I took it to a gig, and remember being mightily impressed by the way this little not to mention lightweight! I played the whole gig with just the amp and its footswitch for channel and boost switching. I might have had a tube screamer in there as well, just to kick the dirt up a notch, but that was it. There were just so many different sounds you could get from that little amp, that it completely blew me away. If all else fails, you could easily get through just about any gig with just the amp, its footswitch and some knob tweaking. I took it home, and once again it blew my mind. It could also use some new tolex for the bottom section, which is missing completely. It only has one switch for the tremolo as I never turn the reverb off anyway.
This was from Fenders Professional Tube range of amplifiers which was the top range of Fender amplifiers at the time. This model dates from and has spent its time as my main recording amplifier so the condition of this is as new. The reason that I bought this was because of the numerous added features over previous models and for flexibility of recording. If you want a classic Fender Clean sound then you cannot beat a Fender Twin but for recording I also wanted an amplifier that would crunch just like a Fender and this amplifier does that superbly.
This means that you can get all the crunch and overdriven without the deafening volume levels that this amplifier has. The clean channel has the classic blackface Fender sound and If you want the best clean sound at high volume levels then the full rms is available by simply using the toggle switch.
Twin-Reverb and Deluxe-Reverb plus new versions of the non-reverb Tremolux, Bandmaster, Pro, Vibrolux, Concert and Deluxe amps. when your amp was manufactured other than dating it from pots and tranny numbers! There are some folks who collect serial numbers (the A .
History[ edit ] The Fender Twin has gone through a number of changes over the years, both cosmetically and electronically. October Twin-Amp, model 5E8. Dual rectifiers and 6L6 power tubes, twin 12″ speakers. The early models of the larger “narrow-panel” tweeds are also remarkable for their refined electronics whose circuit design incorporated dual 5U4 rectifiers in the Twin and Bassman models, another improvement given Fender’s quest for a louder, cleaner amplifier.
The entire line of Fender amplifiers from to later for smaller models and Bassman was uniform in this look—tweed or “airline linen” covering with a maroon with gold stripe woven saran grill cloth. By the end of the decade, a JBL 15″ speaker was available on special order for the Pro model. This “hi-powered,” tweed-covered design continued into early , after the other Professional Series of Fender amplifiers had made the transition to the modern brownface design.
The exact plight of the Twin-Amp during the months between January and May however, remains open to considerable speculation, debate and study. The prevailing explanation is that production was temporarily interrupted during these months as they coincide with the debut of Fender’s new “flagship” or top of the line amplifier, the Fender Vibrasonic -Amp. Nonetheless, Fender Musical Instrument Co. The image of the Twin-Amp in the Fender Catalog has been the subject of considerable scrutiny.
The re-emergence of the Twin-Amp in mid revealed a new aesthetic design that would become prominent among Fender’s top of the line amplifiers, with the exception of the Vibrasonic-Amp. By , the Bandmaster, the Bassman and the newly debuted Showman were all covered in the new look exemplified by the late Twin-Amp: This variation lends support to the idea that the watt circuit was beyond the power handling capacity of the speakers of the late s.
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. The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code.
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Amp at idle, volume controls at zero. Changing the AA to AB power supply resistors resulted in the voltages shown in the fourth column in my amp. Could these voltages somehow contribute to the strident tone I was hearing after modification of the amp? As shown in the table above, the AB , AA , and nearly identical [to the AA ] have different voltages throughout the power supply and power supply distribution to the preamp, power amp and phase inverter PI.
All three amps apparently have the same power transformers, so what are we to make of this? Some of the differences can be accounted for by normal resistor tolerance, but my hypothesis is that the line voltages in the USA changed from the early 60’s to the early 70’s from a nominal VAC to – VAC in much of the country, and that the higher supply resistors in the AA were meant to compensate for this.
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. So I’ll start off with a favorite.
Fender Silver Face Twin Reverb ; non MV. This amplifier is in very good condition, the tolex and grill cloth show little signs of wear. It has just been serviced by a very reputable and qualified local engineer and has had the output valves replaced with a new matched quad.
Vintage Fender adverts However, these two companies were not always in as direct competition as might be assumed; yes they both made guitars, basses and amplifiers, but both tended to play to their strengths; Gibson’s expertise was it’s luthierie; they stuck to high end electric-acoustics, semi-acoustics and skillfully made solid bodies, whilst Fender excelled at electronics; they made amplifiers and easily built solid body basses and guitars.
Fender guitars Fender advertisement for the Telecaster guitar , Precision bass , Twin and Bassman amplifiers. See more vintage Fender adverts Gibson did not take Fender too seriously at first; Fender were just an amplifier company that made a few guitars. They didn’t regard the solid-body Broadcaster launched in as a serious musical instrument, lacking the depth of tone of a Gibson electric-acoustic. But music was changing, guitarists wanted different sounds, and music was getting louder.
Fenders instruments proved to be more appropriate for the emerging musical scenes. Over the next decade Fender created a number of solid-body guitars that defined genres. Guitars like the Stratocaster, Telecaster and Precision and Jazz basses proved to be exceptionally popular and have stayed in production ever since. Others came and went, but still very nice guitars: But of course the biggest sellers would always be the lower priced models, the Mustang , Duo-Sonic , Musicmaster and Bronco You could argue that it was the Stratocaster weilding Jimi Hendrix that was the biggest advertisement for Fender guitars; after seeing, and hearing one in the hands of Jimi, a lot of guitarists, including Jeff Beck and Eric Clapton swapped to a strat!
Fender bass guitars Fender invented the solid body electric bass, and have made a variety of different models. Like the guitars they were exceptionally simple; typically an ash body, with a bolt-on maple neck and single coil pickups. Simple, but very well-done simple. Read more about Fender bass guitars here.
It’s a Leslie speaker cabinet — an effects cabinet, really — made by Fender from It adds a phasing or chorusing effect to your amplifier’s output. This is a very desirable piece today because of its practicality and tone.
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A small sample of the amps in this range The 30, 75 and weren’t in the Rivera-era, as they pre-date Paul Rivera’s time with Fender. I include them here because people sometimes ask for the schematics. Info and advice here is offered in good faith but I take no responsibility for the outcomes. As he points out, that’s got to be a misprint, being the same figure as for the smaller PRII. Just in case anyone with back trouble thought this was a light-but-fully-featured 2-channel amp..
As I look after the website which concentrates on the Princeton Reverb II , I occasionally get requests for schematics for other amps in the Rivera-era Fender range. For two years I couldn’t help. Others came from other places. So here you are. All I’ve done here is gather this info in one place. Big thanks are due to all the anonymous folks down the years who kept the paperwork, scanned it into computer format, and shared it free of charge. I only own a Princeton Reverb II, so please don’t ask me questions which involve actual hands-on experience of the other amps.
I recommend another single-amp site – for the Super Champ – it’s been archived by the Wayback Machine here.
A Bill Haley Stereo LP was released in April , it’s sales must have been almost zero, but copies are around as likely sold off as clearance. By the amount of these styles in Stereo by clearly very few sold, even in Beatles ‘Sgt Pepper’ huge seller is more common in Mono. The idea these Stereo Amps mainly were just quick cash-ins is noted in the books of the time, as with any the next generation will have been superior in quality like the Mono ones were considered.
This clearly is one of the prime Valve amps, though there are 25w w on this page that will outdo this one. We’re not likely to try one so to have a look now we have somewhere to type it is worthy. Underneath neatly wired if a “is that all there is” to the design compared to others.
FENDER style- New reproduction Footswitch for: Fender Blackface Amps – Princeton Reverb, Super Reverb, Deluxe Reverb, Pro Reverb, Twin Reverb, Vibrolux Reverb, & others with RCA ends.
Well, we’ll get to good parts, but first a little background information is in order. After reading Teagle and Sprung’s excellent Fender amp book, I took them up on their challenge that maybe someday someone will compile enough serial numbers so that Fender amps can be dated that way. So began my quest. I contacted several Fender collectors and dealers who were kind enough to supply me with data.
I turned to the Internet to do some more networking which resulted in a major turn of events as I met two individuals who have become instrumental partners in this project: Greg Huntington and Devin Riebe. Greg is a long time Fender collector who is very knowledgeable not only in the details, but in the circuitry as well. His particular area of expertise is in Fender amps made from about through Devin runs Doc’s Music in Springfield, Missouri and his interest lies in the woodie and tweed Fender amps made from through Additionally, Greg and Devin also had data that they had been collecting from Fender amps for years.
We combined all of our information into a computerized database for this project and for the past 18 months have been slowly sadly, very slowly gathering information that we collect ourselves as well as from other people. Now it’s time for a commercial. We need your Fender amp data!
This resulted in the so-called lawsuit period. During this period, Ibanez produced guitars under the Mann name to avoid authorities in the United States and Canada. The company has produced its own guitar designs ever since. The late s and early s were an important period for the Ibanez brand.
Fender ’65 Twin Reverb reissue dating back to Stock Fender speakers were replaced with Eminence Swamp Thangs for a tighter low end and smoother top. Recently serviced by Ron Meersand at The Amp Source: Fender ’65 Twin Reverb RI Related.
One Serious “Clean Machine” — I’ve been a performing guitarist for almost half-a-century and have owned and played many classic amps in that time, from a Marshall Super Lead stack, to a Peavey Delta Blues, those Read complete review — I’ve been a performing guitarist for almost half-a-century and have owned and played many classic amps in that time, from a Marshall Super Lead stack, to a Peavey Delta Blues, those olded padded Kustom “piggy back” amps, and a bunch of great Fender amps including an original Bandmaster, a 4×10 Bassman combo, watt “silver face” Twins and a Vintage Series Deluxe Reverb Reissue.
I’m just sorry I waited so long to take the plunge. I don’t do heavy metal, thrash, punk or head banging stuff. However, it would need some effects pedals to achieve those sounds. None does it better. It’s not cheap, but you do get what you pay for, especially with this amp. No wimpy digital reverb, but the real deal. The controls are as basic as you can get treble, middle, bass plus basic controls for the reverb and tremolo , but they are sensitive.
A little adjustment up or down makes a huge difference. The amp itself is also touch-sensitive to the dynamics of your playing. Many amps are, but the Twin does it best at least among those I’ve owned and played.
Dating back to , Acoustic Amplification has had a wild history even by music industry standards. They were huge in the ’70s, finding a following in guitarists as renowned as Robby Krieger of the Doors. After enjoying some time in the spotlight, Acoustic Amplification laid low for a while – but now they’re back with a selection of amps that’s as appealing as ever. For day-to-day gigging at clubs and other small to midsize venues, there’s no substitute for a good combo amp.
Gear up with a unit from Acoustic’s Lead Guitar Series and you’ll be ready to take the stage anytime.
Dating Fender Amps by Serial Number, Part V – GGJaguar’s Comment I just discovered that the silverface Bandmaster speaker cabinet the big, tall one. the Vibro Champ and Bronco; the non-master volume Twin Reverb and Dual..
Don Symes Not so fast Looking at the UL schematic again, the trem is a shunt type, not a bias modulator after all. I get to be the pinhead this week. MBSetzer In another thread we discussed how to include a trimpot in place of the fixed 33K resistor so the bias can be adjusted while leaving the output matching control stock. I had a link to my picture of the type trimpot I solder right onto the back of the output matching pot. You still have to open the chassis to rebias but it preserves the matching function.
Instead of acquiring matched precision 1. Then I put a thin, fuse-like jumper to bypass the stock screen resistors or replace them altogether with the single copper strand so it acts like there was none to begin with, but that’s just me and I’m using NOS A’s or GT 6L6GE. Sovtek WXT can handle this too. Otherwise you are kind of stuck with the stock Fender UL tone which generally is not considered quite in the league of the ’60’s and early ’70’s Twins.
UL provides NFB of its own which only seems complimentary on a scope but when you are playing guitars it turns out not to mesh very well with the traditional multi-stage NFB wiring of the older Fenders which was still retained on the UL models.
Be skeptical when buying a piece of “vintage” gear like a Fender amp, the prices for this equipment has risen high enough that many forgeries are out there. Next, if applicable look for the date code on the tube chart. The baffle of TV Front amps are covered in brown mohair. As for the qustion of tubes vs.
Sep 04, · I was given a fender deluxe amp this week and was wondering what it is is one of the ones before the reverb. It needs the pots cleaned where it .
Post by sumgai on May 31, After that, I figured that I might as well practice what I preach – the only valid test is to substitute with a known good part. In the case at bar, I’m just reversing that Same test, different direction, same results – you’ll know if the tube is good or bad. Of course, this presupposes that there’s another amp handy for testing, but as luck would have it, that’s a more common scenario than a player having one or more known good spare tubes stashed away nearby.
Ditto for the dummy load, it isn’t time yet for that either. In fact, I’ll caution you only so far as to mention that you should keep a nose out for anything that starts to smell bad, as you test the voltages. Next to your eyes, your nose is a Gawd-send of a troubleshooting tool. If you don’t want to do this yourself, that’s good But if you do wish to make these tests, a simple DMM from any store you can find will do the job – even the Online, you can find ’em for less than a sawbuck.
Although the shipping might sting Keep us up-to-date here, and don’t be shy about asking for further help! I only mention this because you can haul a pocketful of tubes over to your buddy’s house, instead of making him drag his whole amp down to your joint.