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A 6CG7 tube serves as reverb driver, while the second half of that third 12DW7 drives a 12AU7 phase inverter into the big 7027A output tubes.
It’s all laced together across several printed circuit boards, but rugged printed circuit boards with broad tracks and sturdy mountings.
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The weight, the volume, the odd tubes, and the lack of much of a backstory in the vintage-tone-cred department – its estimable Stones associations aside – all cooperate to keep prices way down.
Out the door, this combo weighed in at 88 pounds, a fact celebrated in the 1972 Ampeg advertising headline that ran “88 Pounds of Undying Devotion.” For owner Craig Randolph (who runs a backline-rental company in Glendale, California), however, “Weight is not an issue when you hear the tone this thing spits out.
The circuit and the tubes used in it evolved slightly through the ’70s, but this 1972 example follows the classic topology.
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As a result, this VT-22 is unlike anything before it; it doesn’t come close to copying any of the popular Marshall, Fender, or Vox amps of the era, and instead does its own thing entirely.
This individuality is seen in a plethora of oddball tubes employed in the circuit, and some extremely versatile frequency-shaping capabilities in its tone stack and unique sensitivity and voicing switches.
This example sports a pair of Celestion Classic Lead 80s – a good choice both sonically and in terms of power handling.
The Altec 417Bs would have been great-sounding speakers, and at 75 watts each, capable of withstanding the VT-22’s bluster for quite some time, but there are plenty of excellent high-powered replacement speakers available today that can eek out a little more sonic righteousness from this amp, when compared to either of its other two original-equipment drivers.