Amplifiers

Style/Type: Closed Back
Speakers: Celestion Vintage 30s
Wattage: 240 Watts
Mono or Mono + Stereo Input: Mono + Stereo
Cabinet Impedance: 8 Ohm Mono / 4 Ohm Stereo
Transport Assistance: Track-Loc Removable Casters Included
Slip Cover: Included

Designed specifically to complement the Fillmore 50, Mesa/Boogie is proud to introduce the traditionally-sized Fillmore 23 1x12 Cabinet. This vintage-tuned enclosure features a higher, tighter Bass response that is perfectly suited for the Fillmore. Made in Petaluma, California, Fillmore cabinets are constructed from Marine Grade, Baltic Birch with rear mounted UK-Made Celestion Custom 90 Speakers. Their open-back design is vintage-inspired focusing on size, tone & portability.

The Fillmore is not just another Boogie…it's a new strand of Boogie DNA. Yet the molecules that make up this soulful sounding model are really just a revisiting of the companies earliest roots. Randall Smith's very first Boogie’s were based on this architecture. It was only the success of another "MARK I Experiment" featuring a different branch of the tree used by Carlos Santana on his "Abraxas" album that catapulted that sound and circuit and caused the shelving of circuitry the Fillmore now resurrects with such beauty and authenticity.
At the heart and soul of the Fillmore 50, you'll discover soft-clip-to-saturated. Mesa/Boogie's most expressive gain ever presented in a simple 2 (identical) Channel, 3-Mode platform, served up in traditional-sized and dressed combo and head formats.
Humbly named in tribute to the renown bi-coastal venues that showcased the biggest names in Classic Rock over decades, this new instrument has been dubbed super-responsive, nuanced, organic… and "vintage-inspired Magic" by those who’ve experienced it. Subtle saturation that serves, not smothers, your style.

The Fillmore is not just another Boogie…it's a new strand of Boogie DNA. Yet the molecules that make up this soulful sounding model are really just a revisiting of the companies earliest roots. Randall Smith's very first Boogie’s were based on this architecture. It was only the success of another "MARK I Experiment" featuring a different branch of the tree used by Carlos Santana on his "Abraxas" album that catapulted that sound and circuit and caused the shelving of circuitry the Fillmore now resurrects with such beauty and authenticity.
At the heart and soul of the Fillmore 50, you'll discover soft-clip-to-saturated. Mesa/Boogie's most expressive gain ever presented in a simple 2 (identical) Channel, 3-Mode platform, served up in traditional-sized and dressed combo and head formats.
Humbly named in tribute to the renown bi-coastal venues that showcased the biggest names in Classic Rock over decades, this new instrument has been dubbed super-responsive, nuanced, organic… and "vintage-inspired Magic" by those who’ve experienced it. Subtle saturation that serves, not smothers, your style.

  The Fillmore is not just another Boogie…it's a new strand of Boogie DNA. Yet the molecules that make up this soulful sounding model are really just a revisiting of the companies earliest roots. Randall Smith's very first Boogie’s were based on this architecture. It was only the success of another "MARK I Experiment" featuring a different branch of the tree used by Carlos Santana on his "Abraxas" album that catapulted that sound and circuit and caused the shelving of circuitry the Fillmore now resurrects with such beauty and authenticity.
  At the heart and soul of the Fillmore 50, you'll discover soft-clip-to-saturated. Mesa/Boogie's most expressive gain ever presented in a simple 2 (identical) Channel, 3-Mode platform, served up in traditional-sized and dressed combo and head formats.
  Humbly named in tribute to the renown bi-coastal venues that showcased the biggest names in Classic Rock over decades, this new instrument has been dubbed super-responsive, nuanced, organic… and "vintage-inspired Magic" by those who’ve experienced it. Subtle saturation that serves, not smothers, your style.

The Mercury V, older British cousin of Carr's award winning Skylark, is back with a highly evolved feature set borrowing the best of the past while rocketing into the future.
The Mercury V is highly touch sensitive with a huge range of English tones from 60s aggressive clean thru 70s rock into 80s and 90s tasty crunch. The built in attenuator delivers real power tube overdrive at very low levels retaining the feel and juice of full volume fun. Like recording on your computer? Just plug the Mercury V line out into your A/D interface and go! The Luscious Spring Reverb, full ranging Overdrive options, and effective tone controls make the Mercury V an invaluable recording tool. Home player? Experience big amp satisfaction with domestictranquility. Gigging musician? 16 burly watts in full power means the Mercury V is a commanding stage amp. Mercury V wins the six string triathlon. Home, Studio, Stage.
Plus, you get everything Carr is known for, in-house crafted solid pine dovetailed cabinets, bleeding edge power supply components mixed with Mid-Century signal elements, and true point to point wiring. The Mercury V: Scary Good!

The Carr Skylark is the ultimate low-power American inspired amplifier!
The Skylark idea began with Carr's love and appreciation for classic home/student 60s American amps such as the Harvard to name but one. These small, student amps deliver organic tube juice and vibe at real world volumes; making them super usable and super satisfying. The Skylark takes this fun utility a giant leap forward. Reverb, a built in power attenuator, Hi/Low gain switch, and the extended range presence control offer an incredible pallet of tones from the Skylark’s beautiful dove-tailed cabinet.

-Made in Petaluma, California with the World's Finest Materials
-Tuned Front Ported Tri-Port w/ Aviation style bracing (superior strength/reduced weight)
-Lightweight Italian Poplar Cabinets
-Legendary Mesa Quality Construction
-Custom SUBWAY Neodymium Speakers & High-Frequency Horn w/ Premium Attenuator
-Combination Speakon & 1⁄4” Input and Parallel Output
-Recessed, Flip-Out Metal Handles
-Black Bronco Vinyl w/ Black Metal Grille
-Lexan Corners
-400 Watts
-8 ohms
-37.9 lbs.
-19 3/8" x 19 1/4" x 18 1/4"
-Slip Cover

-Made in Petaluma, California with the World's Finest Materials
-Tuned Front Ported Tri-Port w/ Aviation style bracing (superior strength/reduced weight)
-Lightweight Italian Poplar Cabinets
-Legendary Mesa Quality Construction
-Custom SUBWAY Neodymium Speakers & High-Frequency Horn w/ Premium Attenuator
-Combination Speakon & 1⁄4” Input and Parallel Output
-Recessed, Flip-Out Metal Handles
-Black Bronco Vinyl w/ Black Metal Grille
-Lexan Corners
-600 Watts
-8 ohms
-43 lbs.
-21" x 19 1/4" x 18 1/4"
-Slip Cover

Shawn Lane had the best combination of incredible speed and beautiful, melodic phrasing I've ever heard. I feel very lucky to have known and taken lessons from him. Some of my fondest memories in the late 80's and early 90's were spent in his studio, which was just a back bedroom in his Grandmother's house. He tracked some magic in that small room! When I first met him he was playing a Holmes Mississippi Bluesmaster amp, Westbury tube overdrive, and a couple of Boss pedals. His cabinet was mic'd up in the closet and pedals were on the floor in front of his mixer. I distinctly remember going over to Shawn's house right after he'd gotten his Gjika preamp and power amp. His Holmes rig sounded fantastic, but nowhere near as good as the Gjika. I'd never heard an amp like Gjika and have heard countless amps since then but to this day have not heard another like it.

If you are looking at this, I will assume you know exactly what it is and how amazing this amp is. If not, just listen to Shawn's guitar tone on "Grey Pianos Flying" from the Powers Of Ten album or his cover of Jimi Hendrix's "Peace In Mississippi" which he recorded in the early 90's but released later on The Tri-Tone Fascination. You'll get a good sense of what this amp can do.

This amp is what Bob Gjika felt was the pinnacle of single ended amp design. 40 watts stereo with 8 power tubes per side running single ended. It's identical to the amp that Shawn Lane used to record the Powers Of Ten album, and subsequently toured with. It has two tone controls giving the amp more tonal options. Built at the same time as Shawn's amp, it has been brought to us by a gentleman who was partners with Bob Gjika during the mid-80's. It has been checked out by a local amp tech, and is in perfect working order.

This is an amazing piece of gear. Built like a tank. A guitar amplifier that will be revered for years to come alongside Trainwreck and Dumble.

The preamp and power amp tubes will ship in separate boxes. This power amp is quite heavy and will ship without the power tubes to ensure they are not damaged in transit. Everything will be packed meticulously. Please contact us directly so that we can give you an accurate shipping quote.

Ask a bunch of pro guitarists, "What's the world's best guitar amp?" You'll get a lot of answers to that question, but I guarantee you on most people's list there will a Fender Deluxe. They are such great amps. Here we have a 1965 Fender Deluxe. It is non-reverb Blackface model and in excellent condition. Many prefer this non-reverb version as it has more headroom (just ask Mike Campbell). The speaker has been changed to a Celestion Vintage 30. It has just been completely gone through and is in tip top condition. Here's what was done: Internals completely cleaned. Wires cleaned. New F&T capacitors and Vishay power resistors of the correct value installed in filter circuit. Excess wire shortened and neatened. Chassis grounds done properly. Remaining electrolytic caps (bias and cathode bypass caps) replaced with new F&T and Vishay capacitors. The output transformer has been replaced. It is an original Fender Schumacker transformer and is dated 1968. It is the same transformer as would have come in the amp in 1965, with the only difference being the "1" and "8" on the end-cap of the label. Old solder removed, cleaned, and redone properly. Plate resistor replaced with 1/2W 220K carbon composite resistor. Replaced LFP caps with 1KV ceramics that won't fail. New three-pronged grounded power cable installed. AC wiring redone per safetly code. Old "death cap" removed from Ground Polarity circuit. So this amp is good to go. This is an awesome amp, perfect for small gigs or recording.