Best Old School Jazz Amplifier

[Moonray]

Best amp I ever got to use was a Gibson GA200 Rhythm King.
This would've been in the late 60's and our band was a Blues/R&B set up.
The agency that booked us rented us one of their vans for the 6 hour drive each way
for a weekend gig.
I was concerned my Deluxe-a-like amp wouldn't cut it in this large hall.
So the agency rented me an amp that I was told would do the job.
I picked up the van and the amp [that weighed a ton] and drove around picking up
the other guys.

In those days I'd scored a virtually new Les Paul/SG transitional model. Sang like a bird.

Got to the venue and set up for a sound check, wow, this amp was killing it!
None of us had heard of one of these before let alone played one.
It kept clean all the way up and then with it wide open it was just on the verge of break up.
Man, I tried to buy that thing, but no go....I often have wondered what became of it.

Here's an article from Vintage Guitar magazine about the fabled Rhythm King:

Gibson GA-200 Rhythm King

Dave Hunter
1


Preamp tubes: two 12AX7, one 12AY7, two 6BJ8, two 6SK7, one 6V6 (used as a voltage divider)
Output tubes: two 6550
Rectifier: GZ34
Controls: Ch1: Volume, Treble, Bass; Ch2: Volume, Treble, Bass, Compressor
Speakers: two 12? Norelco/Phillips twin-cone speakers
Output: approximately 60 watts RMS

---

We generally love amps of the tweed era for their ability to go all chewy and juicy when hit with some attitude, but most makers of the day were trying their best to maximize headroom and clean punch within the parameters of price point and product size. When we think “vintage clean” in pre-1960 terms, our thoughts often go to the Fender Twin and Bassman, and maybe some of the larger models by Standel or Magnatone, but Gibson had it going on in this department, too. Taken at face value, the GA-200 Rhythm King might even be too clean for some tastes.
The model was introduced in 1957’s two-tone range, when only 22 were shipped, and phased out after the (somewhat altered) Crestline rendition of ’63, and our feature subject sits right in the center of that span, a pristine example of one of Gibson’s turn-of-the-decade tweed amps. Rated at 60 watts from two 6550 output tubes, with a closed-back cabinet housing two 12? speakers and no bells and whistles other than the guts of what was necessary for loud, clean amplification, the Rhythm King was very much a professional product for the big stage. An amp that might have seemed a little behind the times already in the age of rock and roll (if ahead of the times in its inventive design), it was intended to partner the big professional archtops like Gibson’s L-5CES and Super 400, enabling them to belt out a rhythm on the bandstand.

That’s a pretty hefty output rating back in the day for two tubes fed by tube rectification, but it is all aided by some boat-anchor-sized transformer iron and substantial operating voltages on those 6550s. Given this heft in the back end and a preamp circuit tuned more to high fidelity than to tweedy grind, the Rhythm King stays clean way up on the dial, and really only gives in to a little softening crunch when you push it way hard. It was a tone that did the trick for late blues ace Sean Costello, who often pumped his vintage goldtop through a GA-200 Rhythm King, and, until recently, a model of a similar vintage to this one was also among the playing collection of J. Geils. For a lot of today’s players, “tweed tone” is more likely to conjure the sound of a 5E3 Deluxe or 5F4 Super, maybe a Bassman for something stouter, or a Gibson GA-40 Les Paul or smaller GA-20 – meaning the loud, tight performance of the GA-200 Rhythm King just won’t light the right fires. For a bold effort with good texture and depth, though, for big-stage jazz chops, cleaner blues excursions, or spanking country twang, this is an amp to put a smile on your face.
A circa 1960 Gibson GA-200 Rhythm King. While the GA-200 lacks tremolo and reverb, it is equipped with a real rarity in guitar amps of the day: a circuit labeled “Compressor,” available on Channel 2 only. Using half each of 6BJ8 and 6SK7 tubes, and tied to the output stage via a 6V6 tube used as a voltage regulator (somewhat in place of a traditional bias circuit) this oddball extra was different from anything guitarists conceive of as a compressor today. Its job seems to have been to further ensure a smooth performance with maximum headroom, overload protection when needed, and the squelching of feedback when your big archtop started to howl. All in all, a very unusual approach to the problem and, while there might be something similar out there somewhere, we can’t think of another maker who ever used such a circuit.
Taken in its entirety, the Rhythm King also provides another fascinating example of how Gibson’s amp line resisted conforming to any particular template through the ’50s and early ’60s. The lack of a uniform format across the line, as seen with Fender amps and many others of the era, for example, might have dented Gibson’s staying power in this market, and contributed to their fading from the spotlight in the mid ’60s. But it also let the company’s designers take a pot-shot now and then, and occasionally hit something that was worth the effort. Between the angled, trapezoidal control panel with rear-facing input jacks; dual-chassis design with top-mounted preamp circuit and rear-facing power and output chassis; aforementioned compressor circuit; chunky closed-back cabinet with angled upper-rear quarter; and dual Norelco/Phillips twin-cone (a.k.a. “whizzer-con”) speakers, there was nothing else quite like it – other than, perhaps, its big brother GA-400 Super 400, which had three channels and some other differences.
As Costello, Geils, and a few other latter-day players discovered, a big, clean beast like the GA-200 Rhythm King certainly has its applications in a broad range of genres and playing styles. Conventional or traditional it is not, but it will present the bold, bare tone of whatever you put into it – and loudly – or provide a fat and sturdy platform for whatever pedals might help generate your own playing voice. As for its intended audience, it was already becoming something of a dinosaur in 1960, with the needs of the jazz-guitar market changing, and ultimately diminishing relative to those of the rock and pop boom. The Rhythm King shipped in its greatest numbers in 1960, selling 265 units. After selling 263 in ’61 – again, not bad, but not sensational – the GA-200 evolved into the Crestline styling, quite a different amp when put in a piggyback configuration with a head that tucked into the speaker cab for carting. After that, the “big clean” professional combos moved to a different, usually more-conventional form, but you can bet few if any ever sounded quite like the Rhythm King.

---

This article originally appeared in VG March 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

---

If you see one of these I'd suggest you give it a try!

[Oscar67]

Hard question to answer. It depends on my mood and how the room sounds. That’s why I need a few different guitars and amps. How I wish I were a one-guitar, one-amp guy… the simplicity of that really appeals to me and my wallet would love it (not to mention my wife).

If I had to choose, then for an old-school kind of sound I’d take my brand new Koch GristleTone 1x12”. It sounds like Jack Daniels with ice on a hot summer evening. Grant Green? Jim Hall’s tone on Undercurrent? Julian Lage’s electric tone? This is the amp.

To get all sorts of tones from all sorts of guitars, my Brunetti SingleMan gets the vote. This gem of an amp is basically an improved Deluxe Reverb with super-effective tone shaping possibilities. It sounds like a great Single Malt that’s been on oak for 20 years.

For no-fuss amplification, comfort, durability and a good, woody tone for archtop guitars, my little Roland JC-22 gets the vote. Somehow that little Jazz Chorus has my back and it covers my you know what. I feel safe with it somehow.

[John A.]

Quilter Aviator Cub. Convincing tweed or blackface Fender tones, with more useful controls. I would have voted Princeton Reverb before I got the Quilter, but so far I think I’m even happier with the Quilter.

[Stringswinger]

Quilter Aviator Cub. Convincing tweed or blackface Fender tones, with more useful controls. I would have voted Princeton Reverb before I got the Quilter, but so far I think I’m even happier with the Quilter.

I have the Quilter Mach 3 combo. I think it gets all the classic Fender tones and then some.

Tube amps are now in my rear view mirror.

[John A.]

I have the Quilter Mach 3 combo. I think it gets all the classic Fender tones and then some.

Tube amps are now in my rear view mirror.

Never say never, but I think they probably are for me, too (though my stereo system has recently sprouted a bunch of tubes, I so maybe there's a conservation law in effect).

[nevershouldhavesoldit]

Never say never, but I think they probably are for me, too (though my stereo system has recently sprouted a bunch of tubes, I so maybe there's a conservation law in effect).

Tube circuit technology has evolved too, at least in audio. I went from outmoded, overvalued vintage tube amplification to Prima Luna about 12 years ago. The sound quality is superb - tighter bass, more open and uncolored highs, and amazing tube life. My PL power amp still has its original tubes. And the way the bias circuitry is designed, I can roll tubes to compare. I have the original KT88s in it now. I’ve tried 6L6s, EL34s, 6550s and 7581s from various amps. I’ve tried them all in it, and each has its own sound. No rebiasing is required.

My Marantz 7&8, Mac 275, Citation 2, modded Dynas etc were all state of the art when new. But today’s equivalents blow them out of the water at far less inflation radjusted cost. I also have a few SS amps (even class D with tube front ends), and they sound great. But the PL beats ‘em all through good speakers like my Focal towers.

[Bambus123]

Im not sure if it is considered old-school, but to me it looks kind of old-schoolish at least, the Rivera Jazz Suprema. It is my favorite jazz tube amp.

https://www.rivera.com/product/combo...ingle-channel/

[John A.]

Tube circuit technology has evolved too, at least in audio. I went from outmoded, overvalued vintage tube amplification to Prima Luna about 12 years ago. The sound quality is superb - tighter bass, more open and uncolored highs, and amazing tube life. My PL power amp still has its original tubes. And the way the bias circuitry is designed, I can roll tubes to compare. I have the original KT88s in it now. I’ve tried 6L6s, EL34s, 6550s and 7581s from various amps. I’ve tried them all in it, and each has its own sound. No rebiasing is required.

My Marantz 7&8, Mac 275, Citation 2, modded Dynas etc were all state of the art when new. But today’s equivalents blow them out of the water at far less inflation radjusted cost. I also have a few SS amps (even class D with tube front ends), and they sound great. But the PL beats ‘em all through good speakers like my Focal towers.

I have a mix of old and new -- a McIntosh tube pre-amp/tuner and a class D integrated amp that has preamp tubes (the Douk amp you reviewed). I suspect the tubes in that don't really do anything (but it sounds better than the decrepit receiver it replaced and has the perfect set of gazintas and gazoutas for my uses). The McIntosh is mainly for nostalgia (inherited from my father), but the lights sure are pretty.

[nevershouldhavesoldit]

I have a mix of old and new -- a McIntosh tube pre-amp/tuner and a class D integrated amp that has preamp tubes (the Douk amp you reviewed). I suspect the tubes in that don't really do anything (but it sounds better than the decrepit receiver it replaced and has the perfect set of gazintas and gazoutas for my uses). The McIntosh is mainly for nostalgia (inherited from my father), but the lights sure are pretty.

The tube in that Douk is fully functional - it's the reason the sound quality is so rich and smooth. The class D power amp section just amplifies the signal out of the preamp stage, and it's very neutral. I keep mine set up and listen through it very often, because it's so convenient to use and sounds great. I only power up the PL system when I want to sit for an hour + and listen to music seriously. Otherwise, I either use a simple SMSL DAC into a pair of JBL 305 monitors or the Douk into a pair of Edifiers.

As I recall, you have an MX110 Mac tuner/preamp, which is still one of the best sounding preamps they ever made. I bought one new in the fall of '69 and used it until I added a Crown open reel deck and a Sony pro cassette recorder, set up a home studio, and outgrew the I & O capability. The MX110 is also a wonderful old school tuner, but with HD radio it's a relic. I'm amazed at how much better HD FM sounds than traditional FM, but I only use it in the car and don't have or need an active FM tuner in our home audio systems.

[John A.]

The tube in that Douk is fully functional - it's the reason the sound quality is so rich and smooth. The class D power amp section just amplifies the signal out of the preamp stage, and it's very neutral. I keep mine set up and listen through it very often, because it's so convenient to use and sounds great. I only power up the PL system when I want to sit for an hour + and listen to music seriously. Otherwise, I either use a simple SMSL DAC into a pair of JBL 305 monitors or the Douk into a pair of Edifiers.

As I recall, you have an MX110 Mac tuner/preamp, which is still one of the best sounding preamps they ever made. I bought one new in the fall of '69 and used it until I added a Crown open reel deck and a Sony pro cassette recorder, set up a home studio, and outgrew the I & O capability. The MX110 is also a wonderful old school tuner, but with HD radio it's a relic. I'm amazed at how much better HD FM sounds than traditional FM, but I only use it in the car and don't have or need an active FM tuner in our home audio systems.

I had assumed the power supply didn't deliver enough juice to do much with the tubes, but I'll take your word for it. And yup, MX110. I'm not really using the tuner, but I have my turntable and CD player going through it, and for sure records sound really good. I just have one real listening set-up (apartment life ...), and the Douk is the hub for that. I thought I might want more power, but honestly I don't think I need it, and for my needs it's the perfect I/O box (and it's nice that it doesn't take up any space).

[nevershouldhavesoldit]

I had assumed the power supply didn't have deliver enough juice to do much with the tubes, but I'll take your word for it. And yup, MX110. I'm not really using the tuner, but I have my turntable and CD player going through it, and for sure records sound really good. I just have one real listening set-up (apartment life ...), and the Douk is the hub for that. I thought I might want more power, but honestly I don't think I need it, and for my needs it's the perfect I/O box (and it's nice that it doesn't take up any space).

Even the little class D modules really pump out the power. The ST-01 really does push 50 W RMS per channel into 8 Ohm speakers and 100 WPC into 4 Ohms.

[Alter]

I'm familiar with most amps in the list, basically haven't gigged or played old Gibson amps, Mambo, Evans, and have only played some of the Polytones mentioned.

I think older Fender amps have an edge, they do have the sound and feel exactly. Probably the same would be true for Gibsons. Newer amps sound good, but somehow different. So my choices would be the Vibrolux or Deluxe reverb. I prefer then to the Twin reverb nowadays because you can get a bit more gain variation out of them, whereas the Twin is always pristine clean.

If weight is an issue, Princeton reverb. If going solid state, probably Quilter, but as I mentioned I am unfamiliar with some. Wouldn't choose Polytone because of reliability issues. I would also put Henriksen in the pole list as a contender.

My actual solid state gigging amp is the older Zt lunchbox, because for me number one reason for going solid state is portability, and it's great at that, i carry it in a small backpack.

[Little Jay]

Old German amps from the 60ies are the bomb! I have an old Framus Strato 345 amp and a Dynacord DA-16V (housed in a modified old Lafayette cabinet with an old Fender labeled speaker) and they are very nice: lots of clean power in relatively light and small packages. And they sound great!! Round, warm, but somehow articulate, punchy and clear. I like them better than old Fenders (I played Silverface Princetons, Deluxe Reverbs and Twin Reverbs) allthough I am a big fan of those as well. And they don’t cost you an arm and a leg.

I have two Guyatone Twin Reverb Clones that have the exact same Fender AB763 circuit. Love them for bigger gigs with Hammond and louder drums. My Fender 5F1 Champ clone with a 10” Jensen P10R in a solid pine cab is the best small amp I own, the small cabinet gives it a very authentic ‘boxiness’ that I associate with the early recordings of René Thomas, Barney Kessel, early Burrell, Toots Thielemans (on guitar of course) and even Charlie Christian.

[ruger9]

EH-150/185 and/or GA-50 for me.

[StoneWaller]

The answer is yes, if you have the money. If you don't have the money the answer is 67-71 silverface with JBL's. What's going on I thought you didn't like JBL's?

Have to second that. Old man bought it new in 68. Only amp I've owned. It's got the tone. Someday I'll have the chops to go along with it

[Spook410]

Twin Reverb.. not that I would bother with one now.

[customxke]

Tube Standels with a 15” speaker are my go-to.

[vintagelove]

If someone else is moving it, a good Super Reverb is a holy grail amp. Otherwise, a polytone will do.

[rpjazzguitar]

In the NYC of my youth, the jazz guys had L5s, wanted D'Angelicos, and played the Ampeg Jet with JBL speakers.

The Ampegs were well-built, sounded great and, as I recall, a good deal less expensive than the Fender equivalents.

[Cavalier]

My Gemini 1 usually has a JBL E120 in it which can double the volume but also the weight, I'll get around to trying a neo someday. Ampegs are great amps.
For Fenders I prefer a linear Twin but I'm not after a retro sound, just versatile clean.
For Standel fans Bob Crooks wound up at Barcus Berry, those amps and preamps sound great and are very flexible.

[ThatRhythmMan]

In the NYC of my youth, the jazz guys had L5s, wanted D'Angelicos, and played the Ampeg Jet with JBL speakers.

The Ampegs were well-built, sounded great and, as I recall, a good deal less expensive than the Fender equivalents.

And those vintage Ampegs are still great and now cost a small fraction of a comparable vintage Fender.


Sent from my iPhone using Tapatalk

[John A.]

In the NYC of my youth, the jazz guys had L5s, wanted D'Angelicos, and played the Ampeg Jet with JBL speakers.

The Ampegs were well-built, sounded great and, as I recall, a good deal less expensive than the Fender equivalents.

There was also this group called the Manhattan Guitar Club (or something like that) that the studio guys joined. The club put Ampeg amps in the major studios (and maybe some venues?) that were fitted with a key switch (like a car ignition). Members got keys and could use the amps without having to schlep their own to studio dates. [I've only read about this; think it was gone by the early 70s.]

[rpjazzguitar]

There was also this group called the Manhattan Guitar Club (or something like that) that the studio guys joined. The club put Ampeg amps in the major studios (and maybe some venues?) that were fitted with a key switch (like a car ignition). Members got keys and could use the amps without having to schlep their own to studio dates. [I've only read about this; think it was gone by the early 70s.]

I read that too, but I don't recall which models they used. The main ones were the Jet, Reverberocket and Gemini series. Gigging players liked the Jet, presumably for the lesser weight. In the studio, of course, not an issue. There was one model, the Super Echo Twin iirc, which was two Reverberockets in one box.

An aside: I still have my 1964 Reverberocket which I bought new when I was 14. Perhaps surprisingly, it doesn't sound all that much different than the Little Jazz.

[Hammertone]

There was also this group called the Manhattan Guitar Club (or something like that) that the studio guys joined. The club put Ampeg amps in the major studios (and maybe some venues?) that were fitted with a key switch (like a car ignition). Members got keys and could use the amps without having to schlep their own to studio dates. [I've only read about this; think it was gone by the early 70s.]

One of my fellow Ampeg fans bought this trifle on ebay - one of the Manhattan Guitar Club guitar locks with key and documentation.

[Gitterbug]

If DV Marks (introduced from 2016 onwards I believe) qualify, why has Henriksen been excluded? I bought a Henriksen Convertible in 2007.