Peavey Acoustic Guitar Serial Numbers

[Oliver Parkes]

Thefollowing illustrates the approach I use to build acoustic steel-string guitars, as a pictorial journey through the construction of a guitar. Each step is described and illustrated with photographs of the process; the chapters start with the gluing of the top plates and end with the stringing and setup of the finished guitar. The final chapter has photographs of one of the guitars used to illustrate the build steps. Other examples of guitars built using these techniques can be seen here.

Get perfect amplified acoustic sound just about anywhere! Plug into Peavey's Ecoustic E208 amp and find out just how good your acoustic-electric guitar sounds plugged in. You can even use this handy little amp as a mini PA system, thanks to its dual channels and XLR/ 1/4" combination input. Peavey added analog chorus and spring reverb, so you can sweeten your sound even more. Each channel has a dedicated EQ for dialing in your sound just the way you want it. This little amp pumps 30 watts through its pair of 8" full-range speakers, for great sound - and plenty of it!

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2. use the guitar dater project ---disclaimer: the guitardater project does not keep serial # log files of Epiphone products, it is simply a decoder program that uses the same codes keys as below to decifer the number entered by a user and as such it cannot verify the authenticity of any Epiphone guitar

[NOTE - pre 1993-94 productions also frequently omitted factory letter codes and appeared as all numbers e.g. 023849354 -- these are Asian made (Korea, Japan, Indonesia) but again the exact factory origin is not usually available from guitardater project or other sources.]

If a simplified version of this thread was stickied, would it be like the introduction topic. It's not made by epiphone like the rule sticky, but its just making it easier for people to access user submitted content that could otherwise be seen on other sites on the internet.

Lighten up y'all, Duane and sexygibson are doing a fine job I think. Heck before we didn't have anyone we could talk to. If we did something wrong we got booted. I know, think I was one of the 1st to get a weeks vacation on the new forum...lol all I did was post a picture of an old peavey reactor that isn't even made anymore and got booted Hell of a lot better now than back then, ppl can post about any guitar on here and not worry about being banded.

Mr. Lister, I understand your frustration and as I stated earlier the info is great. However, there's certain subject matter I have to get approval from Gibson/Epi to make a sticky. And serial number reference and number of units built is considered proprietary information.

At the moment Gibson has an official link in regards to serial number information. And if a customer has a question that particular link will not answer, they should move forward and contact Gibson/Epi Customer Service to receive more individual assistance.

This is some great info Stephen. Thanks for all the work that must have went into compiling it. I'm sure that Duane is doing what he can to make sure this info is not lost in the archives and hopefully he will have a solution soon.

The AT-200 I received came with all of the expansion packs pre-installed that are now available from Antares. I tested the virtual capos, alternate tunings and different guitar sounds. These include an acoustic 6-string and 12-string, and 8 different pickup types. I particularly appreciated the acoustic guitar sound and the vintage lipstick-tube pickup emulation. Antares is currently offering free demos of the acoustic guitar patch and more.

More: Ideal for sharing with volunteers, perfect tuning every song, ability to store alternate tunings and capo positions for different singers, upgradable with more sounds and features, works as a normal electric guitar too

Kim Deal plays a Fender Precision Bass and a Music Man Stingray. For the Pixies' current tour she just got a Trace Elliot amp "but it's the new seriesand I don't know what the number is or if there even is a number on there. I have four 10" speakers on top, and the bottom I think is a 15". In additionto that I really am a sucker for Peavey Classic 50s: They're punchier, and Ilike that percussive sound."

"I have a new Music Man Stingray bass and a reissue '62 Fender Precision. The Music Man is great - sound men and engineers love it. But it's notright for some things; 'Dig For Fire' started to sound too much like a dance song, so I used my Fender for the lazier, growlier sound. It's notas boingy-boingy-sproingy. I always play with a pick. I use a compressorlive, but only because sound guys seem to like it when I have one onstage,even if it's on bypass. I don't know what kind - it's black with red lights.I use SWR or Marshall heads. I hate my cabinets - a Gallien-Krueger 4x10and another one that says 'Joe's Light' on it, which has an 18. In thestudio I beg them to let me use my amp. They say, 'Okay Kim, here's yourchannel right here.' Then it's always, 'Let's try just the D.I. alone fora minute, Kim. Hey, sounds great!'"

The Breeders practice in Kim Deal's basement, where she conducts a tour oftheir equipment. "I usually go through the JCM 900, but Kelley bought a newMarshall cabinet, so now I let her use it and I use an old JCM head andcabinet. I also have a Peavey Classic 50 and an old Sears Tremolo amp thatwe've pasted the word 'Marshall' on. Tanya used a Roland JC-120 on Pod.I mostly play a Seagull acoustic guitar that I distort through the amp. Forelectric, Kelley and I play a Les Paul and a Strat."

"I play a Les Paul and an SG (Gibson), and a Takamine acoustic live. In thestudio I play a lot of different things: I go through a Marshall JCM 800 headand cabinet. I use .011 D'Addario strings and a Boss chorus, overdrive anddigital delay."

Kim, the Breeders' sonic mastermind, runs her acoustic guitars through a Marshall amp. Her rhythm work doesn't simply add texture or tension, butshapes the songs into churning walls of fuzz. "I kind of have a problem withclean acoustic sounds, like the Dan Fogelberg thing," she says. "But I don'tmind acoustic guitar when it's fuzzed up - the low end can be reallyterrifying."

Kelley shares her sister's aversion to clean guitars. She runs her FenderStratocaster - a Christmas present from Kim two years ago - through a RolandJC-120. "But I don't touch it unless I plug in one of those orange distortionpedals (*probably a Boss pedal*)," she stresses. "I really like that distortedsound."

The Deals take an original approach to guitar sounds on Last Splash. Thesecret of Kim's big, chunky rhythm sound is the fact that she plays anelectrified acoustic guitar through a 100-watt Marshall 900 Series amp."It almost doesn't matter what kind of acoustic guitar you use," she says."All that matters is how the graphic eq and electronics are. The acousticI have now sounds like shit when it's unplugged. But I never try to get a Dan Fogelberg-type of sound with it anyway."

On Last Splash, Kim doubled many of her rhythms with her trusty early-SeventiesLes Paul '58 Goldtop reissue, played through a Vox amp. It's the same axe thatJoey Santiago used in the Pixies up through the Surfer Rosa album, and the guitar that Kelley uses for many of her leads in the Breeders. On Last Splash,she also played a Stratocaster and a borrowed Gibson hollowbody. Kelley acheived her fuzzy wild lead tone on "Mad Lucas" by placing her amp in one room. The resultant track was then pumped through an ultra-cheap speaker in a bathroom and re-recorded. "We wanted to make it sound really angry and loud,but really important at the same time," Kim helpfully adds.

Last Splash abounds in sonic surprises that are definately okay. Kelley triesher hand at lap steel and mandolin - instruments she'd never touched before.The same goes for Kim's subtle touches on synthesizer. Josephine adds somecello - something she definately has played before. An old Montgomery Wardamp of Kelley's comes in handy not only for guitars but also the tremoloedand distorted vocals on "Mad Lucas" and the hit single "Cannonball." The inspiration for the latter, Kim confesses, was Gibby Haynes' bullhorn ranton the Ministry song, "Jesus Built My Hotrod."

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