Guitar Gallery of Scottsdale Arizona

First of all we would like to congratulate September’s pedal giveaway winner James Bor of Valparaiso, Indiana!  He is now the owner of a Dude Overdrive pedal and loves it!  The October pedal to be given away at the end of the month is the .45 Caliber Overdrive.  For all you JTM 45 lovers, this is the pedal for you so keep receiving all our newsletters!


This week’s dealer feature focuses on the cool little store in Scottsdale, Arizona called Guitar Gallery located at 10243 N. Scottsdale Rd., #6. I happen to live in Scottsdale so I can tell you first hand that this is the best store in the entire Phoenix Valley if you are looking for the following:

  • Great boutique equipment
  • Guitar Lessons with top notch teachers
  • Fantastic guitar workshop & tech
  • Knowledgeable staff


Since 1993, they’ve been locally owned and operated by longtime musicians who are totally dedicated to everything guitar. The have just completed renovating their store by increasing the size of the guitar workshop. They can handle just about anything you need when it comes to work on your guitar.


As far as gear goes, not only are they the state of Arizona’s exclusive J.Rockett Audio Designs dealer, they also have a bunch of great guitars, amps, accessories, and other pedals.


Just a few of the brands they carry are:

  • Reverend
  • ESP
  • LTD
  • Ayers Guitars
  • The Loar
  • Recording King
  • Larrivee
  • Takamine
  • Marshall
  • Roland
  • Eden
  • VHT


If you live in the Phoenix metropolitan area, or are just visiting the city, be sure to stop in at Guitar Gallery and plan to spend a couple of hours there!

J & E Guitars Las Vegas



For the next several months we will be highlighting some of the great dealers we have throughout the United States. You will find J.Rockett Audio Designs pedals along with other wonderful musical gear in these stores!


J&E Guitars in Las Vegas is one of the finest guitar stores I’ve had the pleasure of walking through! If you are ever in Las Vegas and you are a gear lover, you have to put it on your list of must sees! They specialize in guitars, amplifiers, and effects.  You will find some of the top brands in the world in this store as do many famous musicians who stop by there when in Las Vegas.


One of the founders of J&E Guitars, Jess Gago, has a long history in the industry starting as a floor salesman at a well known retailer in New York city. He has over 18 years of experience in the industry and is highly knowledgeable about vintage instruments. He has also worked extensively over the years in artist related sales with players such as Joe Bonamassa, Mark Knopfler, John Mayer, Carlos Santana, and Keith Urban just to name a few!


So, if you want to visit a shop that has a knowledgeable staff as well as a ton of great gear, be sure to stop by J&E Guitars in Las Vegas the next time you are there!


Favorite Amplifiers

If you’re a gear “whore” like I am then you will be able to relate to this article! Amps, amps, amps! I love them and can’t get enough of them! If I had my way, my entire house would be filled with amplifiers. If that were the case, however, my girlfriend would quickly make me homeless! Looking on the bright side of that scenario, I’d be homeless with lots of amps!

There’s nothing I enjoy more than thinking, “hmm, which amp should I play today”? That’s the cool thing about collecting gear…you can play it! I collect gear versus buying stocks and bonds. There is not one piece of equipment I’ve purchased that I can’t at least get my money back on. You can’t say that about the stock market. And, I can play it all! It’s like living in Willy Wonka’s Chocolate Factory as a a chocolate “whore”!!

My personal favorite amp is a 1978 Marshall JMP Mark II Combo with period correct Celestion Black Back speakers. Every guitar I own sounds great going into this amp. Pedals sound awesome when plugging into the low input and diming the volume and master. Personally, I like having a master volume whereas some Marshall “purists” don’t like them. I like having a multitude of ways to shape my tone with a MV.

This particular amp has 6550 power tubes and they happen to be vintage. One is a 1957 Tungsol and the other a 1961 Tungsol. These are considered the holy grails of 6550 power tubes and you can hear the difference! I prefer the low end thump of 6550’s versus EL34’s. Think AC/DC in spades when you play this amp!


Another favorite amp of mine is a Whitney Penta 66. It’s an incredible rendition of an early JTM 45 with a twist. It actually has an EF86 pre-amp tube in V1 which creates a beautiful “Vox” type chime at low volumes yet it roars like a Marshall at full volume. Being able to swap out EL34’s and 6L6’s for the KT66’s that are in it make the amp really fun as well!


I was lucky enough to find a Star Super Nova out there in amp land as they are rare beasts! I bought it from a harmonica player so it had not seen heavy use. Mark Sampson didn’t make many so they are hard to find. In case you weren’t aware of this, Mark designed the circuits in three of our pedals; the Max, Hightop, and Revolver! The Super Nova is a 6V6 based amp with low and hi inputs and one master volume. There are gain (volume) controls for each channel. Tone flexibility is endless and the 6V6 grind is so juicy!


I could go on and on because, as I stated at the beginning of this article, I have too many amps! I want to here about what YOUR favorite amps are and why! So, here’s what I want you to do. Send me an email telling me about your favorite amp in your collection. Also, send me a picture of the amp (even better is a picture of you with the amp) and what it is you like about the amp, what makes it cool and what gives it that “mojo” you love!

I’ll have our social media company post your picture and amplifier description on our social media outlets! Now that’s a cool way to promote your baby! Send your pictures and amp write-up info to:



September Pedal Giveaway

Photo on 4-1-16 at 6.57 PM #3

J.Rockett Audio Designs would like to congratulate Mark Nason of Hampden, ME as the winner of the Summer of 2016 Pedal Giveaway! You can see Mark here in this picture “Rockin” out with his Fender Telecaster and he will soon be “Rollin” when he receives his Animal Overdrive, Josh Smith Dual Trem, Alien Echo, Lemon Aid Boost, and Archer ikon!

There’s More to Win!

Thanks to all who signed up for our newsletter and participated in the contest but “that’s not all folks”! From here until…well, we decide not to do it anymore, we will be giving away a pedal every month to those on our Newsletter Mailing List! That’s right, as long as you are receiving our Newsletters you are a contestant because we will draw a name from that list on the last day of every month!

September Pedal Giveaway



The new The Dude by Rockett Pedals Friday, Oct. 16, 2015 in Brentwood, TN.

The New Hooligan Fuzz

Hooligan Cropped

The brand new Tour Series Hooligan Fuzz breaks all the barriers for traditional fuzz tones. When it comes to fuzz pedals, players either love them or hate them. So, we took that into consideration and created an extremely versatile pedal that all players will love! It’s not just a fuzz pedal as we’ve designed an incredibly thick and organic gain stage that works phenomenally well as a stand alone overdrive! Want some fuzz? Just dial in the Gunk knob and you are on your way to mild or wild, trumpet sounding fuzz mayhem! The fuzz tones on this pedal are so fun that there are an endless number of sounds you can get when blending the Gain with the Gunk. See the new video below of the Hooligan Fuzz demonstrated by talented Canadian session player Kris Richards!

Guitar Tip of the Day- Chord Changes and Voicings

Guitar Tip of the Day Title

Do you find it difficult to create complimentary chord changes and voicings? You’re not alone as many guitar players struggle with that, even some of the more advanced players. Often, we can get stuck in a rut and play the same chords over and over simply because that’s what we are comfortable with.  Get creative and apply these fantastic chords and voicings taught by our Master Instructor, Chris Champion!

Tim Pierce Power Amp and the Naylor Superdrive 60


There is a reason why the Tim Pierce Power Amp is on the boards of many session players and touring musicians. Simply put, it’s a phenomenal pedal. The circuit is based on a Naylor Superdrive 60, a legendary amp born out of the 1980’s and Tim Pierce’s favorite amp. If you’ve never heard one, do yourself a favor and find some Youtube videos, sit back, and enjoy!  As a matter of fact, we’ve attached a video of Sam Vilo playing one in addition to Alberto Berrero playing the Tim Pierce Power Amp.  Listen to both and you will understand why the SD60 is such a great amp as well as how accurately we’ve been able to re-create the tone of that amp in a pedal!

Celestion Speaker T-Number List


My friend Brian Harding at Bygone Tones is probably the most knowledgeable person on Celestion speakers that I know of. We have posted some information from his site in the past. The following is from his website and is the most comprehensive T-Number list for Celestion Speakers that I have seen! If you are a vintage Celestion speaker collector and fanatic like I am, Brian is the guy you want to contact and this is a list you need to have!

Speakers are the last part of a signal chain but absolutely the most important part when it comes to the tone you are looking for. Many musicians underestimate the importance of a great speaker in the signal chain and don’t realize that you can change your tone the most dramatically by changing speakers. My preference is to use only vintage speakers in all of my cabinets and, to me, it makes a world of difference in the type of tone I am looking for!  For tons of Celestion speaker information you can visit his website at


This T-number list has been compiled from various sources. I have tried to keep it focused on the 12″ guitar speaker models. It does not contain every speaker celestion has ever made!

I do update this list regularly so if you see something missing, or want to contribute more information please shoot me an email and I will add it to the list when time permits.

Please note – some speakers will have changed specification over the years since originally entered into the celestion log book (mid 60’s in some cases). So any parts or part numbers mentioned below will only reflect what was being used at the time the entry was logged.

Big thanks to everyone who has helped contribute to this list, especially the helpful members of the Marshall amp forum!

Alnico Models

Model Type Ohms Brief description
1335 “44” 3 Ohm P44 – 1.5″ coil, 10,000 gauss magnet, 10 watts, smooth cone audio/hifi speaker
1772 “74” 15 Ohm 12,000 gauss, 12 watts, ribbed cone audio/hifi speaker
2727 “44” 15 Ohm P44 – as 1335 but 15 Ohm
CT3757 G12 8 Ohm precursor to T530, designed for vox guitar amplifiers
B024 G12 8 Ohm sprayed silver with no cover, RIC1 cone
B025 G12 15 Ohm as B024 but 15 Ohm
T530 G12 8 Ohm As CT3757 sprayed blue with H1668 cover
T565 G12 ? Westrex made – as T530 with RIC2 cone
T590 G12 ? As T530 fitted with H6025 transformer
T635 G12 ? As T530 but silver hammer finish & celestion label (instead of vox)
T637 G12 ? Mr.Britain G.E.C – ???
T641 G12 ? As T530 sprayed “Selmer” gold
T650 G12 8 Ohm As T530 without cover, sprayed silver
T652 G12 15 Ohm As T650 but 15 Ohm
T658 G12 16 Ohm As T530 sprayed silver hammer
T680 G12 15 Ohm As T530 sprayed gold
T701 G12 ? As T652 resonance 40-50 celestion cone
T702 G12 ? As T701 but with top polls unpainted. no dope.
T703 G12 ? 10 watt jennings as T530 but with G44 magnet assy
T721 G12 8 Ohm Jennings (as T530 cone assy) G44 type loudspeaker with H1261 magnet
T727 G12 15 Ohm As T530 but 15 Ohms
T731 G12 15 Ohm As T658 but without cover, sprayed oyster hammer including magnet assy
T1007 G12 ? As T530 sprayed oyster hammer
T1009 G12 15 Ohm Type G44 gap as T530, magnet as H1261
T1044 G12 8 Ohm Cone assy for T530
T1045 G12 15 Ohm Cone assy for T565
T1066 G12 4 Ohm Fitted with jennings cone assy, coil 63 turns, 33swg wire, sprayed silver
T1067 G12 15 Ohm 12,000 gauss
T1070 G12 15 Ohm special housing SP85, special cone, foam edge, T530 cover, sprayed oyster
T1087 G12 ? As T530, sprayed glossy black
T1088 G12 8 Ohm As T530, sprayed poly grey
T1089 G12 ? As T530, sprayed dark grey
T1090 G12 ? As T530, sprayed dark grey hammer
T1096 G12 15 Ohm As T1088 but 15 Ohms, jennings.
T1398 G12 15 Ohm As T1096, sprayed golden sand, celestion label
T1461 G12 8 Ohm 14,000 gauss magnet assy, hawley cone, 41/833/001 (1″ neck)
T1656 G12 8 Ohm SA4322 coil, H1777 cone, SP417 susp, vox label
T1819 G12 8 Ohm As T1656 but 8 Ohms (T1088 type)
T1855 G12 8 Ohm SA3422 coil, 650 cone
T1856 G12 8 Ohm SA3422 coil, SP800 cone, SP773 tweeter
T1870 G12 15 Ohm SP789 coil, H1777 cone, SP417 susp (as T1088 type)
T2056 G12 L/S 8 Ohm as T.1088 but without cover (Alcomax ring magnet)
T4427 G12 8 Ohm Blue Bulldog 15w (reissue)
T4436 G12 16 Ohm Blue Bulldog 15w (reissue)
T5471 G12 8 Ohm Gold Alnico Bulldog 50w
T5472 G12 16 Ohm Gold Alnico Bulldog 50w

Ceramic Models

Model Type Ohms Brief description
T800-899 G12C various G12C series loudspeakers
T1059 G12C 8 Ohm 1″ voice coil
T1060 G12C 8 Ohm As T1059 except rubber treated with 749/003 cone
T1073 G12L ? fitted heavy cone, foam edge, ceramic magnet, 4.760 dia single layer coil
T1082 G12L ? fitted heavy cone, foam edge, standard coil & cap
T1134 G12 10-12 Ohm 50oz magnet, sprayed welvic down to first corrugators. Beryllium braid CX2012.
T1161 G12 15 Ohm H1777 cone (as T1134 but 15 Ohm)
T1164 G12C 8 Ohm Ceramic magnet, 13,000 gauss, darwin type 7956A 5″x5″ 16 plates
T1174 G12C 15 Ohm Guitar, ceramic magnet
T1175 G12C 15 Ohm Guitar, SF 127 (light) magnet. Unsprayed.
T1206 G12C ? Medium loudspeaker fitted with studio 2012 cone assy
T1213 ? 8 Ohm For export to Vox/America
T1214 ? 15 Ohm As T1213 but 15 Ohm
T1217 G12H 15 Ohm As T1134 but with new type pressure housing. New ‘H’ range. (75Hz cone)
T1220 G12M 8 Ohm Ceramic magnet, plastic cover, golden sand, re-introduced in the 80’s as “greenback”
T1220-67 G12M 8 Ohm Heritage series G12M – 20 watt
T1221 G12M 15 Ohm As T1220 but 15 Ohm
T1221-67 G12M 16 Ohm Heritage series G12M – 20 watt
T1225 G12H 15 Ohm? As T1217 but sprayed Jennings colour
T1234 G12H 8 Ohm As T1217 (75Hz) but 8 Ohm, Also – 8 Ohm Heritage G12H – 55Hz.
T1239 G12M 15 Ohm SP444 cone, no rubber paint (doping) on surround. 60-70 c/s
T1252 G12L 12 Ohm lightweight. jennings 402 x 5″ ceramic magnet. 9lbs poly grey, vox label
T1253 G12M 15 Ohm fitted CX1512 bass cone assy
T1254 G12H 15 Ohm fitted CX1521 bass cone assy, muller suspension, poly grey, vox label
T1257 G12M 15 Ohm fitted H1771 cone, muller linen surround
T1259 G12H 15 Ohm fitted with CX1512 bass cone
T1260 G12M 15 Ohm H1777 cone, sprayed poly grey
T1268 G12M 8 Ohm jennings, fitted special plastic covers, poly grey housing and cover
T1269 G12M 8 Ohm jennings, fitted special plastic covers, poly grey housing and cover
T1277 G12M 15 Ohm standard edge finish 65-70cs. Marshall name plate.
T1278 G12H 15 Ohm standard edge finish 65-70c/s
T1279 G12H 8 Ohm jennings colour and vox name plate
T1281 G12H 15 Ohm welvic edge, 50-60c/s, Marshall name plate. – Also Heritage G12H (55Hz – 16 Ohm).
T1304 G12M 8 Ohm sprayed poly grey (jennings)
T1313 G12L 12 Ohm standard colour. DC voice coil. celestion label
T1319 G12L 8 Ohm jennings, poly grey, vox label
T1333 G12M 4 Ohm standard colours, H1777 cone, fit cover, double wound 15-ohm coil
T1339 G12S 15 Ohm standard colour, no label, CX1512 magnet, standard SP282 front plate
T1341 G12H 5-6 Ohm 34 SWG copper, SP444 cone, edge not treated, one winding standard former
T1354 G12S 15 Ohm fitted rubber top surround. trimmed H1777 cone, standard coil
T1355 G12S 15 Ohm rubber surround and coil (Kurt Mueller) no cover. cone 277/G with surround SH276/1
T1358 G12L 8 Ohm fitted muller cone and rubber surround. fitted cover.
T1359 G12L 15 Ohm as T1358 but 15 Ohm
T1363 G12H 15 Ohm fitted standard G12M cone assy (for organ use) standard colour – Also Heritage G12H – 75hz
T1364 G12H 8 Ohm as T1363 but 8 Ohm – Also Heritage G12H – 75hz
T1365 G12S 15 Ohm standard cone assy as G12M. spray jennings colour. no cover. CX1512 magnet assy
T1367 G12S 4 Ohm fitted rubber edge. CX1512 magnet assy. muller edge and cone, pressed housing
T1370 G12S 15 Ohm bass unit. CX1512 magnet. muller rubber edge and cone, pressed housing
T1380 G12M ? as T1220 fitted R/C cone. 80c/s approx fitted to avoid mid frequency cone breakup
T1384 G12L 15 Ohm standard colours. golden sand and green cover.
T1385 G12L 8 Ohm as T1384 but 8 Ohm
T1386 G12L 4 Ohm as T1384 but 4 Ohm, VC2 layer doublewound 38.5 SWG
T1397 G12L 3-4 Ohm rubber edge, muller cone assy, standard colour, pressed chassis, no cover
T1407 G12H 6 Ohm sample
T1413 G12H 4 Ohm MK2 coil. no cover. standard.
T1414 G12H 15 Ohm MK2 coil. no cover. standard. (marked 16 Ohm)
T1415 G12S 4 Ohm MK2 coil. no cover. standard.
T1416 G12S 8 Ohm MK2 coil. no cover. standard.
T1417 G12S 15 Ohm MK2 coil. no cover. standard. (marked 16 Ohm)
T1419 G12S 10 Ohm sprayed black, 10 Ohms, DC coil 12 Ohms. No cover.
T1421 G12L 8 Ohm standard guitar cone assy. no cover. sprayed golden sand.
T1422 G12S 8 Ohm standard guitar cone assy. no cover. sprayed golden sand.
T1423 G12M 8 Ohm standard guitar cone assy. no cover. sprayed golden sand.
T1426 G12S 8 Ohm chassis sprayed black, SP444 cone
T1427 G12H 8 Ohm golden sand, no cover, standard guitar cone assy
T1439 G12M 15 Ohm standard colour, no cover, SP444 cone, 55-65 c/s, standard edge spray
T1440 G12S 15 Ohm standard colour, SP444 cone, 55-65 c/s, welvic edge spray
T1446 G12S 8 Ohm fitted muller cone, rubber edge assy, SPA 650 magnet assy, CX1512, pressed housing
T1449 G12S 15 Ohm as T1440, fitted cover, edge finish changed to welvic
T1451 G12S 15 Ohm as T1417 with G12M sized cover
T1452 G12M 15 Ohm fitted G12H, jennings colours, cone assy & coil as T1225
T1453 G12M 8 Ohm fitted G12H, jennings colours, standard cover, cone assy & coil as T1279
T1454 G12S 8 Ohm cone assy as T1088, jennings colour chassis, standard cover
T1460 G12H 8 Ohm fitted SP444 cone, standard edge treatment
T1482 G12H 15 Ohm 50 watt, nomex coil former, standard colours
T1488 G12S 8 Ohm standard colours, fit cover
T1507 G12S 4 Ohm 12,000 gauss magent (ceramic)
T1508 G12S 8 Ohm 12,000 gauss magent (ceramic)
T1509 G12S 4 Ohm 14,000 gauss magent (ceramic)
T1510 G12S 8 Ohm 14,000 gauss magent (ceramic)
T1511 G12M 15 Ohm standard colours, fitted SP444 cone, welvic
T1517 G12S 15 Ohm H1777 cone, welvic edge, G12M covers
T1520 G12H 10 Ohm SP444 cone, welvic, tweeter SP773
T1521 G12H 12 Ohm tweeter SP773
T1523 G12S 12 Ohm Smooth – twin cone (tweeter SP773?), welvic doping.
T1531 G12M 8 Ohm tweeter SP773
T1532 G12M 15 Ohm tweeter SP773
T1533 G12M 15 Ohm tweeter SP733
T1534 G12H 15 Ohm SP444 cone, welvic edge, standard colours
T1548 G12L 8 Ohm H1777 cone, standard suspension
T1550 G12M 8 Ohm SP444 cone, standard edge finish and standard suspension
T1551 G12L 4 Ohm standard colours, muller cone and rubber edge, fit cover
T1552 G12S 4 Ohm muller cone and rubber edge, no cover
T1553 G12M 4 Ohm muller cone and rubber edge, fit cover
T1556 G12S 15 Ohm fit cone SP129, susp SP651, no cover
T1580 G12M 8 Ohm SP444 cone, welvic edge as G12H, standard colours plus cover
T1586 G12M 8 Ohm renumbered T1220
T1594 G12H 15 Ohm twin cone, H1777 cone, welvic edge, 50 watts.
T1613 G12M 4 Ohm SP582 voice coil with H1777 cone
T1614 G12M 8 Ohm SA3422 voice coil, H1777 cone, SP417 suspension, spray cone edge – use with T1586
T1625 G12H 4 Ohm lead guitar, SP825 coil, H1777 cone, SP417 suspension
T1626 G12H 4 Ohm
T1632 G12L 8 Ohm standard colour, H1777 cone, SP4127 suspension, fit cover
T1644 G12H 4 Ohm SP650 cone, SP773 tweeter, muller rubber edge
T1645 G12H 8 Ohm SP650 cone, SP773 tweeter, muller rubber edge
T1646 G12H 15 Ohm SP650 cone, SP773 tweeter, muller rubber edge
T1647 G12H 4 Ohm H1777 cone and SP773 tweeter
T1648 G12H 8 Ohm H1777 cone and SP773 tweeter
T1649 G12H 15 Ohm H1777 cone and SP773 tweeter
T1657 G12S 12 Ohm SP789 coil, SP650 cone, SP651 suspension
T1673 G12M 8 Ohm H1777 cone with tweeter
T1692 G12L 4 Ohm 582 coil, H1777 cone, SP417 susp, fit cover
T1695 G12H 8 Ohm SP800 cone, SP773 tweeter, (as T1521 but 8 Ohms)
T1722 G12H 12 Ohm SP44 cone, fitted SP1210 rear label
T1727 G12M 8 Ohm SA3422 coil, SP650 cone, SP651 suspension, rubber edge
T1759 G12H 15 Ohm SP800 cone, SP651 susp
T1760 G12H 8 Ohm As T1759 but 8 Ohms
T1761 G12M 15 Ohm SP444 cone, SP773 tweeter
T1766 G12L 15 Ohm SP444 cone, fit cover
T1773 G12S 8 Ohm SP129 Hawley cone, SP651 susp, fit cover
T1779 G12S ? SP129 Hawley cone, SP651 susp
T1786 G12M 15 Ohm SA4323 coil, SP444 cone, SP417 susp
T1787 G12H 15 Ohm SA4323 coil, SP444 cone, SP417 susp (‘H’ version of T1786)
T1793 G12M 8 Ohm SP444 cone, welvic edge as G12H
T1796 G12H ? chassis with mag assy and covers
T1798 G12S 15 Ohm SP789 coil, SP800 cone, SP651 susp, As T1523 but 15 Ohms, fitted G12M cones
T1799 G12S 12 Ohm SP444 cone, welvic as G12H, SP789 coil
T1825 G12H ?
T1861 G12M 8 Ohm SA3422 coil, SP444 cone
T1862 G12H 8 Ohm SA3422 coil, H1777 cone, SP417 susp
T1868 G12S 15 Ohm SP789 coil, H1777 cone, SP417 susp
T1869 G12M 15 Ohm SP789 coil, H1777 cone, SP417 susp
T1871 G12M 8 Ohm SA3422 coil, SP444 cone, SP651 susp, res 50 max to match Jensen 1 1/2″ coil
T1872 G12M 8 Ohm As T1871 but with ali dust dome
T1873 G12H 15 Ohm 3423 coil, H1777 cone, 417 susp, no cover
T1885 G12M 8 Ohm SA3422 coil, pulsonic 102/030 cone, SP651 susp. Marshall
T1886 G12H 15 Ohm SP789 coil, pulsonic 102/030 cone, SP651 susp. Marshall
T1901 G12M 8 Ohm SA3423 coil, 102/030 cone, SP651 susp, SP773 tweeter
T1902 G12H 15 Ohm SA3423 coil, 102/030 cone, SP651 susp, SP773 tweeter
T1903 G12H 15 Ohm SA3423 coil, 102/030 cone, SP651 susp,
T1922 G12L 15 Ohm 3423 coil, SP444 cone, SP417 susp, fit cover
T1923 G12L 15 Ohm 3423 coil, SP444 cone, SP417 susp, SP773 tweeter, fit cover
T1925 G12M 15 Ohm 3423 coil, SP444 cone, SP651 susp, SP773 tweeter
T1929 G12H 8 Ohm SA3422 coil, SP444 cone, SP615 susp
T1954 G12H 8 Ohm SA3422 coil, SP444 cone, SP417 susp, SP773 tweeter
T1966 G12L 8 Ohm SA3422 coil, SP444 cone, SP417 susp,
T1967 G12L 8 Ohm SA3422 coil, SP444 cone, SP417 susp, SP773 tweeter
T1969 G12H 12 Ohm twin cone, trimmed 102 003, cambric surround. watkins.
T1970 G12H 12 Ohm trimmed 102 003, cambric surround. watkins.
T1971 G12M 12 Ohm twin cone, trimmed 102 003, cambric surround.
T1975 G12H 8 Ohm voice coil SA3422, cone SA1030, fitted twin cone GP773
T1976 G12H 15 Ohm voice coil SA3423, cone H1777, susp 651, with ali dust dome
T1977 G12M 15 Ohm voice coil SA3423, SP444 cone with ali dust dome
T1981 G12M 15 Ohm voice coil SA3423, cone 1321, trimmed 103/003, SP651, cambric surround
T1988 G12H 6 Ohm voice coil SA3940, cone SA1042, cambric edge, SP1284 twin cone. Watkins.
T1990 G12H 8 Ohm voice coil SA3422, cone SP444 twin cone
T2114 G12M 8 Ohm lead cone, ali dust cap
T2115 G12H 8 Ohm lead cone, ali dust cap
T2168 G12M 16 Ohm As T1221 but without plastic cover
T2236 G12/50 15 Ohm 50w, H magnet, yellow frame, 75c/s
T2238 G12/50 8 Ohm 50w, H magnet, yellow frame, cone stamp – 1973, ali dust cap, 75c/s
T2239 G12/50 15 Ohm 50w, H magnet, yellow frame, cone stamp – 1975, ali dust cap, 75c/s
T2241 G12/50 8 Ohm 50w, H magnet, yellow frame, 40 c/s
T2245 G12/50 15 Ohm 50w, H magnet, yellow frame, 40 c/s, twin cone
T2324 G12/50 8 Ohm 2″ coil – Red frame with silverdust cap – Marshall Powercell?
T2328 G12H 8 Ohm Smooth twin cone – 40Hz resonance
T2570 G12/75 8 Ohm White coloured dust cap
T2571 G12/75 8 Ohm
T2633 G12M 16 Ohm cone stamp 444, with bass spider, 25 Watts, 55c/s, ali dust cap
T2684 G12/50M 8 Ohm 50w, cone stamp – 1975
T2839 G12-65 8 Ohm cone stamp – 444
T2840 G12-65 8 Ohm cone stamp – 1777, ali dustcap
T2868 G12-65 15 Ohm cone stamp – 1777
T2871 G12-80 8 Ohm cone stamp – 444
T2876 G12-80 15 Ohm cone stamp – 444 – Marshall label
T2880 G12-80 16 Ohm smooth cone??? – Celestion label
T2963 G12-30 8 Ohm
T2964 G12-30 16 Ohm
T2975 G12-125 8 Ohm 125W – cloth edge – 2643 cone – found in Marshall 2150 combo.
T2976 G12-50 8 Ohm cone stamp – 2712 (as T2968 but 8 Ohm)
T2968 G12-50 15 Ohm later renamed the G12S-50 – sensitivity 98dB (1W at 1m), 50W, frequency 80-5000Hz.
T3032 G12-50 8 Ohm
T3053 G12-65 8 Ohm cone stamp – 1777, 85 c/s (as T3054 but 8 Ohm) – Also Heritage G12-65
T3054 G12-65 15 Ohm cone stamp – 1777, 85 c/s. Also Heritage G12-65
T3055 G12-80 8 Ohm 80w, cone stamp – 1777
T3056 G12-80 15 Ohm as T3055 but 15 Ohm
T3058 G12-100 15 Ohm
T3062 G12-65 8 Ohm twin cone
T3063 G12-65 16 Ohm twin cone – 3069 stamp
T3101 G12-65 15 Ohm cone stamp – 444
T3103 G12-80 16 Ohm cone stamp – 444 – Celestion label
T3120 G12-65 15 Ohm cone stamp – 1777, marshall label
T3136 ? ? cone stamp – 2712
T3231 G12-80 8 Ohm Smooth cone – 3609
T3227 G12-65 8 Ohm cone stamp – 1777
T3249 G12-80 16 Ohm Large dust cap, 1105 cone, 4 ridge spider – Marshall designated
T3263 G12-80 16 Ohm cone stamp – 444 – Celestion label
T3317 G12-30 8 Ohm
T3325 G12-30 15 Ohm Light magnet, ribbed 2302 cone with tweeter 2715
T3351 G12-80 8 Ohm cone stamp – 444 – Celestion label
T3517 G12S-50 4 Ohm cone stamp – 2712
T3562 G12L-35 16 Ohm 4335 cone
T3565 G12L-35 16 Ohm cone stamp – 4335
T3566 G12S-50 4 Ohm cone stamp – 2712
T3567 G12S-50 8 Ohm cone stamp – 2712
T3568 G12S-50 16 Ohm cone stamp – 2712
T3570 G12S-50 8 Ohm cone stamp – 2802
T3576 G12M-70 8 Ohm cone stamp – 2712
T3577 G12M-70 15 Ohm cone stamp – 2712
T3585 G12K-100 8 Ohm
T3586 G12K-85 15 Ohm
T3588 G12K-85 8 Ohm
T3593 G12H-100 4 Ohm
T3594 G12H-100 8 Ohm
T3595 G12H-100 16 Ohm
T3598 G12H-100 16 Ohm 3609 cone
T3601 G12H-100 16 Ohm
T3604 G12C-125 15 Ohm
T3612 G12-80 8 Ohm cone stamp – 1777
T3754 G12H-100 16 Ohm
T3760 G12T-75 16 Ohm cone stamp – 1777
T3771 S12-150 8 Ohm Sidewinder (lead), cast chassis, paper edge
T3772 S12-150 16 Ohm Sidewinder (lead) , cast chassis, paper edge
T3781 G12T-75 8 Ohm
T3833 G12C-30 8 Ohm
T3865 S12-150 8 Ohm Sidewinder (bass), 150w, cast chassis, cloth edge
T3866 S12-150 16 Ohm Sidewinder (bass), 150w, cast chassis, cloth edge
T3896 G12V 8 Ohm Vintage 30, Marshall label, 70w, 444 cone
T3897 G12V 16 Ohm Vintage 30, Marshall label, 70w, 444 cone
T3903 Vintage 30 8 Ohm cone stamp – 444 (standard specification)
T3904 Vintage 30 15 Ohm cone stamp – 444 (standard specification)
T3947 G12T-75 16 Ohm cone stamp – 444
T3969 G12-80 8 Ohm Classic Lead – 80w – cone stamp – 1777
T3978 G12-80 16 Ohm Classic Lead – cone stamp – 1777
T3979 G12M-70 16 Ohm
T3987 Vintage 30 16 Ohm cone stamp – 444 – Marshall OEM (known to be a little brighter than the standard V30)
T3989 G12-80 8 Ohm cone stamp – 1777 – Mesa label
T4159 G12-100 8 Ohm cone stamp – 6559
T4272 V12-60 8 Ohm
T4335 Vintage 30 8 Ohm cone stamp – 444 – Old original spec – now Mesa OEM
T4354 G12T 8 Ohm cone stamp – 7293
T4361 S12-150 8 Ohm Sidewinder (lead), 150w, pressed steel chassis, paper edge
T4362 S12-150 8 Ohm Sidewinder (lead), 150w, pressed steel chassis, paper edge
T4416 Vintage 30 16 Ohm cone stamp – 444 – Old original spec – now Mesa OEM
T4437 G12M 8 Ohm Greenback designed for Vox
T4469 G12T-85 8 Ohm Riviera, 1777 cone
T4532 G12L-25 ? “70th anniversary” – 6402 cone
T4533 G12H 8 Ohm “70th anniversary” G12H
T4534 G12H 16 Ohm “70th anniversary” G12H
T4612 G12 Heritage 16 Ohm marshall
T4774 V12-80 8 Ohm cone stamp – 8553
T5113 G12H-80 8 Ohm “Marshall Wolverine” Model WH-80-8
T5155 G12T-100 4 Ohm “Hot 100”
T5156 G12T-100 8 Ohm “Hot 100”
T5157 G12T-100 16 Ohm “Hot 100”
T5173 G12 seventy 80 8 Ohm
T5226 G12/100-AVT 8 Ohm
T5291 G12H-90 8 Ohm Line 6, 9855 cone
T5321 G12 Vintage MF 16 Ohm Custom designed for use in Marshall MF series cabs. G12-CV60.
T5338 G12P-80 16 Ohm “Seventy 80”
T5347 G12 Century 8 Ohm 60w – G12 Century Vintage
T5348 G12 Century 16 Ohm 60w – G12 Century Vintage
T5473 G12N-65 8 Ohm
T5475 G12C 16 Ohm Marshall label, 53H1777 cone.
T5492 G12P-80 16 Ohm “Seventy 80”
T5601 G12H-100 16 Ohm 1777 cone
T5603 G12 70/80 16 Ohm “Seventy 80”
T5605 G12 70/80 8 Ohm “Seventy 80”
T5606 Rocket 50 8 Ohm “Rocket 50”
T5610 Rocket 50 16 Ohm “Rocket 50”
T5658 G12 EVH 8 Ohm 20w
T5670 G12 EVH 16 Ohm 20w
T5797 G12 50GL 8 Ohm 50w “Lynchback”
T5864 G12M-65 8 Ohm 65 watt Creamback
T5871 G12M-65 16 Ohm 65 watt Creamback
T5890 G12H-75 8 Ohm 75 watt Creamback
T5891 G12H-75 16 Ohm 75 watt Creamback
T5901 G12 V-type 8 Ohm 70 watt
T5906 G12 V-type 16 Ohm 70 watt
T5924 G12-35XC 8 Ohm 35 watt – “Pulsonic”

20 Ways to Become a Better Guitarist


Our friends at Pro Guitar Shop have written a fantastic article on the “20 Ways to Become a Better Guitarist”.  We are happy to provide the article to you in our newsletter here!

Play music with others:

This is probably the single best piece of advice anyone can offer. Music is rarely a solitary activity. Whether it’s a rock band, a jazz trio, or a full orchestra—it typically takes a village to bring music to life. A bedroom player who has mastered the instrument is going to go back to square one once he or she starts playing with other musicians—the communication and instincts that are developed by playing music with others are both irreplaceable and unteachable. You just have to do it and live it to get good at it.

You can always benefit from guitar lessons:

One of my favorite pieces of (true) rock lore is the fact that Randy Rhoads used to look up guitar teachers in the towns where he toured and would squeeze in taking a lesson if he could—even though he was on top of his game already, Rhoads knew that he could always learn more and that getting lessons from a diverse array of teachers would only make him a better overall musician. No matter your skill level, you can always benefit from lessons—especially if you take lessons in a genre outside your normal oeuvre. If you’re a rock player, take jazz or flamenco and vice versa.

Take a workshop:

There are countless workshops offered throughout the world—sometimes by music schools, sometimes by manufacturers, sometimes by famous players themselves. Take a few days and attend a workshop, not only to pick up some new skills but also for getting the chance to play alongside other musicians. The workshop format—where you dedicate a couple days to focusing on your instrument—can be incredibly inspiring.

Read a book:

It’s impossible to have too many reference materials. Even professionals usually have a chord dictionary hanging around. Having a chord, scales or arpeggio tome handy can offer you a way to kick start your playing when you find yourself in a rut.

Play licks in other fretboard positions:

As an exercise, try playing some of your favorite licks in alternate positions on the fretboard. Taking phrases out of their intended box and playing them elsewhere on the neck forces your brain to go “off-book” as it were, hopefully opening the floodgates of creativity.

Don’t fear the computer:

Though many of us are die-hard analog kids, playing our magnetic-pickup wooden guitars through tube amps—it’s foolish to ignore all of the amazing advances happening in the digital world. From modeling software to phrase trainers to online lessons—there is a ton happening in the digital guitar world, most of which you can access from almost any device: Android, iOS, Mac, PC, etc. I have a MIDI-capable guitar and from time to time, I’ll plug it into a software instrument such as Reason or Native Instrument’s Komplete suite and practice while using plug ins for non-guitar instruments—a grand piano or string section, for example.

Learn about music theory:

With the ease of reading tablature, it’s easy for guitarists to learn to play without necessarily learning a lot of music theory—just by using their ears to match up what they’re reading in the tab with what they’ve heard. A little theory goes a long way—consider picking up a book, studying online, or even take a local course at a community college to shore up your knowledge of theory.

Learn a new instrument:

Once you know one instrument (and hopefully at least a little theory), it’s a lot easier to switch over to another. Playing multiple instruments helps keep your mind actively engaged and prevents you from getting too stale on the one thing that you’re best at. Piano is a fantastic complement to guitar, but any instrument will do: ukulele, saxophone, tuba! At the least, if you’re playing in a band, switch instruments once in a while to break up the monotony.

Play with musicians who are better than you:

It’s easy to be a bit sheepish about playing with people who can play circles around you, but don’t psyche yourself out—as often as possible, play with musicians who are better than you; they will raise the level of your playing and you will probably be surprised how quickly it happens.

Milk notes for all they’re worth:

The one-note solo is a real thing and it is awesome. Just because you’re capable of speed doesn’t mean you should use it. There’s a time and place for speed, but make sure you know when that moment is. Don’t be afraid to squeeze every last drop out of a note or a couple notes. You can do so much with so little.

Buy a weird effect pedal:

Overdrives are a dime a dozen. There are plenty of non-traditional effects pedals on the market today—try adding one in to your rig and challenge yourself to find ways to use it and implement it in your music. It might not stick around forever, but it might open up channels of creativity in your playing that your old TS-9 clone never will.

Keep your guitar in tip top shape:

A race car driver can’t do his or her best driving if they’ve let their vehicle go to hell. Your instrument is the vehicle for your music; take care of it for your best playing to come out. Make sure it is properly intonated and set up, keep it free from dust and spills, use the case when you’re not playing. Be sure it isn’t in shambles.

Use a metronome once in a while:

In the iPhone age, it’s easy to play along to recorded music—but playing to a metronome is key. Being able to lock into a tempo while you’re playing and not relying on backing music to cover you is a necessity.

Learn when not to play:

There’s a time and place for everything . . . your four-finger tapping solo has a place, but don’t forget that there’s also going to be moments when not playing is more powerful than playing. A well timed rest in a song, or even in a lead, can create great tension or be an extremely powerful moment.

Be honest about your weaknesses:

No one is amazing at everything, even (your favorite guitar hero’s name here). Periodically take an honest inventory of your guitar strengths and weaknesses. Maybe your vibrato sounds like someone is having a seizure, maybe your right hand dexterity is less than dexterous. The great thing about weaknesses is that they give you something to work on and it’s never too late to turn them into strengths.

Stay focused

It’s easy to get lost in playing without achieving maximum results from playing, practicing or both. In a band scenario, try to set a time limit for rehearsal and don’t get too off-track talking about the latest funny videos you’ve been watching on the Internets. Stay focused and try to get the most out of every minute that you’re playing.

Book some gigs:

No matter how good you are or are trying to be, playing live is a great way to get better. There’s something about playing in front of an audience (whether it’s five people or 500) that elevates your game—not to mention how much you’ll learn about gear and sound from having to tear down and set up your rig a few times. Warning: your desire for a roadie will skyrocket.

Go see live music:

Sounds like a no-brainer, but it’s so important to go watch/listen to other musicians. You can go see bands that play music that you’re already into, or you can roll the dice on some bands that you’ve never heard of. You’re guaranteed to walk away with something, whether it’s a new technique to try out or whether it’s what NOT to do (like, for example, gig without a backup!). Even better—pick up season tickets to the symphony, if you don’t normally listen to classical fare, and expose yourself to an entirely different world of music.

…And see shows that break the taste barrier:

You’re not getting much diversity in your diet by playing metal and only going to metal shows. I’m sure even the crustiest metalhead can admit that Django Reinhart is an amazing guitar player, so if they can admit it to themselves, so can you. Go check out shows that are a genre or two apart from your normal tastes and watch what they’re doing, make some mental notes and enjoy yourself. Diversity is where the fun is.

Have fun and break the rules:

Just remember that if it doesn’t make you happy, you shouldn’t do it. Don’t be afraid to break the rules, but do remember that you have to know them in order to break them. Music is a never-ending pursuit—keep pushing yourself and keep looking out for how to take the next step. There will always be one more ahead of you to take.