Duane Allman’s Marshall Bass 50w Model 1986

access_time First seen circa 1969

Used towards the later part of his career. For the most part, he had two 50 watt bass heads with three Y-Cables so he could use both of the HI-inputs of both the channels of both his Marshalls. The heads were played through two half-open back cabinets fitted with JBL D-120F speakers, although on occasions he would also play through a (Cerwin) Vega P.A. system [Richard Albero, Guitar Player magazine, May/June 1973] (please note that Cerwin-Vega company was renamed a couple of times. In 1972, after Duane’s passing, it became Cerwin-Vega. From 1967 to 1972 it was called Vega Laboratories, Inc.).

Cabinets in Detail

Allman Brothers Band initially bought four Marshall cabinets and sixteen JBL speakers in early 1969 [Willie Perkins: Memorabilia, p. 5], which suggests that Duane and Dickey both used two Marshall cabinets with four JBL speakers per cabinet. One of the slanted cabinets was pictured from behind, clearly showing four grey basket JBL D120F speakers (note that orange basket JBL D120F were manufactured by JBL for Fender). The cabinet which Duane had right below one of his Marshall amps was a model 1935 with “Bass” logo in the lefthand top corner on the grey basketweave grill cloth (aka Salt and Pepper grill cloth).

Duane’s main Marshall cabinet can be seen at the Big House Museum in Macon, sitting between his Goldtop and his 1959 Standard. Photo credit: John McDavid/Flickr

However, according to Don Butler [Randy Poe: Skydog, pp. 297 – 298] Duane’s cabinets were loaded with a combination of Celestion speakers and Cerwin-Vega ER-123 speakers. Please note that Kim Payne, who was in charge of ABB’s amp line and should know, was not interviewed about this [Randy Poe, Skydog, p. 285]. The theory that he used Cerwin-Vega ER-123 speakers could have originated from him playing through the Cerwin-Vega P.A. system, which as previously noted, Duane did sometimes. The Celestion speakers could have been the ones the Marshall “Bass” cabinets, models 1935 and 1935B were originally loaded with – G12M T 1511 or G12H T 1281 (in both cases in combination with the low resonance, 55 Hz, type 102 – 014, cone, made by Pulsonic).

Don Butler’s statement can also be explained, perhaps even better, by the fact that Duane used a few different rigs in 1971. He was seen using Marshall cabinets, with either one slanted and one straight, both straight, or one slanted sitting on one or two road cases. But what’s more important – he was also seen using a Sunn 412 cabinet together with the slanted cab, on October 2, 1971, at the Whisky in LA. Although it is not clear from the photos, this could’ve been (and most likely was) a Sunn 412V cabinet (with ‘V’ referring to Vega), which was shipped with ER-123 speakers.

Duane Allman on October 2, 1971, at the Whisky in LA. Take note of the cabinet behind the drum set and to the right of Duane’s Marshall stack. The ‘Sunn’ logo is clearly visible on the top left. Photo kindly provided by Don “ToneMan” Butler (see Tone-Man.com)

From this, we can conclude that Duane did in fact at least experiment with Cerwin-Vega ER-123 speakers. Furthermore, it is also possible that after using Marshall and Sunn cabinets together, he mixed the speakers from the two cabs in order to save one microphone channel. If you replace two of the speakers from the slanted Marshall cab with two from the Sunn cab and put the two speakers from the Marshall slanted cabinet into the Sunn cabinet then you can save one microphone channel. Otherwise, you must mike both cabinets to capture the different sounds (thanks Ingemar for research).

Duane’s amp modified?

One of the Marshall Bass amps used by Duane is now owned and used by Derek Trucks. Pictures clearly show that the amp was serviced and modded by “Dennis Electronics”, a New Jersey-based company owned by Dennis Kager and that the amp is a pre-mid 1969 model since it has the 1202-118 laydown mains transformer manufactured by Drake. It is not known when exactly the modding took place, but it was most likely done after Duane’s death, since according to Richard Albero [“Just Rock On, And Have You A Good Time” – Guitar Player magazine, May / June 1973] Duane never modified his gear.

However, given the high EL34 failure rate on the Marshall amps, it is likely that Duane had different vacuum tubes in his Model 1986s at some point. Although replacement EL34 were readily available at the time, people who fed up with the high failure rate often opted to use tube from other manufacturers.

Even though the amps were originally shipped with Mullard EL34s, I would not recommend using the Mullar in this amp. For one thing, the cost of Mullards would be very expansive and the failure rate would be high – just like the originals. This wouldn’t have been a problem in the 60s when Mullards could be bought for a few dollars, but at today’s prices, the failure rate would be something to consider. I prefer Phillips 6CA7s in this type of amp. They sound good and they can take a beating too. Other good choices would be the 7581A or KT66.

Gerald Weber, Tube Amp Talk for the Guitarist and Tech, pp. 423 – 424.

This leads as to a quote from Don Butler, who goes by the nickname “TM1” on the Les Paul forums. Don confirms that Duane did indeed use 6CA7s, but as another member points out a couple of posts below, these tubes didn’t exist until around 1970, so Duane used them for a relatively short period of time.

His Marshall Bass heads (model #1986) used 6CA7 tube’s most of the time which sound very different from Mullard EL-34’s. (Continued…) Basically what the story is was that they needed some output tubes for Duane’s amps and were sold those at an electronics shop. Duane liked them and insisted that Joe Dan get those next time they needed to retube his amps.

Woody tone captured on a Historic? – LesPaulForums

If you’re unfamiliar with these names, Don Butler was a friend of the band, who met Gregg and Duane in 1968 in LA. In 1972 he started his job at Cerwin-Vega, and today he does repairs and modifications on old tube amplifiers, guitars, and effects pedals (see his website tone-man.com). Joseph “Reddog” Campbell and Joe Dan Petty, on the other hand, were roadies.

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access_time 1970

Fender Champ

Most likely the amp used during the Layla studio sessions with Eric Clapton in late 1970. Tom Dowd, who produced the album, gave different reports on what exact model of the amp was used for the recording. There’s mention of Fender Blackface Vibro-Champs, Princetons, and Deluxes, and even same unknown Gibson combo. Howard Albert however who worked as an engineer on the album gave a pretty clear statement regarding the amps: If you looked […]

access_time 1969

1968 Fender Silverface Bassman (Head)

Used in the early days on the Allman Brothers Band. Duane purchased this Fender Bassman in early 1969 from Lipham Music Company in Florida and used it for a brief period before it became Dickey’s backup amp. [Willie Perkins: The Allman Brothers Band Classic Memorabilia, pp. 6 – 7] The amp was also used by Duane later on, on September 23rd, 1970 at the Fillmore East. It is visible from 3:56 to […]

access_time 1969

Marshall Lead 50w Model 1987 Tremolo 

According to Galadrielle Allman’s book “Please Be With Me” (p. 182 – letter from Duane to Holly Barr, Ralph Barr’s wife (Ralph Barr was guitar player for the Nitty Gritty Dirt Band)), Duane bought this Marshall amp probably sometime in early to mid 1969 (the exact date is not mentioned in the letter), together with a Gibson Les Paul Gold Top and a Gibson Heritage acoustic. Dearest Polly, I got a Les […]

access_time 1969

Fender Showman Blackface (Head)

Duane used a number of different Fender Showman Blackface amps in the early days of ABB. [Willie Perkins: The Allman Brothers Band Classic Memorabilia, pp. 4 – 7] A few of these amps can now be seen at The Big House Museum, and not all were used exclusively just by Duane (one of the amps available for viewing, for instance, was used by Berry Oakley). On page 5 of Memorabilia by Willie Perkins, […]

access_time 1965

1960s Fender Deluxe Blackface

Duane was seen using this amp on the photographs taken of Allman Joys performing at a High School graduation at Seabreeze, Daytona, sometime in 1965. Chronologically looking, this is the first amp that Duane was ever seen performing with, although it doesn’t necessarily mean that it’s his first amp altogether. This version of the Fender Deluxe amp was built from around 1964 to 1967, which means that Duane possibly bought it brand […]

access_time 1969

1966 Fender Twin Reverb Silverface

In early to mid-1969, ABB purchased a Silverface Fender Twin Reverb with two JBL speakers at Lipham Music Shop in Gainsville, Florida for $605,00 [Willie Perkins & Jack Weston, Memorabilia, p. 5]. Based on the serial number (PA 1045), the amp was made in January 1966. [Fender Tube Amplifier/Amp/Serial Number, Date – Dating, Speaker code & Tube Information] Also, according to Don Butler, the Twin had the output section rewired at some point to be […]

access_time 1967

Vox Super Beatle

According to some sources, Duane used this amp in the Hour Glass era (1967/1968). However, there doesn’t seem to be any photos of him actually using the amp, and as we’ll discuss a few paragraphs below, it seems that even though the band traveled with several of these amps, Duane himself preferred not to use it. What could’ve also potentially started this whole rumor of Duane using a Vox Super Beatle […]

access_time 1970

Pignose Prototype

According to Bobby Whitlock, Richard Edlund gave one of the prototypes to Eric and one to Duane during the Layla sessions in 1970. [Bobby Whitlock: A Rock ‘n’ Roll Autobiography, p. 92]. The Pignose amplifier is considered to be the first portable electric guitar amplifier. It’s a five-watt battery-powered miniature amplifier with one five-inch speaker. Richard Edlund gave the prototype version of the amp to a number of the popular guitarists of […]

access_time 1968

1960s Fender Twin Reverb Blackface

This amp was seen on photos taken during the Muscle Shoals era (late 1968), so it is possible that it didn’t belong to Duane but to the FAME studios. Nonetheless, he did still use the amp, so it deserves to be mentioned here. Please note that although the photo below only shows the amp partially, there are photos out there that confirm that this is indeed a Fender Twin Reverb. Due […]

access_time 1969

1960s Fender Showman Silverface

Seen on photos taken at Atlantic Recording Studios in Manhattan in January 1969. The amp was most likely owned by the studio. Embed from Getty Images

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