Claude and Hillard Beasley are profiled. The Beasleys also have an unusually-shaped electrical guitar whose body was made out of a dismantled outhouse.
It was the next morning of a much needed vacation once I awakened to grinding gears and hissing air brakes. "It can not be" I mused, maybe not the Beasley brothers "Walking out to greet them I was instantly gripped in Hillard's moist, fleshy handshake." Boogie King's got hisself some engagements yonder "Hey wheezed from the next person." Yeah, "chuckled Claude," but our amplifiers are not so. They are hummin 'like a roomful of all Hindus. Could y'all spare us a couple of loaners until we get ours mended? "I suspected that whatever the Beasleys had lugged out of Rabun Gap, West Virginia, could be interesting, so I offered them some Earth, Legend, and Rosk amps. "Man alive," exclaimed Hillard, "we wasn '
The Elk features reverb and vibrato, and is powered by 2 7189 output tubes as well as a 6CA4 rectifier. The circuitry is point-to-point wired to a phenolic terminal board, and thus the tube sockets are chassis-mounted. There's a fantastic transformer with 100-volt and 117-volt settings.
Though the rickety Elk pops and cracks like grits at a pork-filled skillet, it's difficult to dead its own tone. The Elk's reverb and trem are pure cheese log, but as Hillard shrugs, "The Boogie King simply uses it to rehearse the group."
Fender-copy finger pointing, but the Sona Tone Reverb is a hecho-en-Mexico showman clone stuffed to a Kustom-style cabinet. Its components are wired point-to-point onto a fiber circuit board such as a blackface fender. The tuck-'n'-roll covering was probably done in a few of those notorious Tijuana upholstery shops. The Songs back panel offers a set of bocinas (speaker) outputs, a polaridad (polarity) switch, and inputs to the reverb and vibato pedals.
The Sona Tone is much more enjoyable than perusing the "Z" listings in your telephone book. It does not exactly mean the thing quite nicely, so it's a great selection of clean to gritty tones. Despite the third-world reverb and tremolo, you can gig with this amp. Claude says that he has purchased a pair of Birmingham Books by a Baptist preacher for $ 50 plus a lawnmower and a smoked ham. Every column had four Jensen P-10Rs - the magical Bassman speaker - finish with Spanish markings. Regrettably, Claudie's half-cousin, Esco Minyard, pilfered the speakers to get his vehicle, then got wasted one night and blew 'em outside listening to Black Oak Arkansas.
Using its oblong front panel along with toothy-looking knobs, the Univox 1011 Lead resembles a robot by a lost in space set. This 6L6-powered Glass features a Marshall-style design with two pairs of inputs, double volumes, and treble, bass, middle, and presence knobs. The reverb and tremolo controls are reinforced by a set of rear-panel trimmers, as well as an impedance selector provides 2 [ohms], 4 [ohms], and 8 [ohms] settings. The 1011 has a PC board circuit using extensive hand wiring into the pots, jacks, switches, and tube sockets.
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Univox probably had its big hopes for its 1011 and dumb-looking 4xl2 cabs, but this is a pretty sorry tube. Alright, it's not that bad at low volume, and the reverb is far better than you find on most cheesy heads of this fondue decade. Claude says his '69 Fender Swinger throughout the Univox sounds just like the sweet voice of Jesus, "but he's been plucking for a long time.
The Impact is a British-made, two-channel amp using a dual-EL34 output stage, reverb, tremolo, and nutty slanted knobs. The amp's ruddy-looking inside is totally point-to-point wired and judged by the extremely shoddy workmanship, the builders were soccer lads whose primary interest was sneaking from this shop for bangers and pints.
Primitive is far too child with this particular anchor's steaming load of sonic stinkiness. The Beasleys admit they just switch this item to if there is some harmonica-tootin 'nitwit demands a twist with the group.
In accordance with Hulard, the Zer-o-tronic amp was made by an Appalachian TV repairman / pedal steeler called Zero Webb. This two-channel science job uses four 6L6s, four 12AX7 preamp tubes, along with a 6V6 reverb driver. It was constructed by someone with a great deal of time on his hands. The television-style inside is painstakingly point-to-point wired to terminal strips, the chassis is hoisted, and three panels are mounted in the front panel.
Country players have long preferred mutant gear made by backwoods digital freaks, and thus the Zer-o-tronic is a prime example. This clean-toned glass packs crystal-cracking highs along with a crunchy bottom finish. It's louder than hell, so the reverb sounds really good, so it would look at home in some Bakersfield beer joint where short guys with immense four-wheelers collect to drink, commiserate, and beat each other senseless.
The unusual guitar sports a body shape reminiscent of Prince's unpronounceable brand new name, but this is not the job of some overzealous German prog-rock enthusiast. In accordance with this Beasley's Lester Waldroop, using wood salvaged from Bukka White's dismantled outhouse.
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Waldroop's pronged miracle features a Bare double-locking trem, three BBI pickups, a huge carrying handle, and lots of mysterious switches. Strat / Les Paul realm. As soon as it satisfies simply to maintain this monster and to the psychological state of its founder, the Waldroop reveals a cornucopia of electrical tones which are simply not one of those Strat / Les Paul realm. Hillard says that this instrument is his prize possession, he feels it will be in the hands of a Delta bluesman. Waxing philosophical, '' he declares, 'If the Boogie King is dead and no longer using this particular guitar, it's going to be gettin' for singin 'them country blues and enjoying' em some, then. "