Thanks for the interest in the amps, I really do appreciate it.
Several years ago I was asked what my business model was for the amps, and I didn’t have to think long before giving an answer. It’s what I believe in, and hopefully I succeed in following it. It’s a very simple plan with just three objectives. Provide a good product at a fair price, treat the customer well and with honesty, and finally have fun. You can always add more things like making money, etc., but I honestly believe those first three are the most important to follow.
Another thing I’ve learned is that satisfied customers are the best advertising you could ever hope for. So other than this website, I rely solely on my customers for their “word of mouth” advertising about the amps. That also lets me stay focused on doing things right rather than on a new ad campaign to boost sales the next quarter.
Feel free to contact me with any questions you might have, I do love to talk about Lil Dawg Amps.
When you think of the amps that had the most influence on music, I believe the Fender tweed amps of the late ’50s, like the Tweed Deluxe have to be at the top of the list. The variety, innovation, power, and most importantly the tone, set the Fender tweeds apart from anything else being offered at the time and for years to come.
There are quite a few amps available today, and to some extent they all
have their beginnings in the legacy that Leo Fender left behind.
The Wonderdawg – Lil Dawg’s first blackface amp!
I had been interested in adding one of the AB763 blackface circuits to the line-up for a while now, but also wanted it to be a unique and versatile platform as well. What I decided on was a single channel circuit with reverb voiced as a Deluxe Reverb but I married it to the Super Reverb tone stack so it now has the middle control, and since the amp only has the single channel I was able to fit it into a Princeton Reverb cab & chassis.
The British amps are also deserving of recognition for the role they played in shaping the sound of modern music as well. There were many amps to choose from in the ‘60s, but the Marshall brand seemed destined to make history early on. Usually we think of the full Marshall stack, with 50, 100, even 200 watt heads driving multiple 4×12 cabinets. With sound that could fill a stadium, the Marshall tone caused many guitarists to aspire to stardom. It was after a request from another friend that I agreed it was time for Li’l Dawg to offer a British voiced amp.
The years of the Fender brown amps ran from ’59-’63 with the majority being made during ’61-’63. The era of the tweed circuits was winding down and a transition was taking place as Fender was looking to the future. Vibrato or tremolo was standard on most of the brown amps, and though their production was short lived they made quite an impact on a lot of players. Hard to find but still in demand, the brown amps have a definite place in a lot of music genres.