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VI mono power amplifier of 1976, which produced 120 watts (continuous). In later years, the company began to produce a line of solid-state audio components, commencing in 1966 with the introduction of the Stereo 120 power amplifier (60 wpc). Because of early problems involving circuit, power supply, and transistor failures, the ST 120 was not ...
The Jazz Chorus is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King, Andy Summers (), Chuck Hammer (), Larry Coryell, Robert Smith (of The Cure, although he used the rarer 160 Watt JC-160 with 4 x 10" speakers), Billy Duffy (The Cult, Theatre of Hate), Roger Hodgson of Supertramp, Joe Strummer, John Sebastian of The Lovin ...
Throughout the original Sunn Amplifier line they employed Dynaco designed and built transformers (up to the 120 watt MK VI transformer set) and Hafler based power amp designs until Sunn stopped producing the original line of tube amplifiers in favor of the solid-state Concert and Coliseum models. Later Sunn produced the electronically unrelated ...
For most audio applications more power is needed at low frequencies. This requires a high-power amplifier for low frequencies (e.g., 200 watts for 20–200 Hz band), lower power amplifier for the midrange (e.g., 50 watts for 200 to 1000 Hz), and even less the high end (e.g. 5 watts for 1000–20000 Hz).
The VT series was also popular in the late 1970s to early 1980s. Gary Rossington from Lynyrd Skynyrd played the Mace-VT. There was the Deuce-VT, the Mace's little brother, and a Classic VT. The Mace and Deuce were the same amp but the Mace had six 6l6gc output tubes and the other only 4. Hence the Mace was 160 watts and the Deuce 120 watts
Teisco also made solid-state (transistor-based) models, some designed no less radically than their guitars of the time. The Sound Port 60 (60 watts/RMS) and Sound Port 120 (120 watts/RMS) amplifiers from the late 1960s were copies of Fender's silverfaced Vibro Champ and Twin Reverb.
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