Forword:
Please keep this thread clean, be focused and keep your questions related to the topic of the thread.
1978 Rig ONLY, I will adress later setups in forthcoming threads.
We don't want this thread locked again.
Thank you.
This one's for you Cary.
Introduction:
In those days, power attenuators such as Marshall's Powerbrake or Thd's hotplate were not around yet.
Marshall amps didn't feature an effects loop yet either.
With cranked Marshall plexi's and superleads the main concern was volume: either you'd become deaf or you would blow nice 20-25 watts Celestion Greenback speakers.
Running time-based effects in front of a dimed Marshall wouldn't always sound good, it would add more noise to an already "hissing" amp.
First came the variac: lowering the input voltage by 20 volts would bring the amp's volume down.
With the variac, the amp would feel spongier and the character of the power tubes' distortion would be altered in a very musical way.
Then came "slaving" .
Now you had a line-level effects loop between the 2 amps (after the load ).
The first amp would act as the preamp (the distortion box), and the second amp would act as the power amp stage.
Now you could get great power tube distortion from amp 1 and use amp 2 to set the volume to a reasonable level.
Now you had an effects loop, and gone were the hearing loss and/or blown speakers !
Ed's 1978 touring rig.
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ROBIN L.
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Ed's 1978 touring rig.
Last edited by ROBIN L. on Fri Mar 13, 2009 3:29 pm, edited 11 times in total.
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ROBIN L.
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Re: Ed's 1978 touring rig.
The guitars :
Ed used 3 guitars for that first world tour and album.
I covered this topic in many previous posts so I'll run through it quickly.
Frankie: hard ash body, vintage fender tremolo bridge, brass nut, maple neck with maple cap fingerboard, original Gibson alnico II PAF pu rewounded by Seymour Duncan (prior to the recording of VH1).
Painted by Ed with bycicle paint.
Its neck pocket was not properly cut, the neck was slightly slanted downwards and the high E string was almost off the edge of the fingerboard behond the 12th fret.
It was not a nice job, rather a piece of s..t guitar but Ed made it sound soooo good.
Sharkie: believed to be made of korina wood (but apparently the body was ash and the neck was made of maple), unpainted and uncut for the recording of vh1.
Original Ibanez nickel covered pu was used for the recording of vh1.
Ed took a piece out of the body and painted it prior to going on tour (I think it was Wayne Charvel who did the paint job, but I 'm not sure).
He kept the original pu on it for a short while, then replaced it with a black Hotrodded PAF made for him by Seymour Duncan.
Ed widened the grooves of the bridge to match the string spacing of Frankie.
He put a brass nut on it as well (prior to the recording of Vh1).
Later in the tour, Sharkie was replaced by a white Gibson Les Paul Custom.
At first, Ed put the original Ibanez nickel covered bridge pu taken from Sharkie in the Les Paul. Later he put another Seymour Duncan hotrodded PAF in it (cream colored).
Keep in mind the band saw very little money at the time.
The tubes:
Power tubes were fat bottle Sylvania (later Philips) 6CA7's.
These tubes sound closer to 6L6's than EL34's.
We had cases of these, Ed would burn them really fast.
They were not matched sets, nobody cared.
If one blew, it was randomly replaced.
On his main plexi and its backup (a wonderful 50 watter), the internal bias knob was dimed (yes you read right).
He blew OT on those 2 plexis on many occasions.
We had many spares on hand as well.
He used several brands of 12AX7's preamp tubes.
These were individualy selected for low noise, sound and microphonics.
That's all I know and remember about preamp tubes.
the main PLEXI and its backup:
Ed owned several plexiglas 68-69 Marshalls, 3 of wich were 50 watters,
The wooden plexi was a 100 watter, and so was his main plexi.
His main one was the only one with just one filter cap on top of the chassis, all the others had more than 1 cap on top.
The main plexi and all the 50 watters featured laydown power transformers.
I assume the main one was the earliest model because it only featured one filter capacitor on top of the chassis.
George, is this correct ?
Man, that backup 50 watt plexi sounded sooo good, but Ed favored 100 watters.
We had a dozen Marshalls (plexis and superleads) on tour in 1978.
All of them were the 4 inputs non master volume type.
The metal pannel ones sounded great too, but they were mainly used for slaving(amp 2).
The load-line level box:
Jose Arredondo built a few prototypes for Ed.
The one used by Ed on the 1978 world tour featured 2 inputs, a volume knob, and 3 line level outputs.
That volume knob was used to control the overall stage volume of the rig.
The 2 inputs were fed with the speakers outputs of the main plexi and the 50 watt smallbox plexi.
Both were loaded, but the amp not in use was kept on standby (he didn't use both simultaneously).
So, there were 3 line level cables tapped from the resistive load feeding the top left inputs of 3 Marshall superleads.
The volume on those amps was set at 9'o clock for a clean sound with just a tad of grit.
Ed mainly used 3 stacks, but only the bottom cabs were wired.
It must be said that Ed was really concerned about protecting his hearing from loud stage volumes (in 1984 things got really insane soundwise).
For bigger venues, he'd need up to ten amps-ten bottom cabs, so the extra needed heads were daisy-chained with the first 3.
The overall volume of the rig was set with an adjustable pot located right next to 3 tapped lines out of the resistive load.
An overly loud line level signal would make the 3 amps distort, so the pot was adjusted for no distortion, but it was damn loud anyway.
The main plexi and its backup smallbox plexi were dimed (all 6 knobs on 10) and variac'ed (set for 90 volts).
The settings on the amps:
The loaded plexis acting as distortion boxes (preamps) were dimed all the way on that tour.
The plexis and superleads used for slaving had both volumes set at 9 o'clock, but the inputs were not jumpered.
Ed said that the normal volume (last knob to the right) adds warmth to the sound.
Only the top left input was used.
Using the bright channel for slaving would really offset the overly bassy flubbiness from the dimed plexi, and it would smooth things out.
For the superleads (metal pannel), the preamp knobs were basically set as followed, but with some slight changes depending on the amp:
presence: off
bass: 10
middle: off
treble: off
Live, plexi's were seldom used for slaving (amp2), but the preamp settings were not the same as the superleads because they sounded darker and cleaner than the superleads.
The amp used for slaving on the first album was the wooden plexi often seen in many of the pics uploaded on this forum.
The wooden amp was modded by Jose Arredondo to act as a pure poweramp prior to the recording of the second album.
The pedalboard and effects chain:
Ed used this crappy plywood pedalboard for his effects pedals.
The 2 Maestro Echoplexes were sitting next to the amps on ED's side of the stage, but their footswitches were located next to the plywood board.
The Univox was shelved in a real WWII bomb standing to the right of Ed's cabs.
It was just unbelievable you know, those were really the good 'ol days.
On the board, Ed's guitar would hit the MXR Flanger, then the MXR Phase 90.
From the ouput of the phase 90, a long cable would then reach the 2 echoplexes (wired in series).
After the echoplexes, another long cable would go back to the stage pedalboard to the input of BOX 1, then out to the input of BOX 2.
Yet another long cable would connect the ouput of BOX 2 to a "Y"-type splitter , and then hit the top left inputs of the main plexi and its smallbox backup.
BOX 1 and 2 were loopers for the MXR 6bandEQ 's Ed was using to boost his signal prior to hitting the plexi.
Most of the time, Box2 was not used, but from time to time he would have a second MXR EQ on his board.
The MXR EQ's were replaced by The Boss EQ's in the summer after the japanese leg of the tour.
Btw, Ed was not using a wireless yet in 1978.
The MXR pedals were stock script logo pedals.
In the early 80's, Ed had them overlooked by Jose to reduce unwanted noise (shielding and replacing cheap components with better ones).
The main plexi and his backup were loaded and the line level signal was fed to the univox before it was slaved to the superleads and out to the cabs.
One last note: The magic lies in Ed's hands, not in his rig.
And the rest is history.
Ed used 3 guitars for that first world tour and album.
I covered this topic in many previous posts so I'll run through it quickly.
Frankie: hard ash body, vintage fender tremolo bridge, brass nut, maple neck with maple cap fingerboard, original Gibson alnico II PAF pu rewounded by Seymour Duncan (prior to the recording of VH1).
Painted by Ed with bycicle paint.
Its neck pocket was not properly cut, the neck was slightly slanted downwards and the high E string was almost off the edge of the fingerboard behond the 12th fret.
It was not a nice job, rather a piece of s..t guitar but Ed made it sound soooo good.
Sharkie: believed to be made of korina wood (but apparently the body was ash and the neck was made of maple), unpainted and uncut for the recording of vh1.
Original Ibanez nickel covered pu was used for the recording of vh1.
Ed took a piece out of the body and painted it prior to going on tour (I think it was Wayne Charvel who did the paint job, but I 'm not sure).
He kept the original pu on it for a short while, then replaced it with a black Hotrodded PAF made for him by Seymour Duncan.
Ed widened the grooves of the bridge to match the string spacing of Frankie.
He put a brass nut on it as well (prior to the recording of Vh1).
Later in the tour, Sharkie was replaced by a white Gibson Les Paul Custom.
At first, Ed put the original Ibanez nickel covered bridge pu taken from Sharkie in the Les Paul. Later he put another Seymour Duncan hotrodded PAF in it (cream colored).
Keep in mind the band saw very little money at the time.
The tubes:
Power tubes were fat bottle Sylvania (later Philips) 6CA7's.
These tubes sound closer to 6L6's than EL34's.
We had cases of these, Ed would burn them really fast.
They were not matched sets, nobody cared.
If one blew, it was randomly replaced.
On his main plexi and its backup (a wonderful 50 watter), the internal bias knob was dimed (yes you read right).
He blew OT on those 2 plexis on many occasions.
We had many spares on hand as well.
He used several brands of 12AX7's preamp tubes.
These were individualy selected for low noise, sound and microphonics.
That's all I know and remember about preamp tubes.
the main PLEXI and its backup:
Ed owned several plexiglas 68-69 Marshalls, 3 of wich were 50 watters,
The wooden plexi was a 100 watter, and so was his main plexi.
His main one was the only one with just one filter cap on top of the chassis, all the others had more than 1 cap on top.
The main plexi and all the 50 watters featured laydown power transformers.
I assume the main one was the earliest model because it only featured one filter capacitor on top of the chassis.
George, is this correct ?
Man, that backup 50 watt plexi sounded sooo good, but Ed favored 100 watters.
We had a dozen Marshalls (plexis and superleads) on tour in 1978.
All of them were the 4 inputs non master volume type.
The metal pannel ones sounded great too, but they were mainly used for slaving(amp 2).
The load-line level box:
Jose Arredondo built a few prototypes for Ed.
The one used by Ed on the 1978 world tour featured 2 inputs, a volume knob, and 3 line level outputs.
That volume knob was used to control the overall stage volume of the rig.
The 2 inputs were fed with the speakers outputs of the main plexi and the 50 watt smallbox plexi.
Both were loaded, but the amp not in use was kept on standby (he didn't use both simultaneously).
So, there were 3 line level cables tapped from the resistive load feeding the top left inputs of 3 Marshall superleads.
The volume on those amps was set at 9'o clock for a clean sound with just a tad of grit.
Ed mainly used 3 stacks, but only the bottom cabs were wired.
It must be said that Ed was really concerned about protecting his hearing from loud stage volumes (in 1984 things got really insane soundwise).
For bigger venues, he'd need up to ten amps-ten bottom cabs, so the extra needed heads were daisy-chained with the first 3.
The overall volume of the rig was set with an adjustable pot located right next to 3 tapped lines out of the resistive load.
An overly loud line level signal would make the 3 amps distort, so the pot was adjusted for no distortion, but it was damn loud anyway.
The main plexi and its backup smallbox plexi were dimed (all 6 knobs on 10) and variac'ed (set for 90 volts).
The settings on the amps:
The loaded plexis acting as distortion boxes (preamps) were dimed all the way on that tour.
The plexis and superleads used for slaving had both volumes set at 9 o'clock, but the inputs were not jumpered.
Ed said that the normal volume (last knob to the right) adds warmth to the sound.
Only the top left input was used.
Using the bright channel for slaving would really offset the overly bassy flubbiness from the dimed plexi, and it would smooth things out.
For the superleads (metal pannel), the preamp knobs were basically set as followed, but with some slight changes depending on the amp:
presence: off
bass: 10
middle: off
treble: off
Live, plexi's were seldom used for slaving (amp2), but the preamp settings were not the same as the superleads because they sounded darker and cleaner than the superleads.
The amp used for slaving on the first album was the wooden plexi often seen in many of the pics uploaded on this forum.
The wooden amp was modded by Jose Arredondo to act as a pure poweramp prior to the recording of the second album.
The pedalboard and effects chain:
Ed used this crappy plywood pedalboard for his effects pedals.
The 2 Maestro Echoplexes were sitting next to the amps on ED's side of the stage, but their footswitches were located next to the plywood board.
The Univox was shelved in a real WWII bomb standing to the right of Ed's cabs.
It was just unbelievable you know, those were really the good 'ol days.
On the board, Ed's guitar would hit the MXR Flanger, then the MXR Phase 90.
From the ouput of the phase 90, a long cable would then reach the 2 echoplexes (wired in series).
After the echoplexes, another long cable would go back to the stage pedalboard to the input of BOX 1, then out to the input of BOX 2.
Yet another long cable would connect the ouput of BOX 2 to a "Y"-type splitter , and then hit the top left inputs of the main plexi and its smallbox backup.
BOX 1 and 2 were loopers for the MXR 6bandEQ 's Ed was using to boost his signal prior to hitting the plexi.
Most of the time, Box2 was not used, but from time to time he would have a second MXR EQ on his board.
The MXR EQ's were replaced by The Boss EQ's in the summer after the japanese leg of the tour.
Btw, Ed was not using a wireless yet in 1978.
The MXR pedals were stock script logo pedals.
In the early 80's, Ed had them overlooked by Jose to reduce unwanted noise (shielding and replacing cheap components with better ones).
The main plexi and his backup were loaded and the line level signal was fed to the univox before it was slaved to the superleads and out to the cabs.
One last note: The magic lies in Ed's hands, not in his rig.
And the rest is history.
Last edited by ROBIN L. on Fri Mar 13, 2009 4:06 pm, edited 27 times in total.
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svg5150
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- Joined: Wed Feb 25, 2009 5:11 pm
- Just the numbers in order: 7
Re: Ed's 1978 touring rig.
hello robin,
You gave us some great info about his setup!! Could you give us some more info about the effects ed was using?
For instance: i had MANY mxr phase 90's, but none of them sounded so fat, rich etc as his.. Where they modded?
thanks,
steve
You gave us some great info about his setup!! Could you give us some more info about the effects ed was using?
For instance: i had MANY mxr phase 90's, but none of them sounded so fat, rich etc as his.. Where they modded?
thanks,
steve
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ROBIN L.
- Senior Member
- Posts: 147
- Joined: Mon Feb 09, 2009 6:14 am
- Just the numbers in order: 7
Re: Ed's 1978 touring rig.
More coming about amps, tubes, effects chain, load box, .... don't worry I'll cover just about everything.svg5150 wrote:hello robin,
You gave us some great info about his setup!! Could you give us some more info about the effects ed was using?
For instance: i had MANY mxr phase 90's, but none of them sounded so fat, rich etc as his.. Where they modded?
thanks,
steve
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cary chilton
Re: Ed's 1978 touring rig.
Hey wow, dedicated me! Thanks Robin 
I am most curious about this load resister, how to make like Ed had! I am pretty sure Ed use Telefunken 12ax7s and Sylvania 6CA7's for tubes. Also Robin, if I am slaving my 69 plexi super trem into my 67 spec plexi, do I need an attenuator for the slave amp or not?
Thanks
I am most curious about this load resister, how to make like Ed had! I am pretty sure Ed use Telefunken 12ax7s and Sylvania 6CA7's for tubes. Also Robin, if I am slaving my 69 plexi super trem into my 67 spec plexi, do I need an attenuator for the slave amp or not?Thanks
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ROBIN L.
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- Joined: Mon Feb 09, 2009 6:14 am
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Re: Ed's 1978 touring rig.
Hey Cary, you're welcome.cary chilton wrote:Hey wow, dedicated me! Thanks Robin
Thanks
Please everyone wait intil I'm finished writing the whole tread before you fire your questions at me !
I'm very busy running my business.
Cary, by "the slave amp", I am assuming you mean amp 2 after the load.
Ed didn't attenuate it nor varic amp 2, but kept its volume at 9 o'clock.
That's very loud, but still clean.
If you're doing it at home, I would certainly run a hotplate or some other brand of attenuator between amp 2 and the speaker cabinet it's wired to.
I WILL NOT ANSWER ANYMORE QUESTIONS UNTIL I AM FINISHED WRITING THE THREAD.
PLEASE BE PATIENT AS I PLAN TO COMPLETE IT TODAY
KEEP YOUR QUESTIONS TO 1978 RIG ONLY, LET'S KEEP THIS THREAD CLEAN AND ORGANIZED.
FOR OTHER QUESTIONS, PLEASE USE THE NEW THREAD CARY CHILTON STARTED: "QUESTIONS FOR CAMERON, FRIEDMAN, ROCKSTAH, ROBIN L.".
THANK YOU.
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nitro
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Re: Ed's 1978 touring rig.
Eds 1970s white les paul custom had a cream colored dimarzio super distortion in the bridge postion,thats a fact you can view some of the early photos of that guitar.As for the frankie the ORIGINAL PAF pickup came out of a 1961 gibson es335 guitar,gibson used alnico V magnets exclusively in 1961.As for Eds destroyer(shark)it was made out of ash not korina,they had a korina finish,(clear with a tint of yellow).Ed took the destoyer to wayne to have it painted black,but wayne didnt have time to paint it,ED painted the guitar himself.
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ROBIN L.
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Re: Ed's 1978 touring rig.
You're right about the cream colored pu in the Les Paul, sorry.nitro wrote:Eds 1970s white les paul custom had a cream colored dimarzio super distortion in the bridge postion,thats a fact you can view some of the early photos of that guitar.As for the frankie the ORIGINAL PAF pickup came out of a 1961 gibson es335 guitar,gibson used alnico V magnets exclusively in 1961.As for Eds destroyer(shark)it was made out of ash not korina,they had a korina finish,(clear with a tint of yellow).Ed took the destoyer to wayne to have it painted black,but wayne didnt have time to paint it,ED painted the guitar himself.
I'm gonna check that mistake.
Thanks, I am rushing through this and besides, my memory isn't flawless.
But it wasn't a super distortion, maybe the magnet and plastic were dimarzios, but it's Seymour who did rewind the pu.
Seymour D. had a small shop back then, not the huge business of today.
He was doing repairs, winding and tweeking existing pu's at the time.
Also for Frankie, I am positive Ed's original PAF that Seymour worked on was alnico II, not V.
You can hear it without a doubt.
Ed loved those alnico II magnets and he would be talk for hours on end about it.
As for Sharkie's body wood, you may be right, but Ed always said and believed it was made of korina.
Somebody should check that with Ibanez.
Remember, I am not the voice of God, I am only reporting what I was told and what I saw.
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vanhalen5150
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Re: Ed's 1978 touring rig.
Actually you are both right. Sort of. 
Korina is the trade name. Body is ash.
http://www.guitarattack.com/destroyer/destroyer.htm" onclick="window.open(this.href);return false;
Korina is the trade name. Body is ash.http://www.guitarattack.com/destroyer/destroyer.htm" onclick="window.open(this.href);return false;
12000 Metro Kit
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ROBIN L.
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- Posts: 147
- Joined: Mon Feb 09, 2009 6:14 am
- Just the numbers in order: 7
Re: Ed's 1978 touring rig.
The tubes:ROBIN L. wrote:The guitars :
Ed used 3 guitars for that first world tour and album.
I covered this topic in many previous posts so I'll run through it quickly.
Frankie: hard ash body, vintage fender tremolo bridge, brass nut, maple neck with maple cap fingerboard, original Gibson alnico II PAF pu rewounded by Seymour Duncan (prior to the recording of VH1).
Painted by Ed with bycicle paint.
Its neck pocket was not properly cut, the neck was slightly slanted downwards and the high E string was almost off the edge of the fingerboard behond the 12th fret.
It was not a nice job, rather a piece of s..t guitar but Ed made it sound soooo good.
Sharkie: korina body, unpainted and uncut for the recording of vh1.
Original nickel covered pu was used for the recording of vh1.
Ed took a piece out of the body and painted it prior to going on tour (I think it was Wayne Charvel who did the paint job, but I 'm not sure).
He kept the original pu on it for a short while, then replaced it with a black Hotrodded PAF made for him by Seymour Duncan.
Ed widened the grooves of the bridge to match the string spacing of Frankie.
He put a brass nut on it as well (prior to the recording of Vh1).
Later in the tour, Sharkie was replaced by a white Gibson Les Paul Custom.
At first, Ed put the original Ibanez nickel covered bridge pu taken from Sharkie in the Les Paul. Later he put another Seymour Duncan hotrodded PAF in it (cream colored).
Keep in mind the band saw very little money at the time.
Power tubes were fat bottle Sylvania (later Philips) 6CA7's.
These tubes sound closer to 6L6's than EL34's.
We had cases of these, Ed would burn them really fast.
They were not matched sets, nobody cared.
If one blew, it was randomly replaced.
On his main plexi and its backup (a wonderful 50 watter), the internal bias knob was dimed (yes you read right).
He blew OT on those 2 plexis on many occasions.
We had many spares on hand as well.
He used several brands of 12AX7's preamp tubes.
These were individualy selected for low noise, sound and microphonics.
That's all I know and remember about preamp tubes.
the main PLEXI and its backup:
Ed owned several plexiglas 68-69 Marshalls, 3 of wich were 50 watters,
The wooden plexi was a 100 watter, and so was his main plexi.
His main one was the only one with just one cap on top of the chassis, all the others had more than 1 cap on top.
The main plexi and all the 50 watters featured laydown power transformers.
I assume the main one was the oldest because it only featured on capacitor on top of the chassis.
Is this right George ?
Man, that backup 50 watt plexi sounded sooo good, but Ed favored 100 watters.
More later, I goota go.
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jape88
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Re: Ed's 1978 touring rig.
Please, let the guy finish the whole thingROBIN L. wrote:
I WILL NOT ANSWER ANYMORE QUESTIONS UNTIL I AM FINISHED WRITING THE THREAD.
PLEASE BE PATIENT AS I PLAN TO COMPLETE IT TODAY
KEEP YOUR QUESTIONS TO 1978 RIG ONLY, LET'S KEEP THIS THREAD CLEAN AND ORGANIZED.
FOR OTHER QUESTIONS, PLEASE USE THE NEW THREAD CARY CHILTON STARTED: "QUESTIONS FOR CAMERON, FRIEDMAN, ROCKSTAH, ROBIN L.".
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ROBIN L.
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- Posts: 147
- Joined: Mon Feb 09, 2009 6:14 am
- Just the numbers in order: 7
Re: Ed's 1978 touring rig.
yes please.jape88 wrote:Please, let the guy finish the whole thingROBIN L. wrote:
I WILL NOT ANSWER ANYMORE QUESTIONS UNTIL I AM FINISHED WRITING THE THREAD.
PLEASE BE PATIENT AS I PLAN TO COMPLETE IT TODAY
KEEP YOUR QUESTIONS TO 1978 RIG ONLY, LET'S KEEP THIS THREAD CLEAN AND ORGANIZED.
FOR OTHER QUESTIONS, PLEASE USE THE NEW THREAD CARY CHILTON STARTED: "QUESTIONS FOR CAMERON, FRIEDMAN, ROCKSTAH, ROBIN L.".
I will edit my second post in this tread and write later in the day.
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nitro
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Re: Ed's 1978 touring rig.
The creamed colored pickup in the 70s white gibson les paul custom is a dimarzio super distortion it has allen screw adjustable pole pieces,Ed also used the dimarzio super distortion on the black and yellow strat the karl sandoval built im and also the fair warning strat had a dimarzio super distortion(cream color).
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ROBIN L.
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Re: Ed's 1978 touring rig.
nitro wrote:The creamed colored pickup in the 70s white gibson les paul custom is a dimarzio super distortion it has allen screw adjustable pole pieces,Ed also used the dimarzio super distortion on the black and yellow strat the karl sandoval built im and also the fair warning strat had a dimarzio super distortion(cream color).
Like I said it's possible that he took a dimarzio pickup (any model as a matter of fact), BUT he had Seymour work it.
He started using dimarzio super distortion pu's on the second and third world tours when he switched to (early) Floyd Roses bridges for the stage.
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45auto
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- Location: cowtown tx
Re: Ed's 1978 touring rig.
Thanks Robin for taking the time to share this with us.
a little something to help set the mood...
true datI assume the main one was the oldest because it only featured one capacitor on top of the chassis.
a little something to help set the mood...
http://www.soundclick.com/bands/default ... dID=559714" onclick="window.open(this.href);return false;
http://s62.photobucket.com/albums/h119/ ... t=1980.flv" onclick="window.open(this.href);return false;
http://s62.photobucket.com/albums/h119/ ... t=1980.flv" onclick="window.open(this.href);return false;