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GALLIEN-KRUEGER, CAMPBELL, 1986
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GALLIEN-KRUEGER, CAMPBELL, 1986

A GUITAR AMPLIFIER, 250 ML

Details
GALLIEN-KRUEGER, CAMPBELL, 1986
A GUITAR AMPLIFIER, 250 ML
Bearing the label GALLIEN-KRUEGER, CAMPBELL, CALIF SERIAL NO. 31777, adjustment settings written in yellow wax pencil on the top of the case and the inscription RAVE'S/NOT BOB'S, with padded case and power chord
9 in (23 cm.) high; 13 ¾ in. (35 cm.) wide; 6 in (15 cm.) deep
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Lot Essay

Introduced in 1983, the innovative 250 ML delivered 100 watts of power with stereo circuitry. Its ability to supply studio effects in such a small sized cabinet makes it a highly desirable guitar amplifier for the studio or live performing musician.
First added to David Gilmour’s stage rig for a performance with Pete Townshend’s short-lived supergroup Deep End at the Gala du Midem in Cannes, France on 23rd January 1986, the amplifier thereafter became a staple of his studio set up. Gilmour told Guitarist magazine in June 1986: There is also a little Gallien-Krueger amp in there as well… the Krueger is very handy. I just put it down here on the floor of the control room with this microphone, get a nice sound, record it, and worry about the EQ afterwards.
The amplifier saw extensive studio use during the recording of Pink Floyd’s 1987 album A Momentary Lapse of Reason, which took place on David Gilmour’s newly appointed Astoria houseboat studio between November 1986 and February 1987. Album co-producer Bob Ezrin has suggested that the Gallien-Krueger was used for the majority of the tracks recorded on the Astoria, telling Guitar World magazine in 1993: …we couldn't keep the (big) amps in the same room with us, and we were forced to use slightly smaller amplifiers. But after playing around with them in the demo stages of the project, we found that we really liked the sound. So a Fender Super Champ and a little G & K became the backbone of Dave's guitar sound for that record. The case was inscribed by Ezrin during this period to identify the amplifier as the property of Rave (David Gilmour) rather than his own.
Most notably, the amplifier played a key role during recording of the track Sorrow. Gilmour stayed aboard the Astoria for a whole weekend to record the guitar parts on his Steinberger GL 3T (lot 70) using the distortion channel on this Gallien-Krueger, telling Guitar World magazine in July 1988: That very nasty distortion you hear at the beginning of the song is basically the result of the Steinberger going through two little amps in the studio—a Fender Super Champ and a Gallien-Krueger. I use a Boss Heavy Metal distortion pedal and a Boss digital delay pedal, which then goes into the Fender Super Champ. And that in combination with the internal distortion on the Gallien-Krueger was how I got that particular sound.
Alongside Gilmour on his EC Stratocaster (lot 74), Dire Straits’ Mark Knopfler used this amplifier with Gilmour’s Candy Apply Red 57V Stratocaster (lot 56) for a light-hearted performance in a courtroom-based French and Saunders comedy sketch aired on the BBC on 19th April 1990.

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