Los Angeles session ace and Supertramp lead guitarist Carl Verheyen has just released his first tablature book. At 285 pages, the book covers full transcriptions of 19 songs from his more than 40-year career, with charts for 27 more. Verheyen has been the lead guitarist in Supertramp for more than 30 years, and his solo music is characterized by intricate solos, often by way of a Strat through a Marshall.
Verheyen has released 13 CDs, two DVDs of live concerts, two instructional DVDs, three Truefire online guitar courses and two books: Studio City: Professional Session Recording for Guitarists, and Improvising Without Scales. He has also scored and played on dozens of commercials and movies, including the Disney film Ratatouille,
1935 Gibson L-5 Special / Super 400 prototype, with serial number 91700. Photos: William Ritter. Instrument courtesy of George Gruhn.
The archtop guitar is a uniquely American instrument which can be traced directly to the creative genius of one person – Orville Gibson.
In the mid 1890s, the man who later formed the company started building guitars and mandolins with carved tops and backs, and though his creations were quite different from a modern jazz guitar, there’s no question his instruments were the inspiration for the archtops that followed.
Upon first inspection, this 1935 Gibson appears to be an L-5 neck on a Super 400 body. Labeled an L-5 Special, it most likely is the earliest 18″-wide archtop f-hole model made by any builder. It is also very likely a prototype of the Super 400, as it precedes the introduction of that model by several months.
Though it appears to be the earliest f-hole guitar with this body size and shape, Gibson would have had forms for it dating back to oval-soundhole instruments built by Orville. Gibson’s first f-hole archtop guitar was the 16″ L-5, and one known example (made in 1923) was signed by Lloyd Loar, an acoustic engineer at Gibson (more Loar-signed models were made through December of ’24).
The L-5 remained the only archtop f-hole model in Gibson’s line until the introduction of the L-10 in 1929 (though it was not shown their catalog until ’31) and the L-12 in 1930, both with 16″ bodies.
Gibson did not produce any archtop f-hole guitars larger than 16″ until 1935 (same year as this prototype L-5 Special), when it introduced the 17″ “Advanced” L-5, L-7, L-10, and L-12 models, then followed with the introduction of the 18″ Super 400 (the original version used the body form designed by Orville with a 121/2″ upper bout, and, early in the history of the company, a few were made with 18″ lower bout and 243/4″ scale). In early 1937, the Super 400’s body was given an enlarged upper bout (135/8″) and the scale was lengthened to 251/2″. The Advanced models not only had a larger body, but fancier Art Deco ornamentation with flashy inlays and bold bindings. Prior to 1930, the L-5 had narrow script “The Gibson” and “flowerpot” peghead inlays with simple dot fingerboard inlays. By 1930, the L-5 had block inlays starting at the third fret, but overall the ornamentation of the 16″ guitars was understated compared to the Advanced model 17″ guitars of ’35 onward.
In 1931, Epiphone entered the market aggressively by introducing a full line of archtop f-hole acoustics, ranging from small-body student models on up to the 163/8″ Deluxe. Gibson was caught by surprise, but responded in ’32 with the competing L-50, L-75, and L-7 models; Epiphone made many of its earliest f-hole archtops with slightly wider bodies than their Gibson counterparts, and continued the trend even after Gibson introduced the Advanced models. In an effort to surpass Gibson’s 18″ Super 400, the Epiphone Emperor had an 181/2″ body when it was introduced in ’35, while the Epiphone Triumph, Broadway, and Deluxe were enlarged to 173/8″ to trump Gibson’s 17″ Advanced models. Not to be outdone, circa ’36, D’Angelico started producing the 18″ New Yorker and 17″ Excel models, followed shortly by Stromberg’s 19″ Master 400 and Master 300.
The L-5 Special featured here has a Super 400-style/18″ body, spruce top with f holes, figured maple back and sides with sunburst finish, multiple body bindings, maple L-5-style neck with walnut backstripe, ebony fingerboard with pearl block inlays, and pearl peghead inlays. Gibson records indicate it was shipped to Coy Davison on September 6, 1935. According to research by Joe Spann (Spann’s Guide to Gibson 1902-1941), Davison was employed at Gibson as a string tester from 1937 to ’39. According to his family, he played music professionally in the ’30s and onward, and presumably was a player of some merit.
At Gibson, this guitar was listed as “Spl L-5” both times it was returned for repair – in August of ’36 and again in December of ’42. Though it’s clear the guitar has been modified, Gibson records don’t provide much insight about the work that was completed. However, photos provided by the Davison family not only show the original appearance of this guitar, but help create a time line for the modification in the late ’30s and early ’40s. In the earliest photos (mid/late ’30s,) the guitar has a Super-400-style tailpiece (without the model name engraving) and pickguard, engraved/pen-back Grover tuners, a bell-shaped truss-rod cover, and sunburst top finish with bound f-holes. In later photos, it has an L-5-style pickguard, Grover Imperial tuners, and a natural-finish top with unbound f-holes (natural finish was not standard until ’38, though it was available as a custom option). With the exception of the truss cover, which had clearly been changed in the 1938 photo, all modifications appear to have taken place at the Gibson factory from 1940 to ’42.
Though this instrument has been modified significantly from its original specs, the changes were made at Gibson not long after the instrument was produced. Prototypes were viewed as experimental, and as a result were frequently modified in the course of testing. It’s interesting to see that remarkably detailed records have been preserved for this and numerous other Gibsons. Quite a few salesman samples – and a surprising number of instruments – were shipped and returned several times, some were even reconditioned prior to being re-sold. This instrument represents the final stage of a model’s evolution, and as such is an important piece of Gibson history.
Special thanks to Andre Duchossoir and Lynn Wheelwright.
This article originally appeared in VG January 2015 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
England’s Snapper Records recently released the ultimate retrospective of the Pretty Things, purveyors of “thrash R&B” (to quote lead singer Phil May) and psychedelia. Featured in July ’15’s “Check This Action,” it weighs six and a half pounds and includes remastered CDs of the band’s 11 studio albums and too many extras to list here.
But the band is an ongoing concern, and its new album (with eight strong group originals and well-chosen covers of the Byrds’ “Renaissance Fair” and “You Took Me By Surprise,” penned by the Seeds’ Sky Saxon) should satisfy diehard fans and garner some new ones.
It’s fairly well known that lead guitarist Dick Taylor was a member of an embryonic incarnation of the Rolling Stones before splitting to form the Pretty Things with May in ’63. Second guitarist Frank Holland was part of May’s solo outing before the pair reattached to the Pretties in ’88. “New” members Jack Greenwood (drums) and George Woosey (bass) came onboard in ’07 and ’08, respectively.
Producer Mark St. John writes that the band set up as they would for a live gig, using their ’60s Selmer tube amps, keeping the analog basic tracks and most original guitar solos and lead vocals.
The fact that May and Taylor are in their early 70s is completely irrelevant. This provides a great, albeit unattainable, lesson for any and all fledgling rockers.
This article originally appeared in VG‘s November ’15 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Guitarists John Primer and Billy Flynn, bassist Felton Lewis, and drummer Kenny “Beady Eyes” Smith are part of an aggregation that’s long worked for the preservation and perpetuation of Chicago blues. That core gives this tribute disc continuity, letting guests who actually worked with Muddy Waters – such as Johnny Winter, guitarist Bob Margolin, and harp legend James Cotton – fit in smoothly and giving newer players like Derek Trucks and Gary Clark, Jr. sure footing and room to shine.
Trucks’ slide and Matthew Skoller’s harp help nail the Muddy Waters vibe on “She Moves Me.” Skoller also helps a modernized “Mannish Boy” work despite sped-up tempo and electronic drums.
Steve Gibons’ sweet and lowdown fiddle elevates an already impressive traditional take on “Rosalie.” Like “Feel So Good,” with Cotton’s harp and Crews on bass, “Rosalie” features a stripped-down core of Primer, Flynn, and Smith.
“Rosalie” is one of the disc’s standouts and should inspire right thinking folks to not just further explore Muddy Waters’ music but that of the best of his many acolytes – especially, Primer, Flynn, and Skoller.
This article originally appeared in VG‘s November ’15 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
The term “holy grail” is overused these days, but stop the presses anyway – this is the holy grail of Yes concert records. Composed of live tapes from the fall of ’72 and lost for decades, Progeny offers seven complete Yes shows from the North American tour, all featuring the classic lineup of Jon Anderson, Steve Howe, Rick Wakeman, Chris Squire, and then-new drummer, Alan White.
What makes this collection such a big deal? For one thing, this is the original source material for Yessongs, the band’s hit triple-LP from 1973. In retrospect, that album was poorly mastered and heavily edited, while these recordings are presented in stunning high-resolution audio. It’s an audiophile’s dream come true, plus it arrives with wonderfully detailed liner notes.
Better yet, by presenting seven full shows, it’s almost like you’re on tour with the band, following them from city to city. Every gig has its merits, but the Canadian shows are standouts – in particular, the Halloween show in Toronto may be the greatest single live recording in Yes history.
The prog quintet roars through fresh material like “Close To The Edge,” “Siberian Khatru,” and “And You & I” with brash virtuosity and an uncanny melodic approach.
You can also witness the anomalies between dates: Anderson has the flu in Ottawa, while Wakeman’s synths, organ, and Mellotron crap out here and there, typical of the era. Conversely, for the first time, you’ll hear licks that were buried on the old records, plus onstage jams and improvisation ideas that were lost to history. There are revelations all over the place.
Guitar hero Howe – then just all of 25 years old – plays like a demon at each stop, shredding on his ’64 Gibson ES-175 before switching to his Fender steel (dig the heavy Echoplex!), or whipping out a classical for “Mood For A Day” and a Martin D-18 for “Clap.” No question, Howe raised the bar for ’70s rock guitarists and he proved it all over this leg of the tour.
Another cool tweak is that the producers re-amped Squire’s bass tracks and turned them into low-end Rickenbacker heaven – listen to his massive riffs on “Roundabout.” Rock bass was never the same again.
If you just want a taste of Progeny, you can buy a two-CD highlights set, but for the full effect, check out the full 14-CD box. It is indeed the holy grail of Yes live recordings and a huge treat for prog-rock fans.
This article originally appeared in VG‘s November ’15 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
If you ever forget how good the Rolling Stones really were back in their heyday, the new edition of Sticky Fingers with outtakes and live recordings and this live shot from the Marquee Club should set things right all over again. Simply put – and restating what’s become a mossy truth – rock and roll doesn’t get a whole lot better than this.
Upon initial release in March 1971, the album marked several firsts for the band. The Stones’ contract with music czar Allen Klein and Decca Records ended in ’70, freeing them to launch their own label and chart their own direction. It also marked the debut of the band’s lips-and-tongue logo, which is as recognized as that of Coca-Cola and many another. Best yet, it marked the first release of tracks the Stones cut at Alabama’s Muscle Shoals Sound Studio, plus Mick Taylor’s fully formed debut with the band.
These first Muscle Shoals tracks – including “Brown Sugar” and “Dead Flowers,” among others – were recorded during the band’s 1969 American tour, but had to wait in the can until the LP’s release more than a year later.
We’ve all probably worn out at least one copy of Sticky Fingers, but, listening to it anew provides a phenomenal reminder of the way rock was at the dawn of the bad old ’70s. And the live cuts on the second CD from the Roundhouse in ’71 add to this.
Taylor and Keef are simply awesome on guitar, tossing off licks culled from the blues and Chuck Berry with rough, ramshackle abandon, working together perhaps better than any other guitar combo in the Stones’ history. And Charlie Watts is his usual superlative self.
Even better is the Stones set from the Marquee. The playing is again stellar and the sound almost impossibly clear and powerful for a live recording.
This From the Vault collection includes a CD and DVD of the show, which includes several Fingers cuts, including “Bitch” and “I Got The Blues.” Best yet may be their version of “(I Can’t Get No) Satisfaction” – sans Keith’s earth-shaking lick but with full R&B treatment.
It’s tough to believe a rock-and-roll band could get much better than this. But, better was soon to come.
This article originally appeared in VG‘s November ’15 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Preamp tubes: four 7025 (12AX7 types) Preamp tubes: five 12AX7. Output tubes: two 6L6, two EL34. Rectifier: solid state Controls: Volume 1, Treble, Bass, Middle, Master 1, Lead Drive, Lead Master, five-band graphic EQ; Presence and Reverb on back panel. Speaker: EVM 12L Output: approximately 80 watts RMS SimulClass, switchable down to 15 watts Class A Photos: Matt Hertel. Amp courtesy of Todd Duane.
Early Mesa/Boogie Mark Series amps were something of a sensation, but even with the line now having stretched all the way to the massively featured Mark V, many fans of these powerful little beasts feel the evolution peaked at the end of the Mark II range, with the Mark IIC+.
Though at the time they were simply the next step along the line – a tweak to the Mark IIC, which was just a relatively minor twist away from the Mark IIB before it, and so forth – players soon noticed (often in hindsight) that these “+” amps sounded fantastic. Not only did they have a revised lead channel that issues delectably creamy, bright, high-gain lead tones, but their cleans were often hailed as sweet and superior, too. So revered is the Mark IIC+, in fact, that good ones often command up to twice or more the price of the Mark IIC and Mark III amps that immediately preceded and superseded them.
So, given that this wasn’t an entirely new amp by any means, what was the big deal about that Mark IIC+ circuit? Depending on how you look at it, the answer can be “a lot” or “just a little.” Technically speaking, the Mark IIC and IIC+ used a slight modification of the same circuit board found in the Mark IIB. Mesa Engineering never officially distinguished the “+” in the literature at the time, either; it was simply the latest iteration of the “C” line, which itself was the last of the Mark IIs. Externally, the Mark IIC+ is recognized by the “+” sign added by hand in black marker above the power-cord entry point on the back of the chassis, and by a slight change in the front control panel, which says “Pull Deep” above the Master 1 control, rather than “Gain Boost” (some amps originally built as IICs might have had the “+” added when returned to the factory later for upgrade, but should generally have “Pull Gain” above Master 1).
Much of what was different about the Mark IIC+, therefore, was begun with the Mark IIC, itself an upgrade that cured the Mark IIB’s noisy reverb circuit (on the amps that had reverb at all, of course) and “popping” lead/rhythm channel switching. What inspired the good folks at Mesa Engineering to tweak things a little further, though, and to add that hand-inked “+” to the chassis, seems to have been a staff member’s own quest for the ultimate shred tone.
(LEFT) The “+” in black marker indicates this is the hallowed Mark IIC+, while the initials “MB” beneath show that Mike Bendinelli performed final testing. (RIGHT) 1984 Mesa/Boogie Mark IIC+.
While the original Boogie is the brainchild of Randall C. Smith (who is still head honcho at Mesa to this day), staffers Doug West and Mike Bendinelli appear to have been the evil geniuses behind the “+” revisions. According to information compiled by Edward P. Morgan through direct chats with West and Bendinelli (much of which has been published in his informative entries on the Boogie Board forum, where he posts as “Boogiebabies”), the pair dug their hands into the Mark IIC lead circuit in late winter of 1983, while Smith was attending the Musicmesse trade show in Germany. Bendinelli, an engineer, pushed the gain further and further, also voicing it for West’s request to make it brighter, adding another gain stage to the already toothsome cascading-gain lead circuit for which Boogies have long been famous. Upon his return, Smith approved the revisions and the Mark IIC+ went into production in February of ’84. The run, however, was short, and the “+” went out of production surprisingly quickly, as the new Mark III – with added a crunch channel – was brought in circa March of ’85. Many Boogie players will tell you that certain iterations of the Mark III (again, there are several, designated by the color of marker stripe, or lack thereof, above the power cord entry point) achieve a lead tone that’s almost indistinguishable from that of the Mark IIC+. Aficionados of the latter, though, usually dispute this. Wherever your tonal preferences lie, the Mark III used a different and more affordably produced printed circuit board, as well as a less-formidable power transformer, so there were significant changes in production between Mark IIC+ and Mark III, however you slice it.
Like the Mark amps before and after them, Mark IIC+ Boogies were available with a range of options. To the base 60-watt head or combo you could add reverb, graphic EQ, 100-watt output stage with SimulClass (a simultaneous use of Class A and Class A/B tube pairings, or one or the other independently), an export power transformer, an upgraded Electro-Voice or Altec speaker, and an exotic hardwood cabinet with wicker grille. Our featured amp, owned by Todd Duane, is a rare example of a rare breed, with all the extras other than the export transformer (pointless in and of itself, unless you plan to tour outside North America). It’s a major looker, too, in outstandingly clean and original condition, with a luscious Bubinga cabinet. Of its tone and performance, Duane tells us this “is one amp that can really do all styles exceedingly well. I’ve used mine for country, worship, and Top 40 classic rock gigs. You can do it all; metal (Metallica ‘Master Of Puppets’), progressive rock (Dream Theater), whatever you want to dial in. The clean channel is a great warm-blackface-type clean, while the gain channel has an awesomely warm, squishy and chewy rhythm/lead tone.”
Further to Mark IIC+ lore, the marker scrawl below the power cord intake on the back of the chassis is most often “MB” for Mike Bendinelli, not because he designed the revisions (although he did), or even built all the amps (which he didn’t), but simply because he performed most of the final checks before each Boogie went out the door. Some amps might even display “RCS” for Randall Smith himself, who occasionally stepped in on final check duties. And while any “+” or scribbled initials in marker can obviously be forged by unscrupulous Mark II owners looking to add value to their non-“+” amps, there’s another well-publicized test to reveal the hallowed lead circuit, short of sending it to Mesa Engineering to open up and verify. This so-called “loop test” simply requires that you plug a guitar into the “Return” jack of the effects loop, switch the amp to Lead, play a sustained note, and change the Lead Drive and Volume 1 controls while the note decays. If these knob twiddlings can’t be heard in the sustained note – no change of volume or tone – the amp has the “+” lead circuit. Ka-ching!
This article originally appeared in VG September 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Eagle Rock Entertainment is set for a November 13 release of Slowhand At 70 – Live At The Royal Albert Hall on DVD/CD, Blu-ray/CD, and in a Deluxe Edition. This landmark release captures Clapton celebrating his 70th birthday at his favorite venue and includes tracks like “Cocaine,” “I Shot The Sheriff,” “Layla,” “Wonderful Tonight,” “Crossroads,” “Tears In Heaven,” “Hoochie Coochie Man,” and more! The DVD and Blu-ray formats include an extra live track, “Little Queen Of Spades.”
Budda’s Baby Budda Amp Head Price: $1,199.99 (retail) Info: www.budda.com
Budda Amplification staked its claim in 1995 with the Twinmaster boutique amplifier. Its hand-wired construction and user-friendly tones were hits in the guitar community and led to a broader line of amplifiers that catered to modern guitarists who craved old-school touch responsive. The Baby Budda is an 18-watt lunchbox-style head that pays homage to that first Budda, packing a wealth of tones in a convenient 17-pound package.
With controls for Bass, Treble, and Volume, as well as Normal and Hi Gain inputs, the Baby Budda features high-grade audio components and a hybrid layout with both point-to-point hand-wiring and a brass-eyelet board. The Class AB power section runs off of two EL84s and a single 5U4 rectifier, while the cascading preamp section utilizes two 12AX7s and a custom-wound transformer. Housed in a metal chassis with a carrying handle, the Baby Budda includes an effects loop and a 4-/8-ohm output switch for connecting loudspeaker enclosures. An onboard slave output offers full preamp and power amp characteristics. It’s connected in parallel to the speaker outputs and sends a padded, non-powered signal for direct output for live or studio uses.
With an array of Les Paul and boutique Strat-style guitars on hand, it was time to get down to business. Plugging into the Normal input, it became evident that the Baby Budda is for the guitarist who likes to crank an amp, walk away, and use the guitar’s volume to control their sonic universe. Starting with the Budda’s Volume knob at around 9 o’clock and slowly progressing clockwise, warm and earthy semi-clean tones gave way to cantankerous Bassman-like characteristics. Good guitar amplifiers love to be pushed, and the Baby Budda is no exception. To truly exploit its gifts, the overdrive pedals should be given some time off, the amp’s volume turned up, and the guitar’s volume used for color.
That said, the Baby Budda is a loud 18 watts that adores effects pedals. Whether placed in front of the amp or through the effects loop, seamless compatibility is easy with any variety of dirt- and time-based effects. The Baby Budda is not the best choice for immaculate funk lines or lush jazz chording, but it can be tamed to offer its own personality in those genres. Where it truly shines, though, is in dirty rock and testosterone-fueled blues.
At stage volume, the Baby Budda provides a gritty clean signal from the Normal channel – muscular, no-nonsense, single-note articulation, thickness, and full-bodied sustain. For its part, the Hi Gain channel provides a formidable organic old-school lead tone that is very spanky with single coils and generally much livelier than the Normal input, inviting a world of stinging, gainy Gary-Moore-style blues. But that’s the ceiling (high as it may be) – the risk is annoying volume in the pursuit of more saturation. Metal dudes should seek another amp or simply bust out their favorite distortion pedal. With the lead volume level set, it’s up to the player to dial in their EQ, tame the beast, and create subtleties using their guitar’s volume. The dirt and volume can be brought down to a whisper, the tones still vibrant, punchy, and never muddy.
Though rock cleanliness can be made cleaner with the guitar’s Volume knob, it’s a Jimmy Page kind of clean, not a true clean. Then again, pristine, bell-like tones are not what this amp is about. At low volumes, the Baby Budda has a cloudy, boxy quality (using a Budda 1×12 closed-back cab) and lacks rich top-end sparkle, though that’s mostly rectified via increased Volume and Treble on the guitar.
With the Baby Budda, you’ll need to be a volume twiddler, but with the creative use of this amp’s two inputs, as well as the guitar’s output, pickups, and Volume control, the Baby Budda can provide a wide range of gain and tonal options. And those tones are the big, organic variety, in a small package, to boot – all accompanied by a low learning curve.
This article originally appeared in VG February 2014 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
It’s refreshing to hear a young female playing fiddle and singing bluegrass and old-time music who is not yet another Alison Krauss wannabe. Not to take anything away from Krauss – her iconic position is well-deserved. But we already have one Alison Krauss; countless up-and-comers don’t seem to realize we don’t need another.
Thankfully, at 26, multi-instrumentalist Laura Orshaw is definitely her own woman, having recorded her first CD (one of two collections of instrumental duets with her father) 14 years ago. Growing up in northeastern Pennsylvania, she learned to play and sing from her grandmother, Betty Orshaw, a well-known regional musician. By 12, she was performing regularly with father Mark Orshaw’s group, the Lonesome Road Ramblers, covering material by bluegrass greats Bill Monroe, the Stanley Brothers, and Flatt and Scruggs. She studied traditional fiddle styles with Laurie Hart and the Horse Flies’ Judy Hyman and mainly taught herself bluegrass from records.
Now based in the Boston area, she leads Laura Orshaw and the New Velvet Band, which includes guitarist Tony Watt and Catherine Bowness on banjo – both also members of Tony Watt and Southeast Expressway. In this all-acoustic set, the three are joined by mandolinist Matt Witler and bassist Alex Muri, who was principal bassist in the Berklee Contemporary Symphony Orchestra.
asy to hear shades of Del McCoury, Ola Belle Reed, Larry Sparks, Rose Maddox, and Patty Loveless, although she wisely eschews mimicry.
Instrumentally, everyone shines – as on “Cotton Farmer,” where Watt’s booming six-string tosses flatpicked licks back and forth with Witler’s crystalline mando. Bowness’ dexterity on banjo and Orshaw’s mournful fiddle are highlighted on Blake’s “Uncle.”
Producer/engineer Michael Reese deserves high marks for achieving a pure, intimate group sound where no instrument’s or player’s personality is sacrificed, including his own guitar on two cuts. And bringing things full-circle, Laura’s dad provides vocal harmony on three numbers.
Done right, bluegrass can be one of the most vibrant, exciting musical genres – as Orshaw and her cohorts ably demonstrate.
This article originally appeared in VG‘s November ’15 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Los Angeles session ace and Supertramp lead guitarist Carl Verheyen has just released his first tablature book. At 285 pages, the book covers full transcriptions of 19 songs from his more than 40-year career, with charts for 27 more. Verheyen has been the lead guitarist in Supertramp for more than 30 years, and his solo music is characterized by intricate solos, often by way of a Strat through a Marshall.
Like the Mark amps before and after them, Mark IIC+ Boogies were available with a range of options. To the base 60-watt head or combo you could add reverb, graphic EQ, 100-watt output stage with SimulClass (a simultaneous use of Class A and Class A/B tube pairings, or one or the other independently), an export power transformer, an upgraded Electro-Voice or Altec speaker, and an exotic hardwood cabinet with wicker grille. Our featured amp, owned by Todd Duane, is a rare example of a rare breed, with all the extras other than the export transformer (pointless in and of itself, unless you plan to tour outside North America). It’s a major looker, too, in outstandingly clean and original condition, with a luscious Bubinga cabinet. Of its tone and performance, Duane tells us this “is one amp that can really do all styles exceedingly well. I’ve used mine for country, worship, and Top 40 classic rock gigs. You can do it all; metal (Metallica ‘Master Of Puppets’), progressive rock (Dream Theater), whatever you want to dial in. The clean channel is a great warm-blackface-type clean, while the gain channel has an awesomely warm, squishy and chewy rhythm/lead tone.”
