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.
Blackface Amp Kits
These models were Fender models and not Squier models. The stratocasters had Fender USA pickups installed and were made for the Japanese market only and not for export. The Squier series were also made available for the Japanese market in October , which incorporated small changes compared to the export Squier series.
The Fender 65 Super Reverb Vintage Reissue Guitar Combo Amplifier delivers exactly what we’ve all come to love in vintage Fender amps! This faithful re-creation of the legendary Blackface Super Reverb from the era is a must-have for vintage enthusiasts and modern players alike.
There is no reliable way to date amps other than to ask Fender customer support to look up the date from the serial number, although you may find a date code on the speaker. Early Tweeds The early green board tweed-covered amps were not lacquered. Once again, only the speaker is different. It is not old stock.
It has the same cream board inside with the same components as every other current-production Blues Junior. Other Variants The Blues Junior chassis has also been used in the Two-Tone, a large amp with a inch and a inch speaker. The chassis can also be found in the weird, plastic-cased Deco-Tone and in some Custom Shop amps with exotic wood cases such as bubinga. Other cabinet coverings include blond Tolex, dark brown Tolex with a wheat-colored grille custom for a Canadian music store chain , and the Texas Red Tolex.
Stock Speakers Outside the chassis, Fender has used several different speakers in some Blues Junior models. This is a good, all-around speaker. But it cuts through the band well. The Texas Red model uses the Celestion Vintage 30 speaker.
Fender Super Reverb Reissue
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. The remaining 3 or 4 digits are the date code.
In 3 digit dates code, the 1st digit is the last digit of the year.
Fender Vintage Reissue ’65 Super Reverb® Black. $1, $1, This faithful recreation of the legendary Blackface™ Super Reverb® of is a must-have for vintage enthusiasts and Stratocaster® guitar slingers, but players of all styles enjoy its shimmering tone.
There are known as the “ultralinear” models with different transformers. Master volume was added after , and pull-out boost circuit added in Line Out jack socket and a 3-band equalization for the Normal Channel added in Silverface amps made between ’68 and ’72 were emblazoned with “Super Reverb-Amp” with a tailed amp logo in the grille cloth. After this was changed to just “Super Reverb” and the tailed Fender logo from the mid s was replaced with a modern “unscripted” tailless amp decal changed to a “scripted” style in There were only minor adjustments made to the pre silverface Super Reverbs.
reverb problem w/Fender Super Reverb
The Pharaoh has long been known for its plethora of musical fuzz tones that forge a link between your guitar and amp without masking the inherent character of each. This rich legacy of tone has led many I was 3 months old when My Bloody Valentine exposed the unprepared world to their textural shoegaze masterpiece, Loveless.
’65 Deluxe Reverb®, V. Iconic Fender Sound and Style Played on countless hit recordings for decades now, the mid-’60s Deluxe Reverb is a timeless Fender classic and one of the most indispensable workhorse guitar amps ever made.
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. Fellow Fender amp researcher, Greg Huntington, passed away June 5, after losing his battle with cancer. Greg kept his illness very private, even from this author. His passing is a great loss to this research team and the Fender amp aficionado community in general.
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.
dating fender transformers, speakers & potentiometers using eia codes EIA (Electronics Industry Association) Source-Date Codes: Electronic components such as transformers, potentiometers, speakers, and some capacitors are often stamped with a date code, which indicates the manufacturer and the manufacturing date.
Amsterdam Concertgebouw The Netherlands The most prestigious classical music concert hall in the world is captured in stereo and quadraphonic impulse responses. It is extremely silent and served The purposes of both communist propaganda and recording of classic music, pop music, big band for the Broadcast of German Democratic Republic. Internationally regarded by performance artists for its superb acoustics, the Hall also houses a complete recording studio. With its high vaulted ceiling and interior finishes of brush box and white birch timber, it is designed primarily for acoustic performances.
The original building stems from Severely damaged by Allied bombing and the Battle of Berlin the building was rebuilt from onwards and reopened as the concert hall of the Berliner Sinfonie-Orchester in The exterior, including many of the sculptures of composers by Christian Friedrich Tieck and Balthasar Jacob Rathgeber, is a faithful reconstruction of Schinkel’s original designs, while the interior was adapted in a Neoclassical style meeting the conditions of the altered use.
Tips and How-To’s Marshall amplifiers made hard rock possible. While Fender and Vox amps have their place in moving electrified guitar forward, the creations of Jim Marshall fostered an entirely new sound and allowed guitarists to fill stadiums with it. Marshall amps had such precedent-setting wattage and tone that their history can hardly be separated from the history of rock itself. We recently wrote an article detailing that rich history which you can read here , but for those simply looking to figure out how old their Marshall amp is, we offer this shortcut.
The guide below will help you quickly and clearly date Marshall amps and cabinets, without us waxing poetic about their influence.
The Fender Super Reverb is a guitar amplifier made by was originally introduced in and was discontinued in The Super Reverb was a Fender Super amplifier with built-in reverb and “vibrato” (actually tremolo). The original Super Reverb amplifiers were all-tube designs and featured spring reverb.
Being that this version is ‘Super,’ it has a number of features and controls not found on regular Twin Reverb amps, although I don’t prefer this to the originals. Like all Twin Reverb amps, it’s got 2 12″ speakers. It has watts of power with six 6L6 tubes in it as well as a preamp tube. Of course the amp has built in spring reverb, as well a distortion which isn’t something found on other Twin Reverbs. Included on the front panel of controls are knobs for volume, treble, middle, bass, presence, a series of five more EQ knobs, distortion, and lastly overall output level.
It’s definitely nice to have this much control, and even so I don’t think the manual is necessary, although I’ve not seen it for myself. Don’t get me wrong, this is a great amplifier – I just prefer the silver face and earliest black face models over this one. There’s a lot you can do with this amp due to the added EQ controls and distortion, but as for getting straight clean sounds, this isn’t my favorite Twin Reverb.
Fender Super Reverb
The combination of size, weight and performance makes the Deluxe Reverb a true road warrior on gigs and practise. Since the year we have observed, by monitoring the amp market on US ebay, that low wattage amps have increased dramatically in popularity. We find it irrational. The PA was invented long time before that and guitar tones containing fuzz and distortion have been around since the sixties-seventies.
Why has the desire for low wattage amps with watts of tube power come up so late?
Do you have a silverface Twin Reverb Amp or Dual Showman Reverb Amp with the serial number A? A lot of people do and here’s a plausible explanation based on the evidence. Sometime in , Fender ordered a bunch of Twin Reverb/Dual Showman Reverb chasses from their supplier.
Thanked 0 Times in 0 Posts Rep Power I wrote a big, honking post about selection of amp tubes yesterday and as I was finishing it, the power transformer up on the pole in the back yard blew out, leaving me with neither lights nor the post. Here’s the abbreviated version: Yes, tubes can make a big difference in how your amp sounds.
New power tubes usually require re-biasing the circuit on older amps, and the replacement of electrolytic capacitors, which can and do fail catastrophically after as little as ten years, also should be performed. It is also very important to get your tubes from a source that gives them a thorough testing before selling them. If you get your tubes from someplace that just resells the raw stock from the importer, say Musician’s Friend, you are going to get poor tubes at least part of the time.
They may test OK, but will be noisy, microphonic or have other audible flaws.