In response to the demands and desires of four players in Los Angeles, Rusty Anderson, Joel Shearer, Lyle Workman and Nick Lashley, amplifiers from ÷13 underwent construction. Once completed, countless hours were spent in some of the best studios in L.A. listening to every speaker, cabinet, baffle thickness, box material, box size and micing technique before arriving at the final models and outfits currently being offered from ÷13. Within hours of the completion of this process, models went straight to tracking for Paul McCartney's "Driving Rain" and Alanis Morissette's "Under Rug Swept".

In the beginning it was producers and engineering teams that first responded with enthusiasm in the results they were getting with ÷13 amps. Word got around and orders were soon placed from a number of players, writers, producers, engineers and key music makers throughout L.A.

This exact process still takes place with the conception and development of additional models and outfits soon to be offered from ÷13.

How an amp sits in the track...
How it contributes to the magic of the song...
How it works in a live situation...

...have always been, and will continue to be, the sole motivation behind creating ÷13 Amplification.

It is important to note that through this whole process, my oldest and closest friend (and probably a better tech than me), Tim Maag, was the guy I ran everything I did across. Countless hours were spent with him discussing many of the pros and cons of the circuits in developing these amps.

I would also like to thank Richard Robinson for his invaluable help in the beginning. Richard, thanks so much again.

--Fred Taccone

Me and an amp I built for Billy Gibbons