Gibson EH-185 Tube Amplifier (1940)
LOADING IMAGES
Gibson EH-185 Model Tube Amplifier (1940), made in Kalamazoo, Michigan, serial # 14585, tweed fabric covering finish.
This is a truly beautifully preserved example of the highly coveted EH-185, Gibson's top-of-the line amp during what one might consider the earliest era of instrument amplification. It was originally paired with the EH-185 Hawaiian lap-steel guitar, but was also the professional amp of choice for any of Gibson's upper-tier Electric Spanish guitars like the ES-250 and ES-350. Most notably, it was used by the great Charlie Christian himself after upgrading to an ES-250, both seen in photos of his live performances in 1940/41.
The EH-185 reigned supreme during its day as a primal example of a piggy-back/flip-top design, predating both Fender and Ampeg by nearly two decades. The removable head, or 'brain' of the amplifier, as it was sometimes called, sat on the top of the cabinet under a flip-up top. It was permanently attached to the cabinet with a long speaker cable, intended to be placed near the performer for easy access to the controls while the cabinet would be free to be set anywhere on stage, as desired.
The amplifier itself features a three input, two channel layout with independent volume controls for each. The earlier versions had a unique tone stack with independent bass and treble controls (again predating the Fender Twin by virtually a decade). This, the later version features a simplified single tone control. A dual 6L6 power section yields about 20 watts into a field coil speaker.
Although the EH-185 has a dedicated input channel for guitar/instruments, offering the glorious cleans many associate with Charlie Christian, another popular use is by plugging into the microphone input, sending your signal through an extra gain stage, offering copious amount of distortion for what one might expect from an amp of this stature. This has led to this relic seeing use in more modern heavier rock contexts, notably by Josh Homme of Queens of The Stone Age.
Height is 19 in. (48.3 cm.), 16 1/2 in. (41.9 cm.) width, and 10 in. (25.4 cm.) deep.
This is the one of nicest examples of this fairly rare and extremely cool pre-WWII amplifier we have seen. The cabinet is completely solid and cleaner than most; the tweed fabric covering and leather fittings are very well preserved especially considering this unit is 80+ years old. There are some small frayed spots, dents and scuffs but the amp still presents very well, still worthy of a Deco-era bandstand. Albeit worn, the original leather-covered handle is even fairly intact, with some life left in it still!
Electrically, the amp is nicely original. The field coil speaker bears no discernible date code, but appears to be original. Both the power and output transformers are original as well, the former bearing the code T40069. All three Stackpole W88 pots are original as well. Otherwise, the amp has seen our typical maintenance and servicing, including replacement of all electrolytic capacitors, a grounded 3-prong power cord, cleaning of all sockets, pots and jacks and power tubes biased to spec.
This is a fantastic-sounding and historic amplifier, the finest of its type when created and still a powerful and surprisingly versatile amp today. Overall Excellent Condition.
This is a truly beautifully preserved example of the highly coveted EH-185, Gibson's top-of-the line amp during what one might consider the earliest era of instrument amplification. It was originally paired with the EH-185 Hawaiian lap-steel guitar, but was also the professional amp of choice for any of Gibson's upper-tier Electric Spanish guitars like the ES-250 and ES-350. Most notably, it was used by the great Charlie Christian himself after upgrading to an ES-250, both seen in photos of his live performances in 1940/41.
The EH-185 reigned supreme during its day as a primal example of a piggy-back/flip-top design, predating both Fender and Ampeg by nearly two decades. The removable head, or 'brain' of the amplifier, as it was sometimes called, sat on the top of the cabinet under a flip-up top. It was permanently attached to the cabinet with a long speaker cable, intended to be placed near the performer for easy access to the controls while the cabinet would be free to be set anywhere on stage, as desired.
The amplifier itself features a three input, two channel layout with independent volume controls for each. The earlier versions had a unique tone stack with independent bass and treble controls (again predating the Fender Twin by virtually a decade). This, the later version features a simplified single tone control. A dual 6L6 power section yields about 20 watts into a field coil speaker.
Although the EH-185 has a dedicated input channel for guitar/instruments, offering the glorious cleans many associate with Charlie Christian, another popular use is by plugging into the microphone input, sending your signal through an extra gain stage, offering copious amount of distortion for what one might expect from an amp of this stature. This has led to this relic seeing use in more modern heavier rock contexts, notably by Josh Homme of Queens of The Stone Age.
Height is 19 in. (48.3 cm.), 16 1/2 in. (41.9 cm.) width, and 10 in. (25.4 cm.) deep.
This is the one of nicest examples of this fairly rare and extremely cool pre-WWII amplifier we have seen. The cabinet is completely solid and cleaner than most; the tweed fabric covering and leather fittings are very well preserved especially considering this unit is 80+ years old. There are some small frayed spots, dents and scuffs but the amp still presents very well, still worthy of a Deco-era bandstand. Albeit worn, the original leather-covered handle is even fairly intact, with some life left in it still!
Electrically, the amp is nicely original. The field coil speaker bears no discernible date code, but appears to be original. Both the power and output transformers are original as well, the former bearing the code T40069. All three Stackpole W88 pots are original as well. Otherwise, the amp has seen our typical maintenance and servicing, including replacement of all electrolytic capacitors, a grounded 3-prong power cord, cleaning of all sockets, pots and jacks and power tubes biased to spec.
This is a fantastic-sounding and historic amplifier, the finest of its type when created and still a powerful and surprisingly versatile amp today. Overall Excellent Condition.