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Back in the 60’s the good people at the Leslie headquarters in Pasadena, California, found yet another way to expand the market for the Leslie speaker: They developed a chrome wedge-shaped gizmo that would allow any audio signal to be connected to the Leslie speaker. Now, one *could* assume that the need for a 1/4″ jack input came from guitar players of the flower-power-acid-progressive rock scene, and true – many of the really big names experimented with the Leslie guitar sound – Jefferson Airplane and Quicksilver Messenger Service are two West Coast names that spring to mind. (British bands of the more experimental scene with Pink Floyd as perhaps the greatest contributor, and of course The Beatles, used the Leslie for almost anything imaginable – drums, vocals, piano – you name it.) I don’t really buy that 😉 – the Leslie guitar sound while now famous for its connection with the 60s was not the main factor here. I believe that the market for owners of so-called combo organs (Farfisa, VOX, Gibson etc.), accordions and other types of reed-style instruments was a much more interesting potential buyers of Leslie speakers. Before the Combo Preamp came out, people that wanted to mate a low-output signal with a Leslie cabinet would have to build their own interface and drive the Leslie with, say, a small guitar amplifier. With the new integrated design of Leslie Combo Preamp, utilising the newest solid state technology, the job was now much easier. The new invention was a neatly designed stomp-box with two 1/4″ jack inputs, separate volume control knobs, a foot controlled fast/slow button, a yellow light for tremolo indication, a red light for power and of course the 6 pin amphenol socket where the Leslie cable was plugged into. Also mounted on the box was a line cord both for supplying the Combo Preamp’s internal circuitry with power and passing power on to the Leslie cabinet through the 6-pin connector. The first model, simply called Leslie Combo Preamp, was made to interface with the type 147 power amplifier.