View allAll Photos Tagged handwired
Epiphone Les Paul LP100 and Vox AC15 Handwired Heritage.
I play my Vox amp a lot. Since I have a Fender Telecaster, I play this guitar very little and I am going to lend it to a nephew who is learning the guitar. He will look after it well, I am sure.
These close-up images showcase the intricate craftsmanship of a Carl Thompson Scroll Bass, a true icon in the world of boutique bass guitars. Built entirely by hand in Brooklyn, New York, Carl Thompson’s instruments are as much functional art as they are tonal powerhouses. His scroll basses—known for their distinctive violin-inspired upper horn—are exceedingly rare and highly sought after by collectors and serious players alike.
What sets this particular bass apart is its exquisite use of natural tonewoods, notably cocobolo, wenge, padauk, and possibly purpleheart, each selected for its tonal characteristics and visual contrast. The result is a layered, multi-laminate body that blends form and function with surgical precision. The carved horn and heel transitions show off seamless joinery and sculptural woodwork—there are no shortcuts here, only intention.
The pickups and control layout are minimal, allowing the organic tone of the woods to take center stage. Thompson’s basses are often customized per player, and every detail—down to the wooden pickup covers and knob choices—reflects an uncompromising aesthetic.
The scroll bass has become synonymous with players like Les Claypool of Primus, who famously uses Carl Thompson basses for their punch, clarity, and unique playability. This bass isn’t just an instrument—it’s a legacy, made by one man, in small numbers, with a cult following behind every build.
Seen here at Miki Gakki Bass Side in Osaka, this instrument stands out even in a sea of boutique beauties. For the discerning musician or collector, owning a Carl Thompson is not just a statement—it’s a lifelong relationship with a piece of musical architecture.
These close-up images showcase the intricate craftsmanship of a Carl Thompson Scroll Bass, a true icon in the world of boutique bass guitars. Built entirely by hand in Brooklyn, New York, Carl Thompson’s instruments are as much functional art as they are tonal powerhouses. His scroll basses—known for their distinctive violin-inspired upper horn—are exceedingly rare and highly sought after by collectors and serious players alike.
What sets this particular bass apart is its exquisite use of natural tonewoods, notably cocobolo, wenge, padauk, and possibly purpleheart, each selected for its tonal characteristics and visual contrast. The result is a layered, multi-laminate body that blends form and function with surgical precision. The carved horn and heel transitions show off seamless joinery and sculptural woodwork—there are no shortcuts here, only intention.
The pickups and control layout are minimal, allowing the organic tone of the woods to take center stage. Thompson’s basses are often customized per player, and every detail—down to the wooden pickup covers and knob choices—reflects an uncompromising aesthetic.
The scroll bass has become synonymous with players like Les Claypool of Primus, who famously uses Carl Thompson basses for their punch, clarity, and unique playability. This bass isn’t just an instrument—it’s a legacy, made by one man, in small numbers, with a cult following behind every build.
Seen here at Miki Gakki Bass Side in Osaka, this instrument stands out even in a sea of boutique beauties. For the discerning musician or collector, owning a Carl Thompson is not just a statement—it’s a lifelong relationship with a piece of musical architecture.
These close-up images showcase the intricate craftsmanship of a Carl Thompson Scroll Bass, a true icon in the world of boutique bass guitars. Built entirely by hand in Brooklyn, New York, Carl Thompson’s instruments are as much functional art as they are tonal powerhouses. His scroll basses—known for their distinctive violin-inspired upper horn—are exceedingly rare and highly sought after by collectors and serious players alike.
What sets this particular bass apart is its exquisite use of natural tonewoods, notably cocobolo, wenge, padauk, and possibly purpleheart, each selected for its tonal characteristics and visual contrast. The result is a layered, multi-laminate body that blends form and function with surgical precision. The carved horn and heel transitions show off seamless joinery and sculptural woodwork—there are no shortcuts here, only intention.
The pickups and control layout are minimal, allowing the organic tone of the woods to take center stage. Thompson’s basses are often customized per player, and every detail—down to the wooden pickup covers and knob choices—reflects an uncompromising aesthetic.
The scroll bass has become synonymous with players like Les Claypool of Primus, who famously uses Carl Thompson basses for their punch, clarity, and unique playability. This bass isn’t just an instrument—it’s a legacy, made by one man, in small numbers, with a cult following behind every build.
Seen here at Miki Gakki Bass Side in Osaka, this instrument stands out even in a sea of boutique beauties. For the discerning musician or collector, owning a Carl Thompson is not just a statement—it’s a lifelong relationship with a piece of musical architecture.
Zenith's first transistor radio, fall of 1955. This is the Royal 500. It has a handwired, metal chassis as opposed to a printed circuit board. The transistors were plugged into sockets (a throwback to tube technology) The Royal 500 series was in production for ten years and went through several electronic and cosmetic changes.
As mentioned above, this was the first, followed by the 500AB, 500B, 500D, 500E, 500H, 500L and 500N.
This radio and the 500B utilized a seven transistor circuit. The 500D was redesigned and Zenith added an 8th transistor.
The hand wired 500's were available in black or maroon. The earliest maroon cabinets were translucent. These hare hard to find as fewer were made. (approx 13,000 units)
When Zenith released the 500B black and maroon were still common colors but white, tan and pink were added. Tan and pink were added much later in the production and are uncommon today.
When the 8 transistor 500D variant was released tan and pink were no longer color options.
Below is a 500B. Note the thicker volume and tuning knobs (a clear plastic "collar" was also added underneath the tuning knob to protect the numbers)
These remind me of an Ice Coffee or a café latte…
These earrings consist of natural brass bead caps with a beautiful leaf a-like pattern, which are adorned with simple white Czech glass bell flowers (from the 1950's). Each flower is strung along with Czech glass opaque light beige melon rounds, which have been hand wired and finished with simple brass ear wires.
These earrings are made to perceive the look of old vintage earrings - therefore they will only look better as they age! :)
All metal is top quality Vintaj brass findings, which are nickel free and therefore are natural brass. All the good stuff for your ears! ;)
Approximately 4.1 cm in length, including hook. (Approx 1.6 inches.)
Free with purchase! - All jewelry comes packaged in beautiful floral tissue paper and white organza bags.
Here's my handwired AB763 Deluxe Reverb amp clone. It started life as a Fender Deluxe Reverb Reissue, and I converted it to turret board construction using a Hoffman Amplifiers kit. It sounds great!!
A Fairy's Promise.
This pretty OOAK altered art vintage style charm bracelet has been designed and handcrafted by myself in delicate shades of baby pink, magenta, ivory and silver with 3 large art nouveau style silver tone fairy charms. All the beads and charms have been idividually handwired onto a 8" silver plated curb chain with a hear shaped toggle clasp.
This bracelet is currently for sale on ebay.
My ebay ID is sweetpeaartist-2008
This bracelet has now been sold but I do make comissioned pieces.
Rogers radio had a long, illustrious history in Canada. The company was founded by Ted Rogers Sr. in the 1920's. Unfortunately Ted Rogers died very young (in his late 30's) and the company was eventually sold to Philips in 1945. (I could write many pages on the history and significance of Ted Rogers and Rogers/Majestic but I will resist)
This is an example of a Philips-made radio and dates from the mid or late 50's. As a matter of fact Philips produced this radio under their own brand name and marketed it as the "Twin Tone"
I have also seen this radios under the Rogers Majestic branding with the name Duo Sonic,
Eventually I will take a photo of the chassis. Elsewhere on this photostream I have shown examples of transistor radios with handwired/metal chassis BUT this is a tube radio with a printed circuit board chassis.....yes, tubes plugged into sockets on a printed circuit board. During the mid to late 50's there were many "transitional" radios with mixed technologies.
Our Fender Twin (1965 RI bought in 2000) was rewired point-to-point by George Alessandro. New Sovtek power tubes, new Alessandro (USA Eminence) speakers. Both channels get reverb & tremolo. Left channel voiced darker like a bassman.
One of the first transistor radios manufactured in Italy. Beautiful blue plastic cabinet with metalic carrying handle, which folds down to fit on top of the cabinet, dial scale and knob painted on the reverse side and ON/OFF switch placed on top with a tab to activate. It requires six penligth batteries, but also can be powered with an adapter to the AC line, Model A-725, or in the car with the Model S-725 adapter.
Perhaps for being one of the first, the chassis has six RCA plug in germanium transistors ( 2N412, (2) 2N410 and (3) 2N408 ), instead of classics european transistors. Also, the chassis is composed of two modules: one circuit board for Converter, F.I. and detector; and a metal handwired board for audio frecuencies (Pre and Power Amplification).
This is the second RCA portable transistor radio. It has leather case with polished aluminum front, the stitching are deteriorated which is somewhat common in this type of cabinet.
The handwired metal chassis has seven socketed transistors that required an RCA battery pack, type VS301, which is a 9V unit with a 3V tap.
This is a fine example of Zenith's second solid state radio featuring an elegant black/ebony cabinet. This model also came in two tone ivory/blue. (see photo posted below)
The Royal 800, like the first Royal 500, has a handwired, metal chassis. When first retailed (late in 1955) these radios were very expensive ($89.99) and did not sell in great numbers. It was soon discontinued and Zenith redesigned their solid state portables to be a bit smaller and clad in leather (starting with the Royal 750).
The 800 is very difficult to find today.
The handle is spring loaded and can be recessed into the cabinet.
Below is a photo of the two tone Royal 800
A Sound Card Interface
for FM Transceivers
Howard “Skip” Teller, KH6TYW hile looking for a way to enable
more people to use the Narrow Band
Emergency Messaging System (see
www.w1hkj.com/NBEMS/) on 2 meters, it
became clear that the lack of VOX in most
FM-only transceivers was a serious stumbling
block. That’s because NBEMS relies
on sound-card-based software. In addition to
creating the audio signal for transmission, the
software must also have access to a hardware
interface that would allow it to switch the FM
transceiver into transmit and back to receive.
You could use a commercial or home brew
sound card interface for this application, but
many of these interface devices require
computer serial (COM) ports to function. If
your computer lacks a COM port (most new
laptops don’t have them), you’d have to use a
USB port, which, in turn, requires a USB-to-
Serial converter to create a virtual serial port
for the digital software to use.
I decided to try an easier, more elegant
approach, one that would work not only
with NBEMS software, but also with other
sound-card modes such as DominoEX with
the free Fldigi software (www.w1hkj.com/
Fldigi.html). DominoEX in particular has
demonstrated intriguing performance when
used on VHF FM, rivaling even “weak signal”
SSB in some instances (see the sidebar
“Try “Weak Signal” Digital FM”). Of course,
you could also use this interface for soundcard
packet radio with AGW Packet Engine
(www.sv2agw.com/ham/agwpe.htm) software.
No COM or USB ports required!
Let the Audio do the Work
Most digital modes work by modulating
the transceiver with an audio tone, and that
tone can also be used to switch the transceiver
in and out of transmit automatically
by using a voice-operated switch (VOX)
circuit.
First the audio tone must be amplified
to get enough signal to detect and switch
a transistor for the transmit/receive line. In
order to amplify the tone, there needs to
be some convenient source of dc voltage
to power the amplifier. A review of the
schematic diagrams for modern transceivers
revealed that most have a voltage on the
push-to-talk (PTT) line that can power the
switching transistor. For those transceivers
that have a DTMF tone generator built into
the microphone, there is also 8 Vdc available
at the microphone jack, and this voltage can
be used to power the necessary amplifier as
shown in Figure 1.
2 June 2009
Try “Weak Signal” Digital FM
Here’s an application for your newly built interface that you and your friends
can try right away. All you need are ordinary 2-meter FM voice transceivers.
Tell everyone to go to www.w1hkj.com/Fldigi.html and download and
install Fldigi. This free multimode software package is available for both
Windows, MacOs and Linux operating systems. Once everyone has their
software running successfully, set up some times to meet on the air. One
suggested frequency is 145.00 MHz, simplex. (When selecting a frequency,
always follow the band plans that are in effect in your area and listen carefully
before transmitting.)
When you’re ready, fire up Fldigi, choose either the DominoEX8 or
DominoEX4 modes and start enjoying keyboard-to-keyboard text conversations.
What you’re likely to discover is that you can span a remarkable range
with this setup, much farther than FM voice alone.
If you really want to push the envelope, use 50 W FM transceivers (or add
“brick” amplifiers to the radios you are using now) and horizontally polarized
Yagi antennas (short 3 or 4 element Yagis will do). Depending on the terrain in
your area, you may find that you can have DominoEX chats over astonishing
distances! — Skip Teller, KH6TY
Figure 3 — A version of the VOX interface using the circuit board provided by
the author.
The transmit audio from the sound card
SPEAKER or LINE OUT jack is fed into a
600:600 Ω isolation transformer to eliminate
the possibility of hum or ground loops
between the computer and transceiver. The
isolated audio signal is passed through C1
and attenuated to microphone levels by R1
before reaching the transceiver microphone
input. A portion of the signal is also coupled
via C2 and R2 to the base of Q1, where it
is amplified to a level of several volts. This
ac voltage is peak detected by D1 and D2,
which form a voltage doubler, generating
enough voltage across C4 to cause the
base of Q2 to go high and switch the PTT
line to ground, thereby switching the transceiver
into transmit mode. When the tone is
stopped by the software, Q2 is turned off and
the transceiver returns to receive state.
Construction
There are only a few parts to the interface,
so one method is to use “ugly bug” construction
and handwire the circuit on a piece of
copper-clad circuit board material. A small
RadioShack project enclosure was used to
hold the interface circuit board, mount the
stereo audio input jack so it is insulated from
the circuit board, and protect the interface
circuitry (see Figure 2).
If you’d prefer a cleaner approach, a
fiberglass circuit board with plated-through
holes, parts legend and solder mask is
available (Figure 3). Send $5 with a selfaddressed,
stamped envelope to: KH6TY,
335 Plantation View Ln, Mount Pleasant,
SC 29464.
The interface terminates in a 4-wire
cable and a microphone connector to match
whatever transceiver is going to be used.
For transceivers using the plastic RJ-45 or
RJ-12 microphone jacks, existing CAT-5 or
telephone jumper cables can be cut in half,
eliminating the need to purchase a crimping
tool.
Installation
Installing the VOX interface couldn’t
be easier. A standard stereo audio patch
cable is connected between the sound card
SPEAKER or LINE OUT jack and the stereo
jack on the interface, and the interface
microphone connector is plugged into the
transceiver microphone jack. For receive
audio, a separate cable must be connected
between the sound card MICROPHONE or
LINE IN jack and the transceiver earphone/
external speaker jack.
Using the Windows Volume Control
panel, the WAVE and VOLUME CONTROL
sliders are adjusted while running the software
in the transmit or calibrate mode until
the transceiver goes into transmit, and then
raised a little higher. This should provide the
right level of audio for the transceiver. If the
level is too low, R1 can be reduced in value
to increase the audio drive to the transceiver.
Although I designed this circuit for digital
operating with FM transceivers on the
VHF and UHF bands, nothing would stop
you from putting this interface to work for
HF digital as well. All you need to do is supply
5 to 14 V dc for the amplifier stage.
Howard (“Skip”) Teller, KH6TY, is an ARRL
member and was first licensed in 1954. He
received his commercial First Class
Radiotelephone license in 1959 and worked his
way through college as chief engineer of several
radio stations. He holds a BS degree in electrical
engineering from the University of South
Carolina and is retired from running a factory in
Taiwan, where he manufactured the weather
alert radio that he originated in 1974 and is still
sold by RadioShack and many other companies.
Skip enjoys developing digital software, such as
DigiPan and NBEMS, designing 2 meter transceivers
and antennas. He is currently studying
the potential of working 2 meter DX on FM using
digital modes. You can contact Skip at 335
Plantation View Ln, Mt Pleasant, SC 29464;
KH6TY@comcast.net.
Here's my handwired AB763 Deluxe Reverb amp clone. It started life as a Fender Deluxe Reverb Reissue, and I converted it to turret board construction using a Hoffman Amplifiers kit. It sounds great!!
Jade Necklace. Natural Carved Jadeite Necklace Accented with Natural Rock Crystal Quartz. Handwired on Goldfill Chain and Wire, Accented with Vermeil Spacers. Handcrafted Jewelry Design by Naomi King. San Francisco Jewelry Designer.
Fashion Jewelry ~ Custom Orders by Request
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The glass lampwork beads were handmade by Sorta Flowering Designs. Wonderful,vibrant colors just make you want to go out and have FUN.
Accented with Swarovski Crystals and Sterling Silver spacers. All have been handwire wrapped using 24 guage Sterling Silver wire. Shown on Sterling Silver leverbacks, but I can switch them to SS hooks if you prefer...let me know.
Ear rings hang aprox. 1 1/2" from the bottom of the leverback with an overall length of aprox. 2".
Zenith's 2nd transistor radio.
The Royal 800, like the first Royal 500, had a handwired, metal chassis. When first retailed these radios were very expensive ($89.99) and did not sell in great numbers. It was discontinued and Zenith redesigned their portables to be a bit smaller and clad in leather (starting with the Royal 750).
The 800 is very difficult to find today.
The handle is spring loaded and can be recessed into the cabinet.
It came in black or this two tone combination. I believe this radio has discolored a bit. It should be ivory and light blue. Still looks good though.
The black variant is pictured below
The Emerson 868 is a large portable radio which dates back to 1957.
It utilizes a four transistor circuit (socketed into the metal, handwired chassis)
Transistor compliment is 2N486 - 2N484 - 2N362 - 2N631
Inside, most of the cabinet is empty space. The metal chassis occupies the upper half while the 4 inch speaker and larger style 9 volt battery use up very little of the bottom half.
I wonder if this cabinet was used for Emerson's tube portables prior to the conversion to transistors?
The large “Miracle Wand” handle is actually the antenna and pivots
to enable optimum reception.
Unfortunately much of the lettering has rubbed off over the years.
Emerson released a much nicer and more refined version of this radio (model 847) which I believe occurred in 1957.
The 847 utilized 6 transistors.
Briolette Jewelry ~ Mozambique Garnet Briolette Necklace on Solid 14K Gold. Accented with petite round Garnets and micro-faceted Black Onyx. Fleur de Lis 14K Gold Charm with Scroll center accent. Handwired original "One of a Kind". Briolette Jewelry. Fashion Jewelry ~ Custom Orders by Request
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Fashion Jewelry Blog ~ www.starlitejewelry.wordpress.com/
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Here's the metal, handwired chassis of the Crown TR-830. The American made RCA transistors are socketed into the chassis.
This is a great example of the transition between tube and solid state technology. The easier and cheaper to produce printed circuit board would soon become the standard.
Mozambique Garnet Briolette Necklace on Solid 14K Gold. Accented with petite round Garnets and micro-faceted Black Onyx. Handwired original "One of a Kind" Fashion Jewelry
Custom Orders by Request
Etsy: www.etsy.com/shop/starlitedesigns
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Fashion Jewelry Blog ~ www.starlitejewelry.wordpress.com/
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For these receivers the manufacturer used the same cabinet and chassis design as the Olympic 447. In this photo I show two versions with six (blue/ivory) and eight (gray/ivory) transistors respectively. The metal chassis are handwired and requires four "D" batteries.
Zenith's first transistor radio - the Royal 500 was released in the fall of 1955. (It has a handwired, metal chassis)
This is the second in the series, the Royal 500B. The Royal 500 line was produced for ten years and went through several electronic and cosmetic changes through seven versions: the 500, 500B, 500D, 500E, 500H, 500L and 500N.
The 500B above (circa 1957) was the first to utilize a printed circuit board and vernier tuning.
During the production run of this radio (approx 200,000 units) the cabinet colors were black, maroon, ivory, tan and pink. Tan and pink were introduced late in production and are quite hard to find today.
(pic of pink one below)
Emerson 838 tube & transistor radio circa mid 1955.......
Before Hybrid cars there were Hybrid radios. In the mid 50's transistors were slowly making their way into the electronics industry, threatening the dominance of tube technology. Regency and Raytheon had already released their all transistor sets, Zenith Philco, G.E. and other American electronics giants were hard at work putting the finishing touches on theirs.
Emerson got on the solid state band wagon, well sort of, with this half and half radio.
The subminature tube compliment consisted of a 1V6, 1AH4, and 1AJ5. On the output stage were two RCA made transistors. Still, Emerson thought it would be impressive to market this 838 as a TRANSISTOR POCKET RADIO. Look closely below the Emerson name on the front of the cabinet. Deception and half-truths in product marketing?! Never!
This coat pocket portable sports a front facade that is entirely reverse painted, nice! The rest of the cabinet is a cherry red plastic.
The transistors are socketed and the chassis is handwired.
The box that housed this radio on store shelves claimed that it was "the world's first pocket radio". Questionable....I believe that honor could be awarded to the Belmont Boulevard, a subminature tube radio that was released in 1946.
Two years earlier in 1953 Emerson released the all tube model 747 using the same basic cabinet (6-3/8" wide, 3-3/4" tall, and 1-1/2" deep).
The last member of this family of Emerson radios was the 856. It utilized three subminiature tubes and two transistors as well. On the front of its cabinet was POCKET RADIO rather than TRANSISTOR POCKET RADIO. Perhaps Emerson was caught red handed trying to call a radio with three tubes a transistor radio and changed to the more "honest" pocket radio classification.
There are more entries for this historic radio - keep looking..........
Similar to Raytheon T-100 and T-150, some of the earliest transistor radios. Four RCA transistor handwired chassis: 2N109, 2N139, 2N140, ?; plus one germanium Raytheon diode (1N295). I could not guess the number of the output transistor that is covered with a heat sink. This set still work very well on original electronic components.
My wife and I have been learning some surf tunes... I'll make any excuse to set up gear in the living room.
Here is the handwired, metal chassis for the Fleetwood 8 transistor radio - in the tradition of tube radio manufacturing including using sockets for the transistors rather than soldering them to the chassis/circuit.
This is a wonderful example of a "transitional" radio utilizing many tried and true techniques of tube radio construction combined with solid state.
Judging from the Raytheon CK-879 and Hitachi cylindrical transistors I would estimate this radio to date from 1958.
The radio is powered by 6 "C" cell batteries which fit into the protective blue plastic compartment top right.....no corrosion on this one..
I am very impressed with the performance of this set. It picked up stations strongly all along the AM dial, from top to bottom. The tone is very good as well thanks to the oval 4 x 6 speaker.
Big and simple plastic cabinet in two-tone with carry handle and front face a little yellowed by course of time/ultraviolet rays.
Handwired metal chassis whith sixs silicon transistors and two germanium transistors in output AF. It requires four "D" batteries and still works very well on original electronic components.
Even at the seventies, some manufacturers in México continued to use the metal chassis wiring by hand instead of the printed circuit, I think because it was cheaper in materials and labor.
Loose wiring plagued the applied robotics team that included Heather Rysenga, hand pictured above. Date: June 11, 2013 (photo: Theresa Hogue)
Zenith's first transistor radio, fall of 1955. This is the Royal 500. It has a handwired, metal chassis as opposed to a printed circuit board. The Royal 500 series was in production for ten years and went through several electronic and cosmetic changes.
As mentioned above, this was the first, followed by the 500B, 500D, 500E, 500H, 500L and 500N.
This and the 500B utilized a 7 transistor circuit. The Royal 500D and further versions were 8 transistor circuits.
This Fleetwood 8 transistor radio was made in Canada. It's about 6 inches tall and 10 inches across. It borders between being a table top and a portable. It was certainly designed to be both but the lack of an AC power cord and the addition of the handle (missing on this example) allowed it to be used "on the go".
The back of the cabinet appears to be caramel or "burnt" orange but it was originally closer to coral or pink. Looking at the inside and bottom reveal the proper color. Years of UV exposure has given it this patina.
Although not considered valuable or rare on the collector's market this radio is a nice example of a "transitional" piece of technology. As you will see in the next photo the chassis is made from metal (not a printed circuit board) and is handwired. It was manufactured in the tradition of the tube radios that preceded it.
It may not look like it but this is a "serious" radio. One of the most sensitive AM receivers in my collection - believe it or not.
No model number that I can see. Stamped on the inside label is the number 999 but I think that's the serial number. Found in the U.S.A. under the Truetone and Olympic (model # 808) brand names.
Peridot Briolette Necklace handcrafted on Solid Sterling Silver 925. Accented with micro-faceted White Topaz and Peridot. Handmade Jewelry Design by Naomi King. San Francisco Jewelry Designer. Fashion Jewelry ~ Custom Orders by Request
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Most commonly found in the U.S.A. under the "Roland" name ( Roland Radio Corporation, Mt. Vernon, N.Y.) Also found under the Firestone brand name.
I'm not sure if this was made by them for Electrohome of Canada or if Electrohome licensed the design and manufactured here in Canada.
Either way this radio is a solid example of early transistor radio technology. The electronics are handwired on a metal chassis and the transistors are plugged into sockets.
I just picked this set up and haven't had time to see if it works yet. I'm curious to hear the tone of the "twin speakers".......yes, there are two speakers in this coat pocket radio.
The front of this hefty coatpocket radio is entirely reverse painted.
Circa 1959.
This was Emerson's 1st plastic cased, all transistor radio. Their VERY FIRST was the leather-clad 842 portable set. Emerson also produced a "hybrid" radio using both subminiature tubes and transistors.
It's chassis is metal (not printed circuit board), has 6 socketed transistors made by Texas Instruments and the circuitry is handwired. It uses and old-style 9 volt battery which is about the size of a D cell.
The 849 retailed for $58 and was available in red, green, grey, gold and the very rare lavender.
There was a variant of this radio found as a model 859. It had an additional earphone jack added on the back.
Circa 1955-56
This thing still plays loud and clear.
Here's my handwired AB763 Deluxe Reverb amp clone. It started life as a Fender Deluxe Reverb Reissue, and I converted it to turret board construction using a Hoffman Amplifiers kit. It sounds great!!
Very simple cabinet covered with leather which to lift the back cover has some snaps at the bottom of the cabinet. As the back cover can not be removed, only gets up, it's a little awkward to service even to change the batteries besides that causes an effort to fold resulting in damage through use.
Handwired metal chassis whith six transistors: (3) AF 117 and (3) OC 74. It requires four "D" batteries and still works very well on original electronic components.
Made by SNT (Societá Negro e Torreta) Milan. Very thick plastic cabinet, carry handle and very nice dial with two scales: Khz and meters. Handwired metal chassis whit seven SGS transistors: 2G140, (2) 2G138, (2) 2G108, (2) 2G270. Someone in the past changed the battery box to adapt four most common size "C" batteries in México. The green one has a vinyl leatherette cover with strap. Aesthetically similar to early valve model 41.
Peek into the world of high style with our new Crystal Crowns Woven Bracelet featuring Ivory Swarovski Pearls and Golden Shadow Swarovski Crystal. The bracelet is further detailed with champagne glass seed beads and a gold plated magnetic clasp
Made by SNT (Societá Negro e Torreta) Milan. Very thick plastic cabinet, carry handle and very nice dial with two scales: Khz and meters. Handwired metal chassis whit seven SGS transistors: 2G140, (2) 2G138, (2) 2G108, (2) 2G270. Someone in the past changed the battery box to adapt four most common size "C" batteries in México. The green one has a vinyl leatherette cover with strap. Aesthetically similar to early valve model 41.
Bad shot ... great guitars !! Unfortunately I lost the original of this photo, so I have to use one reduced version that I found on my email. Also, this pic was taken with an old camera.
Well, in this photo you can see a Gretsch Country Club, Gibson Jimmy Page Custom Shop, Gibson Les Paul Standard 1959 Reissue (Custom Shop), Gibson Les Paul Special 1960 Double Cut (Custom Shop), Fender Rory Gallagher (Custom Shop - Tribute Edition), Gibson EDS-1275 Double Neck (Custom Shop Edition), Gibson Les Paul Standard 1957 Reissue - a.k.a. R7 GoldTop (Custom Shop), and finally a Gretsch White Falcon I. The amps are: Marshall 1959 Handwired, Marshall Super 100 JH (Jimi Hendrix Limited Edition), Marshall JTM 45 / 100 - 1965 Reissue (Limited Edition) and a Fender Tweed Twin 57 (Custom Shop).