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. Working at FMI — I was able to interview a fellow who wishes to remain anonymous who worked at Fender in in the amp department. Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built. For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly just as with Fender guitar neck plates. The boss came around and said what we’d be building. The chassis weren’t used chronologically. Probably the same as the pots and transformers that we just dug out of the boxes.
How Fender amps work
The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. For speakers this code can be 5, 6, 7 or 8 digits long, and it’s ink-stamped or paint-stamped on the “bell housing” of the speaker. In either case, the code works the same.
This model has all the original specs, some of which are unique to this model:
Plush Gig Bag Case Silkscreen: The Les Paul Deluxe has the 2 mini humbuckers which are sounding just awesome. Furthermore it has an all mahogany body pancake and Mahogany neck. Chrome hardware,rosewood fretboard-cherry finish,an awesome vintage LP Gibson. Condition is good,all works and has all original electronics-frets etc. It has lots of wear on the backside,like buckle rash and scratches,some dents and paintchips. All this is natural aged and therefore its a true relic for its 39 years old.
It will be delivered in an original later brown tolex gibson case These guitars are climbing in value and sought after by players.
The tube charts are not very useful for determining the circuit model. At the Fender factory they used old tube charts when new models came, probably because the tube layout was the same. Determining production date by serial number and transformer codes is better, and you should also inspect the circuit to be completly sure. The picture below shows a transition model amp.
Piggyback model[ edit ] In late , Fender introduced a completely redesigned model 6G6 Bassman Amp, using the “piggy-back” design, in which the amplifier chassis is housed in a small cabinet, attached by metal clips to a larger separate speaker enclosure.
In terms of power and clean headroom it is the smallest of all the Fender piggy back amps. The blackface Tremolux and Bandmaster AB are almost identical amps, just that the Tremolux is sized for smaller events and gigs. The Tremolux had tube rectifier, while the blackface Bandmaster had diode. Both amps had tremolo but no reverb. The sound is nice and clean and the tone remains relatively clean when one turns the volume knob.
The video clip demonstrates a blonde Tremolux, which is quite similar to the blackface. The Tremolux is rarer than the other blackface piggy back amps since it was produced over a shorter period of time. It was discontinued in and had no silverface models to follow.
Dating Fender amps and speakers
If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 so I figure, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size. If you have any preference over overall look, i.
Beautiful amber flame top with Core line upgrades including pickups, tuners and saddles – plus a bone nut and hardshell case. Like the Custom 24 “Killer Quilt” below, it features a mix of gold and nickel hardware.
Other distinct features include a “blocked” American vintage synchronized tremolo, and special electronics circuit that features Fender’s TBX pot middle knob and an active 25dB midrange boost bottom knob , which are wired to work on all pickup settings.
Fender tweed Fender amplifiers began making a name for themselves with the Tweed series, so called because of their cloth covering, which is actually varnished cotton twill tweed is a coarse woollen fabric, commonly used for jackets, coats and caps; it is often woven in a twill pattern, which is likely the reason for the confusion over naming. They were produced for more than a decade and are now eminently collectible and praised for their sound quality.
The twill was first used in on the Dual Professional a twin 10″ 6L6 powered model of which only were made before being renamed “the Super Amp” in These early models are commonly referred to as “TV-Fronts” due to the shape of the cabinet when viewed from above. The Dual Pro was the first twin speaker amp and also the first amp to employ a finger-jointed pine cabinet and the first amp with a top facing control panel.
The construction of the amplifiers was changed as well: This has the benefit of providing ease of access to the inside while providing a strong top. Fender mostly stopped using the twill covering in , though the Harvard was still covered in twill until , and the Champ until The first kind used was an off-white fabric, followed by a horizontal-stripe two-tone pattern, and finally a two-tone twill. At the beginning of the “tweed” era, Fender constructed many of its cabinets in “TV front” style, changing around predominantly to the “wide panel”, where the top and bottom panels are wider than the side.
How to date vintage fender amps
The first Fender solidbody model, the Esquire , lasted in name only from June to October This model name was replaced by the “Broadcaster”, which lasted in name only from the October to January All Broadcasters have truss rods, where many Esquires often have no truss rod.
In , a three tone sunburst finish was also offered as an option.
Features one channel and two inputs; volume, bright, treble, treble expander, bass, bass expander, bright switch, deep switch, stand-by switch, pilot light for stand-by and operate. This amp was built to play larger halls and outdoor concerts. The lack of reverb was not a big issue as most live performances had acoustics full of reverberation halls, arenas. Peter Traynor built these things to stand up to road abuse, unlike a lot of vintage stuff.
It sounds great with either bass and guitar, providing a clean and loud tone. Works great in large club settings. Front panel has two input jacks, controls for treble boost, volume, treble expander, treble, bass expander, bass, presence, and bass boost. There is also a standby switch and corresponding green and red pilot lights. There are no effects in this head, but stomp boxes work just fine.
Dating Your Fender Amp
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.
The machine that stamped the serial number into the back of the chassis got stuck on number A and a lot of pieces were stamped with this number.
Bass 6 , to Typical wear on a ‘s Fender maple fingerboard. Fingerboard Material Maple fingerboard, s: This was the standard neck on all models until when the Jazzmaster was introduced with a rosewood fingerboard; the rest of the Fender models changed to rosewood fingerboards in mid Rosewood fingerboard, “Slab” Brazilian , to That is, the bottom of the fingerboard was flat and the board was fairly thick.
A picture of a slab board neck as seen from the “butt” of the neck can be seen in this picture. Also shown is the difference between reissue and original slab board necks. The Musicmaster family also used slab fingerboards usually Indian rosewood for about a year from Sept to Oct Slab fingerboards are also identifiable from the peghead by their “hump” line humps toward the tuners , just above the nut.
Rosewood fingerboard, “Veneer”, The veneer of rosewood got even thinner by mid
In fact, it was likely that your parents were steering you in the direction of accordion lessons. The Beatles — and of course others — stopped all that. Suddenly, electric guitars were 1 on every kids Christmas list. Companies that had been manufacturing Accordions for 20 years, retooled for electric guitars. EKO was at the forefront, and within 2 years they were shipping over 10, electric guitars to USA per year.
The diagonal body route between the neck pickup and the control cavity is suspended.
It is an opportunity for us to reflect on the language and ideas that represented each year. So, take a stroll down memory lane to remember all of our past Word of the Year selections. Change It wasn’t trendy , funny, nor was it coined on Twitter , but we thought change told a real story about how our users defined Unlike in , change was no longer a campaign slogan.
But, the term still held a lot of weight. Here’s an excerpt from our Word of the Year announcement in The national debate can arguably be summarized by the question: In the past two years, has there been enough change?
The Marketplace for Musicians
This results in a fatter tone. Signal distortion In signal theory distortion is defined as a change of amplitude, frequency or phase. These are just different words for distortion. Distortion is for many tube amp guys considered a good thing since it makes the tone thicker, fuller and with more sustain.
The flamed maple back on this is unusual for a budget line guitar and from the comparable models I’ve seen on the web, as nice as you’ll find on this model.
History[ edit ] The 5B6 Bassman[ edit ] During , the Fender 5B6 Bassman amplifier was introduced as a combo amplifier cabinet that included the amplifier chassis combined with one 15″ speaker. It was designed to generate 26 watts at an 8 ohm impedance load, and offered a cathode-based bias. In the cabinet designs were changed to the so-called “Wide Panel” design, with a 5 inch wide tweed covered panel above and below a wider swath of grill cloth.
Fender ceased production of 5B6 Bassman amplifiers during the spring of The 5D6 was a major departure from the earlier 5B6 Fender Bassman model. The circuit had two innovations: No schematic for the 5D6 circuit has ever been found, but Ken Fox and Frank Roy have created a few from originals, and copies are freely available online. Only 11 of these early 5D6 Bassman examples are known to have survived. Narrow panel models, to [ edit ] Fender began making other models with tweed covering, a similar open backed cabinet with a rectangular grill cloth and a narrow just over an inch wide tweed covered panel at the top and bottom.
Produced from until , these models are called the “narrow panel” tweed amps. The 5E6-A Bassman model was introduced later that year and included some evolutionary improvements. By the middle of more than 1, examples of the 5E6 series had been sold.