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The back was sealed, with a large port at the bottom.Getting to the tubes required removal of both the back panel and the chassis, a major design flaw.Introduction In its first 40 years of corporate rule, Orville Gibson’s lutherie developed into a manufacturing giant, expanding to meet the needs of mandolin orchestras popular before World War I, creating banjo and ukulele lines during the 1920s, enlarging the flat-top and archtop offerings following the depths of the depression, joining the fast-growing electric instrument market in the late ’30s and finally, embracing the violin maker’s family in the early ’40s.The acoustic line was made up of eight carved-top, six flat-top, two tenor, two Hawaiian and two gut-string guitars, five mandolins, one mandola, one mandocello, two sizes of ukuleles, 14 banjos, eight violins, two violas, two cellos and six bass viols.Charlie Christian pickup) designer Walter Fuller, licensing basic circuits from Western Electric.
That was it for Gibson in 1946; nearly 85 percent of the instruments gone, the remaining acoustics basically unchanged, and the electric line receiving major changes.
A cream-colored aluminum panel contrasted nicely with the three large, brown knobs, each with a small, clear plastic/red lined pointer underneath (and seen only on this amp).
Individual volume controls (for Microphone and Instruments) were followed by a master treble roll-off Tone.
During the war, the factory was transformed to produce military goods, employing more Kalamazoans and using most of the backup supplies, not to mention destroying or misplacing a great deal of important tooling.
No wonder the owners sold out to Chicago Musical Instruments before they had to switch back to producing musical instruments.
CMI, however, was confident in their purchase, funding an addition to the factory before being released from government work, and resuming instrument-making.