The collection ranges from Guvnor pedals and MS-4 battery mini stacks, through combos in all sizes and speaker configurations, to various amps, vintage and new, to stacks of stacks. Here are a few highlights and favourites from Garys collection :
Gary Moores career as a professional musician began when, at 16, he joined Dublin-based Skid Row, whose singer at the time was Phil Lynott. After leaving to form the Gary Moore Band [which toured the States twice and opened for the Allman Brothers Band], Moore played briefly with Thin Lizzy before forming two seminal 70s bands, Colosseum ll [jazz-rock fusion] and G-Force [one of the first bands to explore a mixture of heavy metal, soul and funk], then made two albums with Greg Lake.
Gary Moore went solo in 1982 with Corridors of Power, taking the charts by storm with a series of hugely successful albums and singles like Empty Rooms and Out In The Fields [another collaboration with Phil Lynott]. At the close of the 80s, Moore explored his Celtic roots with Wild Frontier. In 1990, Gary re-discovered one of his early musical inspirations - the blues. I just felt I had nothing more to say in heavy rock and I needed a new direction he observes. Moores commercially - and critically-acclaimed blues albums concluded with Blues For Greeny, his moving tribute to one of his musical influences and early mentor, Peter Green. In 1994, Moore formed BBM with Jack Bruce and Ginger Baker [rhythm-section of the legendary Cream], recording an album, Around The Next Dream, and thus fulfiling a longwished-for musical experience. Then, Gary embarked on his most exciting musical exploration. I found myself being drawn back to a more song-orientated style he says. When I made the new album, it really felt like starting over. Moore assembled a band of world-class musicians, including drummer Gary Husband, bassist Guy Pratt and Magnus Fiennes on keyboards and programming. This album encompasses everything Ive ever played: Irish Folk, jazz, ballads, Eastern music; theres even a touch of aboriginal on the track Cold Wind Blows. Dark Days In Paradise has influences as diverse as its melodic scope is intoxicating, and will attract an entirely new generation of Gary Moore fans with its touches of hip-hop and jungle, but Moores unique, instantly-recognisable lyricism also ensures that the album will delight his long-term fans. When youve been playing as long as I have, theres no point in standing still - Im not the same person as I was 10 years ago and I hope this album reflects that.

Oldest piece #

1962 Mk.I circa 1965 Super Tremolo 2x12 combo. The grill cloth has been changed at some point, as has the output transformer, which is actually from an AC30. It was last used on stage at the Blues for Greeny show at the Shepherds Bush Empire [1995], which was filmed for the video of the same name, and used partly on the BBM tour during 1994.

JCM2000 Triple Super Lead #
By maintaining the same basic huge EL34 valve driven tonal structure as the DSL, but adding some well thought out and incredibly useful features, the Triple Super Lead 100 Watt head [TSL100] and 2x12 combo [TSL122] take the JCM2000 series to new heights.

Three Amps in One #

Separate switchable channels for Clean, Crunch and Lead, each with their own Volume, Gain and 3 band EQ, give you effectively 3 amps in one box. The Clean channel has a Mid boost switch, which changes the way the channel EQ works, giving you two different sound characters by disconnecting the Middle control and reconfiguring the Treble and Bass controls. The now customary Deep switch increases the resonance and interacts with the loudspeaker frequencies at the bottom end. Although graced with plenty of clean headroom, when you turn the Gain control to its maximum the sound will begin to distort in the smoothest most natural way.

Crunch & Lead #

The Crunch and Lead channels each have their own Tone shift, to reconfigure the EQ from traditional Marshall to a more mid-scooped setting. They share a Deep switch for that extra floor-shaking low end resonant thump. All tone selections are adjusted by traditional Treble, Middle and Bass controls which interact effectively with each other to give you tone settings as extreme or as subtle as you want. Similarly the combinations of Gain and Volume levels for the Crunch and Lead channels are extremely effective with only slight alterations required to have a dramatic effect on the sound, from cool and vintage to hot and contemporary, anything is possible! The TSLs versatility is maintained throughout by including Master Reverb, Presence and FX Mix controls for the Clean channel individually and the Crunch/Lead channels combined. Also the superb VPR [Virtual Power Reduction] switch allows you to squash the output to more like that of a 25 Watt valve amp being driven really hard, giving even greater saturation. For home recording or for tuning between songs, the TSLs Mute switch completely mutes the power amp for silent operation.

The Rear Panel #

On the rear panel, Separate FX loops for the Clean and Crunch/Lead channels each have their own Loop Level selector, with Loop A acting as the master loop for all three channels if nothing is connected to loop B, which affects purely the Crunch/lead channels. Unique Marshall Speaker Emulation on the Line Out provides an accurate signal either direct to an external PA or recording system. Speaker cabinet connections are clearly marked and very simple both to use and to understand.

Features Output.

TSL100 100w 3 4x ECC83 4x ELx297 x214 19
TSL122 100w 3 4x ECC83 4x ELx506 x266 30.5 x1 Vintage x1 Heritage PEDL-00021
TSL100 Head & TSL122 Combo

TSL100 #

Number of Channels. Independent Tone Network per channel. Mid Boost on Clean Channel. Deep Switch & Tone Shift. Virtual Power Reduction. Output Mute. Reverb. Emulated Line Out. FX Mix Control. Footswitchable On/Off FX Loops. Pre-Amp Valves. Power Amp Valves. Dimensions [mm]. Weight [Kg]. Marshall / Celestion Speakers. 5 Way Footpedal [Supplied].

1960A #

PEDL-00021

5W ay Foot Control #

The supplied 5 way foot controller gives individual access to all three channels, switches the Reverb on/off and activates the effects loop. Plugging in a shorted Jack lead to the loop allows you to use the FX Mix controls on the front panel as extra master volumes. This simple connection now gives you 6 footswitchable sound options!
TSL122 Combo & Ext. Cabinet #
The three channel TSL122 combo benefits from exactly the same features and tone as the TSL100 head. Its ruggedly built open back cabinet contains 1x Marshall/Celestion Heritage and 1x Marshall/Celestion Vintage speaker. This unique speaker configuration has been carefully researched and designed to give you the absolute optimum of clean or overdriven tones and to maximise the bass response.

What the Critics Say.

Unquestionably one of the amps of the year. Time to get saving [again]. Simon Bradley, Guitarist Magazine.

TSL122 #

Its big, solid sounds and wide-band response can be softened or exaggerated at will, while the responsiveness of the distortion and range of tonal flavours - both classic and contemporary - is a pleasure. In a nutshell the TSL100 represents luxury of the best kind - affordable luxury. John Seabury, The Guitar Magazine. The TSLs Crunch channel yields bonecrushing power and raunch, and its sensitivity to signal dynamics enables you to get a clean rhythm sound simply by rolling back your guitars volume control. Activating the Tone Shift function in this mode unleashes a wicked scooped-mids sound thatll raise the hairs on your neck.

TSLC212 #

The Marshall TSL122s pristine, complex clean sounds and cranium-crushing distortions will delight hardcore Marshall fans. Darrin Fox, Guitar Player Magazine.

PEDL00021 Footswitch #

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Kissed Off? #

To the Devil His Due #
Talking of KISS, as a result of the aforementioned reunion, our highly talented friend, the 2100SL-X using Bruce Kulick, found himself without a gig.
After 12 years and 9 albums, that mustve been a tough pill to swallow but the amiable guitarist harbours no hard feelings towards his old bosses. Myself, Paul [Stanley] and Gene [Simmons] are still the best of friends and we hang-out whenever we can. Bruce states with a smile. My time with KISS included many unforgettable experiences but from the very first day I joined I knew that a reunion of the original line-up would probably happen sooner or later. Now its time for me to be in charge of my own musical destiny. The result of Bruces new found freedom is Union, a band the ace guitarist refers to as a life long dream come true. As soon as the groups self-titled debut LP was released by Mayhem Records in early 1998, they immediately hit the road with a vengeance and quickly got in excess of 50 gigs under their belts. Were really excited about the response weve been getting from both the CD and our live shows, Mr. Kulick tells us. The fans have been great to us and for that Im extremely grateful. No matter what is said about my past and how much attention it draws to Union, at the end of the day it all comes down to our music.

I wouldnt stop playing ever, not for anybody.
Photos Supplied by Claire Bulley

7400 #

7215 #

7412 #

Stuart uses xDynamic Bass Amp Heads through 7215 & 7412 Dynamic Bass Cabinets.

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Although it is a popular, late-90s trend for many bands to denounce the term Metal, Mr. Mustaine has no problem declaring his allegiance to the genre. Heavy Metal? I am heavy metal! Dave laughs.
I remember the very first time I ever played through a Marshall, I thought Id died and gone to heaven! Megadeths mainman, Dave Mustaine, states.
I was looking for that classic British guitar tone, plus Id heard that Angus Young [AC/DC] and Michael Schenker used em and those were two of the guitar players that I respected the most when I first started out. As soon as I plugged into a Marshall thats when I knew, hey, you can make this magical or you can be some kind of robotic, GIT clone that just sits there and does scales all day long! Six Grammy nominations and in excess of 12 million album sales later, Dave still gets the same exact charge from his backline. When my tone sounds and feels right, something happens that makes me come alive. Thats why I use Marshalls - they inspire me to wanna play and write. After using Marshall heads for many years, Dave is now playing through our rack gear and his current rig consists of two JMP-1 pre-amps, two EL34 100/100 power amps, four PB100 Powerbrakes and eight 1960BV 4x12 cabinets. Ive got a bunch of great sounding Marshall heads in storage that I continue to use in the studio, the guitarist reveals. After many years of constant touring on the cruddy roads we have here in America though, I decided to retire em and switch to a rack. At first I didnt realize that you guys made rack-mounted gear and I tried out loads of different stuff but nothing compared to what I really needed which was that classic English, Marshall sound. Then, when we were in Nashville recording our last album, Cryptic Writings, our producer, Dan Huff [ex-Giant guitarist who also happens to be one of the most respected and busiest session players in America], had a JMP-1 and a Marshall power amp and he said, Dave, youve gotta try this, its a beauty! I tried it and immediately went wow, this is the tits! This is it, this is what I need. In case you werent aware, Megadeth first reared its fire-breathing head in 1983, shortly after Daves less than amiable departure from another fledgling metal monster, Metallica. The bands first LP, Killing Is My Business. And Business Is Good, emerged in 1985 on an independent label and was received with open arms by fans and critics alike. A major deal with Capitol records resulted and the bands follow-up release, Peace Sells. But Whos Buying? proved to all that the promise of its predecessor was no flash in the pan. And the rest, as the saying goes, is history! To date Megadeth have released seven albums and, as mentioned earlier, the total number of album sales the band has generated is well in excess of 12 million. an impressive figure by anyones standards!!

Its always been undeniable for me and, at the end of the day, I wanna be able to sleep in my own skin, yknow! Its real easy to jump from one current wave of fashion to another and capitalise on every current new marketplace but eventually you start losing people and your band name gets synonymous with snake-oil salesmen. In addition to being one of the most respected pioneers of modern metal rhythm playing, Dave is no slouch when it comes to playing solos. Although I play lead now and again, Marty [Friedman] is definitely the soloist in this band, Mustaine states modestly. Hes one of the greatest guitarists Ive ever heard. Marty plays with passion; I play with aggression - thats the main difference in our lead playing styles. To me playing a solo is like hacking your way through the woods. You either take a razor sharp knife and do a nice, ornate carving job or you just go out there and cut down trees with the side of a shovel! The latter is pretty much what I do. As just mentioned though, it is the oftenoverlooked art of rhythm playing where Dave really shines. In fact, our subject is considered by many to be one of the finest rhythm guitarists to ever grace this planet. As one leading critic so aptly put it, the awe inspiring accuracy and tone of the Megadeth crunch belongs as much to Mustaines right hand as AC/DCs does to Malcolm Youngs. Praise indeed!
e n e G d : an okl t o r h i P K
The right hand is much more critical than most guitarists realize, Mr, Mustaine states. The placement of your palm on the bridge; the way hold the pick; the way you actually strike the strings; whether you play a certain riff using alternate picking [down, up, down, up, etc.] or downstrokes only. it all plays a role in the way you sound. A lot of players discount the importance of picking in the creation of their tone and you can normally hear who those guys are [laughs]! Although many of the metal bands who were big in the 80s currently reside in Spinal Taps infamous where are they now file, Megadeth have remained successful throughout the 90s, despite the anti-metal climate created by the likes of MTV and the media. And judging from the impressive sales of Cryptic Writings [which has shifted in excess of 1 million copies in America alone] and the many sold-out shows they performed on their recent world tour, they are destined to remain on top for a very long time to come. Due to his longevity in this brutal business, we closed our enjoyable chat with Dave by asking him if he had any advice hed like to pass on to our readers: Pick your influences well and make sure you have reliable equipment, he offers. Also, if youre gonna get into the music business part of it, without a doubt, make sure you have your contracts read over more than once by a real music lawyer - not just any old attorney. Ive looked at the contracts that some of these young bands have signed and its just a shame. Some of these independent labels have literally taken their first born child and both their testicles! I mean, we had a pretty horrible deal when we first started out but it was nothing like as bad as some of the stuff thats going on right now. And bands dont last long when they cant pay the bills!

PB100 #

e n e G d : an o l t k o r h i P K

Photo : Gene Kirkland

JMP-1 #
P h K ot ir o k : l G a e n n d e

EL34 100/100 #

Dave uses a JMP-1 Pre-amp, EL34 100/100 Power amp and a PB100 Powerbrake through Marshall 1960BV 4x12 Cabinets.

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He must have just seen something at the time. He knew that nothing was happening with the band, so he offered me a gig and I said no problem. I knew how to play all of his tunes anyway because I was a fan.
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reaching

Despite the recent successes and mass popularity OCSs early days were clouded with troubles after an acrimonious split with their first major record company resulted in them being labelled as a band with behavioural problems. This led to a tough period where the band had no money, no label and only their talent to fall back on.
However a fierce commitment to making their music their way, coupled with genuine belief in the quality of the songs they were producing, eventually brought OCS their just rewards. Ably supported and managed by Steves dad, Chris Cradock, through both the bad and the good times, Ocean Colour Scene are now firmly established as one of the UKs major league bands. Songs from their recent album, Marchin Already such as Hundred Mile High City and Travellers Tune both reached the top ten and the worldwide tour to promote the album should make them equally successful internationally. Can you give us a swift run-down of your career so far. I was about 11 when I started playing the bass, I started playing the guitar when I was about 17 and then I joined Ocean Colour Scene when I was 20. That is how it kicked off really. Playing-wise I became a better guitar player when I started playing with Paul Weller [see page 12] more. Obviously that really helped, because I just seemed to click in and it was a very intense period of working with other people. Maybe because of the work-load [I was already in OCS working on Moseley Shoals at the same time]. It was an incredibly busy period, but in a good way because then my playing very quickly came out a lot more, as I was doing it so much to a high standard with Pauls group and Whitey.

How does it work when you have been writing new stuff, does he say to you, here are the parts I want you to play or does he say heres the song, put what you want to it? Thats kind of a wide angled question, because it sounds like me sort of boasting by saying there you go do what you want to do. In our relationship, he is the guvnor. When it comes to musical bits we always listen to what is going down. I always play a very simple bass line, that is how my playing is I think anyway. It is something you cant nail down.
The Steve Cradock Sound #
So when you first picked up the guitar, apart from Paul Weller who else were you listening to at that point? Otis Redding, Booker T and the MGs. I was into them before. UB40s first albums were a big influence on me as well, 79 was that Signing Off? I was recording at Kings Heath [which was next to Moseley]. So that inspired us, the guitar playing on that album I think is wicked, Robin Campbell and Ali Campbell were f**king ace. So who do you listen to these days? Loads of Northern Soul at the moment. Just getting my hands on loads of that. I dont know who the f**k it is half the time, but the tune just captures you, it blows you away.

Steves Gear #

The Paul Weller Connection #
Your close contact with Paul has been well documented, would you say that he is one of your early heroes or influences? Hes more than that really, he is the reason why I wanted to be in a group, he is the reason why I saw lyrics as something important. It was the group and the way it grew up, it was a statement of how we all felt really. So how did you get involved with Paul Weller, how did you meet him in the first place? The first time I met him was when I was 17, I went down to his studio to give him a tape. I ended up going down twice to Solid Bond, just because at the time and at that age it was a kind of spiritual kick, it was a high. At that time he was raving a lot about Joe Smooth and people like that. We got our first couple of singles and we were the last band to record. We recorded with Jimmy Miller. While we were at Solid Bond we met Brendan Murray because he was in the back room giving mixes of the Young Cycles album on a little 8 track and it was like wow! So that was when we started going Thats how we want to make music. We locked ourselves away for maybe 2 years, wrote all the tunes, probably most of the tunes for three albums on the 8 track [we managed to blag the 8 track that we saw Brendan using], learned how to do it and then Paul gave us a couple of support gigs in about 91/92.

We caught some of the sound check downstairs and we thought the guitar sounded great. What gear are you using at the moment? Just my amp and cabs, [JCM800 Master Volume and Classic Marshall cabs] Ive got some effects pedals, a wah wah, distortion, Ive got a delay a reverb and a tremolo. Ive got a Leslie wired up as well. I really do like the guitar through the Leslie, it sounds kind of psychedelic. So were they the same amps you used when you did your stuff with Paul Weller? No, I used to use one of his amps. What are they called? The Bluesbreaker combo I think. Hes got about 15 of em! To somebody who had not heard or seen the band, how would you describe Ocean Colour Scene? Couldnt put it under anything really, its just not worth doing either, because I just dont think about it. I think more about yeah, that was wicked, you know, when something takes over you.
You can sit down and work something out like this, then when you try and work it out in retrospect, you cant do it. The best way you can explain it is its what gives the biggest adrenaline rush and that is the same for the people in the audience as much as it is for the group. Music is a high thing really, when its right.
: t o t t a o y h W Pb o R
We couldnt agree more, nice one Steve.
y : le o l t u o B h P re i a l C

JCM800 #

1960AX #
Steve uses a fetching Purple JCM800 Master Volume head through matching 1960AX/BX Cabinets
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It was a very united cause for us, Scott says. Our attitude at that time was f**k everybody, were Anthrax, we know the songs we can write, we know the record we can make so lets build a studio and do it! That was all we could do as a band, everything else was out of our hands.
In the early 90s, the world truly looked like it was Anthraxs oyster. With a string of platinum albums under their belts, the group Inked a multi-million dollar deal with Elektra, home of their friends and fellow thrash metal pioneers, Metallica. As our old pal, Billy F. Gibbons of ZZ Top would say, their future looked so bright, theyve had to wear shades! But then, disaster struck: a corporate shake-up of seismographic proportions took place within their record company and, as Scott Ian so quaintly puts it, the Anthrax blip disappeared from Elektras radar screen.

: o o b t m o A he Pn e G
Theres a lot of bands who cant do that because they tried to make it by following whatever trend was cool at the time. Looking back on that kind of shit has gotta suck!
G P e h n o e t Ao m : b o
: o o b t m o A h P ne e G

DSL100 #

Scott Ian [ab]uses x3 rack-mounted DSL100 Heads through trusty Marshall 4x12 cabinets.

Photo : Gene Ambo

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Opposites Attract #

A Brief Background #
A high voltage is connected to the plate [our second active element}, remember?] which, incidently, is made of a type of metal which wont emit electrons at its normal operating temperature.
As Im sure you know, the alternating current [AC] you get from the mains supply in the wall your house is so called because it alternates between positive [+ive] and negative [-ive]. It does this 50 times a second or Hertz [Hz] in most places in the world, including England, 60 Hz in America. Anyway, as a result of the AC supply it is attached to, the plate is continually alternating from +ive to -ive. So, whenever the plate is +ive, the cloud of electrons floating around the cathode are attracted to it and a current flows. When the plate is -ive though, the electrons stay where they are: as the sub-head reminds us, opposites attract!
Born in 1904, the valve is the grand-daddy of present day electronics. By the late forties they were literally everywhere - in radios, TVs, industrial machinery, telephone systems and even the first computers.
Mind you, the first computer was hardly a laptop by any stretch of the imagination - it weighed a staggering 30 tons and was the size of a large room! Then, in 1948, the cool-running and service free transistor was invented and that brought about the beginning of the end of valves in the majority of applications. In fact, by the mid-70s theyd been purged from virtually all modern-day electronic devices, except for certain, very expensive Hi-Fi components and rock n roll amps - especially the Marshall kind!

And then there were three #
Before long the diode evolved into the triode. As you probably know, tri is the Greek for three so, guess what triode means? Yep, youve guessed it, three-active elements!
So, a triode is a diode with an extra electrode added - the grid [a.k.a. Control grid]. As its name suggests, the grid looks very like a wire mesh. This seemingly simple addition gave versatility to the valve because by varying the potential [voltage] connected to the grid, the flow of electrons could be increased or decreased. This, of course, gives the valve the ability to amplify a signal. The grid effectively controls the flow of electrons between the cathode and the plate in a very similar manner to turning the valve handle of a tap controls the flow of water.

Valve Photos : Rob Wyatt

To be exact, the grid is charged with a -ive voltage called the bias voltage. This voltage varies up and down in a pattern that corresponds to the notes you play into the amp. As the grid voltage is made more +ive [i.e.: less -ive], it allows more and more electrons to pass through to the plate and the plate current increases. Simply put, because the relatively small grid voltage is controlling the very big plate current, your puny guitar signal is now amplified!

ECC83 / 12AX7

alve Pre-amp V

Give me Five #

Heater Cathode Anode
Before long, new developments added extra parts to the triode in order to make it more efficient and also increase its power handling enter the pentode type valves such as the EL84 and EL34, and beam pentodes, such as the 6L6 and the 5881.
As pent the Greek for five, a pentode valve has [wait for it!] five active elements. The two extra elements in an EL34 or an EL84 are screen and suppressor grids. The two extras in the 6L6 and 5881 are a screen grid and a beam forming plate [see corresponding exploded diagrams]. These types of valves are used in the output stages of amplifiers due to their extra efficiency and power.

Screen

[to stop crosstalk]

alve Power amp V

What V alve does what in an amp? #
The pre-amp section of a valve amp takes the relatively small signal from your guitar and amplifies it to a sufficient level to drive the power amp section.

And, along the way it also shapes your guitars sound according to how the tone controls for bass, middle and treble are set. Most preamps will also allow the user to control the amount of gain [distortion] added. In fact, in modern amps, the amount of pre-amp gain on offer is often massive! The type of valves used in all Marshall pre-amp stages is the double triode ECC83 or 12AX7 [ECC83 is the English name for this valve, 12AX7 is the American - further proof that we are two countries separated by a common language!]. As expected, double triode means there are two triode type valves lurking in one package. The reason we use ECC83s? They have great tone and offer the most gain. Obviously, it should go without saying that valves alone do not a great amp make. The real design work involves all the associated circuitry that couples all the valves together. It is only by ensuring that each stage gets the right amount of signal, in terms of both level and tonal spectrum, that the designer will achieve optimum amplifier performance. Once the pre-amp has beefed-up, shaped and [if desired] distorted your guitars signal, it is then fed into the power amp which gives it the required physical clout to drive the loudspeaker system. In addition to adding further muscle to your guitars signal, if desired the power amp of a Marshall valve amp can also be driven to the point that it also adds desirable, harmonic distortion and compression. This is [surprise, surprise] called power amp distortion! Power amp distortion creates a very open, big sound and great examples of it in action can be heard on the first few Van Halen records and just about anything by Cream or AC/DC. In the power amp section youll usually find two types of valve being employed. At the input youll find another double triode, usually an ECC83, which functions as a phase splitter or invertor. Simply put, as its name suggests, this valves job is to split your guitars signal [which presents itself as a sine wave into two halves. Why? Because the beefy valves that make up the rest of the power amp [usually EL34s, EL84s, 5881s or 6L6s] work together as pairs in what is known as push/pull operation, thats why! The portion of the wave above the central line is dealt with by one power valve [or group of them] while the portion below is dealt with by the other valve [or valves]. Over the years, Marshall amplification have used all the power tube types just mentioned and several more besides. As youd expect, each type has its own unique tonal characteristic. The one most associated with the Marshall sound is, of course, the almighty EL34. Having said that, one of the most famous Marshall sounds ever, was Eric Claptons awesome woman tone on the legendary Bluesbreaker album and the output valves in the 1962 Bluesbreaker combo he was using were KT66s. It should also be noted that each type of output valve has a finite, usable power limit. This is why a 50 Watt Marshall valve amp always contains a pair of EL34s or 5881s while a 100 Watter will house a quartet. Likewise, the new DSL201, 20 Watt, 1x12 combo houses 2x EL84s, while its bigger brother, the 40 Watt DSL401, contains four of these toneful little bruisers! Heaters Cathode Signal or Control Grid Screen Grid Anode

Cathode

Heaters Suppressor Grid

5881 #

Hopefully, this has helped dispel some of the mystery surrounding valves. Next time out well discuss care and feeding See you then.

Signal or Control Grid

Screen Grid

Beam Forming Plate

The Marshall Law Hall of Fame #

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