To start with, the American-made models have been and will always be the flagship models of the line. The Japanese Fender models are reissue styled, and second to the American models in terms of price. The rhythm circuit of traditional Jazzmasters roller knobs above the neck pickup are also gone. Otherwise, they include traditional tremolo and bridge, and the neck pickup is a traditional Jazzmaster style branded Duncan Designed with vintage-style non-adjustable polepieces. Finally, the Modern Player Jazzmasters dispense with more of the traditional touches, opting for two humbuckers, no rhythm circuit, non-traditional bridge, and a maple fretboard as an option. Under the hood, I have found that the Mexico-made models have full-size pots with, the Blacktop models at least, solid shafts. The Squier models have the smaller pots for tone and volume with the more common split shafts.
How old is my fender silverface twin reverb?
I know there are some posts on speakers for Fender Twin Reverbs on this board already, but I don’t really feel that my question has been answered, so please forgive me if I bug you with questions, that might have been handled before! I recently purchased a Silverface Fender Twin Reverb in excellent condition according to the local amp guru but I am not really happy with the speakers.
They are Fender stock speakers labeled 12T and I am afraid, those are the infamous and highly ineffective “Ox-Farts” as some people call them. In fact the amp sounds nice at low volumes and played clean as long as there are no distinct transients in my playing which make it just “fart” with an unpleasant, fuzzy distortion. Using any kind of overdrive or distortion pedal just reveals this effect even more.
The tweed amps were being phased out and the brown/blonde amps were introduced. Although there are always strange amps from any era (tweed, brown/blonde, blackface, silverface), more changes probably occurred in than any other year.
Where can I get parts for my Fender Amp? Why isn’t my Fender amp listed in the Field Guide If you’re Fender amp isn’t listed in the guide it is most likely because it is a solid state amp. The guide is an extention of this fascination with tube technology so I have chosen to ignore the models that do not make use of thermionic phenomena for amplification.
As for the qustion of tubes vs. What is meant when an amp is referred to as a “black face” Fender? Contrary to what you might think, this term is not politically incorrect and has nothing to do with Al Jolson. The term “black face” refers to the color of the amp’s contol panel. Fender typically chose a cabinet style, covering, and grille cloth and used it across the entire amp line.
Therefore it is a convenient way of refering to an amp of that particular era. This refers to amps produced between They are called woodies because of the uncovered wood cabinets and matching wood handles. These cabinets came in three finishes: The baffle was covered in either a red, yellow, or blue fabric with three sometimes only two chrome “slats” running from top to bottom.
Fender Amplifier Date Codes
I promise the tables will still be there after you finish reading. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late and early so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period.
Lots of different speakers were used in the blackface and silverface era Fender amps. In a BF Vibrolux Reverbs you could have either Jensen, CTS or Oxford, the BF Super Reverbs had Jensen, CTS, Oxford or sometimes JBL, the BF Pro Reverb had Jensen, Oxford or Utah, ++.
Fender is a manufacturer of electric guitars, amplifiers and related musical equipment. Many of their instruments and amplifiers made as far back as the early s are still in active use today. This includes the Deluxe Reverb amplifiers produced between and , which came in two forms: Dating a vintage Deluxe Reverb amplifier requires that you know the serial number, located on the chassis. This is the easiest part of the process: If the front of the amplifi The world renowned Fender Musical Instruments Corporation has been manufacturing sought-after musical instruments for more than half a century.
Originally an amplifier manufacturer, it has gone on to produce some of the finest guitar amplifiers to sit alongside their iconic instruments. The Twin and Deluxe Reverb amplifiers have withstood the test of time and are still played the world over by guitarists of all levels. HistoryWhen Leo Fender founded his company in , its main products were amplifiers for musical instruments. In , the first incarnation of the Fender Twin was launched.
Fender Stratocaster Guitar Forum
Contains 8 metal-shaft CTS pots, with the correct values and tapers to match the original pots. Also contains 3 replacement carbon comp resistors which are directly attached to certain pots in the kit. Two volume, two treble, two bass, one speed, one intensity. The volume pots, treble pots, and speed pots have brass-colored shafts; the other pots have silver-colored shafts. Contains 10 metal-shaft CTS pots, with the correct values and tapers to match the original pots.
dating fender amplifiers (including silverface and blackface amps) using transformer codes In general, Fender amps that don’t have rubber-stamped tube sticker date codes have EIA numbers on their transformers that might enable determination of the production date.
Reviews was a transitional year for Fender amps, with tone that was still pure Fender but a look that was brand new. With a silver-and-turquoise front panel and classy aluminum drip edge grille cloth trim, the Princeton Reverb received a fresh new face as it remained the perfect recording and gigging amp. Small, light and moderately powered, it produced big tube tone, with world-class Fender reverb and vibrato effects.
For countless guitarists ever since, the Princeton Reverb has been the go-to amp for classic Fender sound. The 68 Custom Princeton Reverb Amp pays tribute to the classic look, sound and performance of Fenders late s silverface amps. In a special twist, a modified tone circuit gives modern players greater tonal flexibility with pedals, and the amps reduced negative feedback gives greater touch sensitivity and quicker onset of overdrive.
BF/SF Super Reverb
Technology Circa The Fender Bassman 5F6-A “While the industry was doing its best to move the format forward or to convice the amp-buying public that that was what it was doing, at least one great artist after another was discovering the unmitigated glory of a cranked 5F6-A Bassman, and the way that one of these rough-edged old bass amps from the late 50s could sing like sweet hellfire when you injected a good six-string guitar and found its sweet spot. Teaming the pre-CBS Fender Stratocaster and the late s tweed Fender Bassman amplifier has been a dream for most every guitarist at least once in their playing career, and more stars have used this combination of gear – or something extremely similar – to make memorable music than perhaps any other coupling of guitar and amp.
From right to left, they implement a first-stage preamp, a second-stage voltage amplifier and DC-coupled cathode follower, a long-tailed-pair phase inverter, a fixed-bias push-pull power amp, and a high-voltage DC power supply. Only the bright channel is shown here.
Feb 20, · There was just an article in Vintage Gutar about dating Fender amps. It is the April issue. I think the article is called Fender amps by the numbers.
The Super Reverb can be really loud and even interfer with the bass guitar. Just two speakers are enabled 4 ohms with a 65 Super Reverb having tremolo disconnect mod and V1 tube pulled out. These tubes have different frequency responses than 12AX7, particurlarly when distorting. People describe these tubes to have less harsh and buzzy distortion. This mod does not alter the tone significantly when amp is played clean or when only the power amp section distorts.
It is so easy to enable and disable that it can hardly be called a mod. This is the preamp tube for the normal channel which you are not using when playing the Vibrato channel. This mod is safe. It has stood the test of time and been been done by players in 50 years in blackface Fender amps. Very practical mod at practice and low volume environments. If you pulled the V1 12AX7 tube you may use it as V6 phase inverter. Reverb is an important character with vintage amps, yet so individual and mysterious.
We all know that speakers change their tonal character during age. So does the reverb.
Drip Edge Fender Amp Years of Production
The progress of this type of work is slow, hence the long hiatus, however, a lot of new data have been collected regarding Fender amplifiers, including production numbers. Advances have been made with regards to the production of tolex amps and it appears that much of this information can be applied to late s tweed amps as well. In addition, the dating-by-serial number tables have been revised and are more accurate. The bad news is that there is still a lot of work that needs to be done on the silverface amps.
Unfortunately, there is some sad news to report as well.
Dating Fender Amps – Tube chart on the inside of the amp is stamped with two letters (A – Q): The first letter designates the year and the second letter designates the month.
However, the first drip-edge models appeared in late August of as the black-face cosmetics were being replaced by silver-faced amps. The most popular amps, like the Deluxe Reverb, were the first to receive the new look, which included not only the silver face-plate and aluminum drip-edge, but also a slightly different grill cloth with added subtle vertical blue stripes.
A few models during this early silverface period actually have the new silver face-plate and the old blackface style back-plate, and the earliest silver faceplates have the mysterious slim black vertical lines more on this later. It makes sense that the amps that were not selling as well were the last to receive the new look, as they were the models for which the old black-face parts lasted the longest, and inversely the most popular models were the first to get the update, as their black-face parts ran out the earliest.
What does this mean? It means that you may see a drip-edge Deluxe Reverb with a build date as early as mid , and a black-face non-reverb bandmaster or Vibrolux as late as February of Now, as for when the drip-edge was eliminated. Once again, the most popular models were the first to lose the aluminum trim in mid and the least popular were the last to lose it in late , with the Bandmaster Reverb TFL D as the very last.
By January of all fender amps being produced were the more common non-drip edge silverface models, those cosmetics continued on unchanged through the entire decade. All models had blackface cosmetics. The most popular models began to lose their drip edge. All models have the non-drip edge silverface cosmetics. There is no clear consensus as to why these lines exist; they appear just before the Volume controls and on either side of the amps name.
Essentially providing the same features as its reverb-less predecessor, the Bandmaster Reverb boasts 40 watts of tube power via a pair of 6L6 power tubes and a host of preamp tubes as well. The amp excels at delivering big, bold clean tones and pushes into sweet tube overdrive after around 5 on the volume dial. The reverb is lush and splashy, and the tremolo has a nice strong chop.
The circuit is extremely original, with all of the stock Schumacher transformers present.
Silverface amps with aluminum trim surrounding the grill cloth are models Silverface Amps began in , when Fender made circuit changes to most amps, making them a little less desirable than the blackface amps. A good amp tech can make these sound great.
An outdated place for some nobody to be serious about things like science, religion and philosophy. But not too serious. April 24, Fender Twin Reverb: But I just finished a major project and I wanted this information to be available to the world. Now on to the good stuff! I own a Fender Twin Reverb and it was in need of some significant maintenance.
My amp was built in , probably early in the year judging from the parts.
Replacement speakers for Fender 1970 Twin Reverb Amp
It might be because it was a sentimental gift, maybe it was sold to pay the bills, or maybe you just didn’t realize how much you loved that guitar until it was gone. These are the stories of the ones that got away. Most of them are my own stories, but send me your stories as well and they just might get published here. The story of this amp is one of those. At some point I got the “vintage Fender amps are so cool” bug, and knew I wasn’t going to afford anything but a silverface Fender, if that.
Later Fender blackface and silverface tube amps should NOT have 6L6, 6L6G, 6L6GA or 6L6GB installed, due to higher operating voltages and currents. If you wish to use modern tubes in such amps, stick to a true 6L6GC or KT
And there’s so many variations from year to year that I could probably make this post long enough to be very boring. Here’s my basic rundown based on my experience with like 50 different Bassman amps. The early-mid 60’s blonde piggybacks saturate really well, do the “distorted guitar sponge” thing, and can be cleaned up nicely with the guitar’s volume knob. They are also way too expensive for what they are and I’m glad I got one like five years ago instead of today!
Blackface amps have slightly more clarity with overdrive and distortion that are easier to deal with. These are probably the most versatile of the bunch. The cabinets don’t sound “as good” as the blonde tolex ones and it is of your best interest to pair up a blackface Bassman with a raunchy 4×12 for absolute slaying of every modern Marshall amp. Very difficult to make these amps suck, or not do what you want.