, PC MOUNT, FOR SWITCHING AND EFFECTS. Double-pole Double-Throw, made for direct connection to a PC board. Has 6 electrical terminals. Part #FS-498-PC (Also see our complete line of switches) | $3.95 |
Ampeg Svt 15t Manual Treadmill Price
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Ampeg Svt 15t Bass Amp
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