Converting to cathode bias in the blackface and silverface Bassman circuits, and other Fender amps with fixed bias, is very simple. I became curious as to how many were made. Fender don’t part with that kind of Another transitional event at Fender was the development of the two-piece amp in Partially due to the increased weight of the power and Mesa amps tend to be VERY bassy, so what they do is pair them with a trebly speaker to balance it out. Unfortunatly your going to struggle to get that, “Fender Introduction and General Specs.
The Fender Amp Field Guide describes a Bandmaster 3×10 combo amp with the brownface front panel, released for only one year in , but they don’t have a photo of this amp. Greg Gagliano’s had written an article for TCG magazine that described the conversion to a 3×10 combo and it sounded like a good idea. I also received positive feedback from the folks on the Fender Discussion Page Forum. I’d originally envisioned this as a poor-man’s tweed Bassman 4×10, but eventually settled on a re-creation of the brown 3×10 Bandmaster combo released in So, I decided to post some photos of my combo conversion for anyone who might be contemplating a similar project.
Click on the thumbnails to see the full-size image This is the Fender Bandmaster head used in the project.
Malawi dating back to orville gibson mandolin, dr. Scott macdonald expertly repairs acoustic serial number search dating gibson has various methods for sale on july 4 digit suffix. Official epiphone, , fender amps by greg gagliano.
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.
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Boy, that title got your attention didn’t it? 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.
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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 Gretsch had trademarked the name “BroadKaster” for a line of drums. After advertising the Broadcaster in music trade papers in February 20, , Gretsch took notice and sent Fender a telegram asking them to change their name.
Therefore Fender was forced to drop the name Broadcaster. Starting around February 22, , Fender cut the word “Broadcaster” off of their headstock decals. These models February to summer are known as “NoCasters”. Starting in the summer of , Fender adopted the name “Telecaster” for this model, and started using new decals after all the old clipped decals were used. Decal attachment was the last assembly step, so NoCasters with a February neck date are seen.
Fender Super amp brownface from 1962 – 6G4-A
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.
The Fender Bassman is a bass amplifier introduced by Fender during  Initially intended to amplify bass guitars, the 5B6 Bassman was used by musicians for other instrument amplification, including the electric guitar, harmonica, and pedal steel s being a popular and important amplifier in its own right, the Bassman also became the foundation on which.
How many PRIIs did they make? Fender never release this kind of information on principle. Greg Gagliano guesses “in the low thousands”. Paul Rivera says this range of amps lifted Fender’s amp sales from 10, to , a year Fender Amps: That includes a load of small Asian-made solid state practice amps, however. From my own research, I’m confident the figure is around PRIIs total for the 5 years they were in production.
fender bassman amps
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.
Since , Fender’s iconic Stratocasters, Telecasters and Precision & Jazz bass guitars have transformed nearly every music genre. Expert repair and restoration of vintage tube guitar amps, harp amps, and studio equipment at Skip Simmons Amp Repair.
Posted 28 Aug 1: The only “altered” ones I’ve seen were were one digit was stamped over another at the factory. Several years ago I started a serial number database, thinking at least early models might have dates that indicated years. But there was simply no consistency, research with Fender turned up no serial number records and there were no former employee recollections of sequential numbering.
Vintage dealers were thinking a need might exist for year identification as date-related price ranges developed. But the market never developed so there was no need. Fender also had large batches of hardware and bodies made, which were stored and assembled on an “anticipated orders” basis – and there is no record of when the frames were stamped – by the fabricator,or by Fender when received and put on racks, or as they were assembled, or when they were shipped.
They were cataloged for several more years but lack of demand meant they had raw parts in inventory that were moved several times. There was no need to keep them organized by serial number, and as with other dated parts floor workers pulled whatever was closest, and little-used or overstocked parts could be part of an instrument shipped years after the date.
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.
Greg Gagliano method of Dating Fender amps using the Serial Number stamped on the Chassis. It will get you in the general vicinity – BUT Here is a link to the YouTube video I posted that shows how it is UNRELIABLE for accurate dating.
Serial number info Fender limited edition Telebration series Telecaster for sale. For Fender’s Telecaster 60th anniversary celebration Fender created 12 different models, one to be released each month in Greg’s Vintage Guitar sales Worldwide Check back often as we are rebuilding and repopulating our new mobile device friendly website with more vintage guitars for sale as well as parts,amps,speakers bass guitars and music memorabilia for sale at Greg’s Guitars.
Humbuckers, split box inlays ,Fancy headstock, Spruce top archtop jazz box, great reviews on these ,with hard shell case. The Working mans L5. See More Here on this guitar. Original factory natural finish, fret wear, plays but will need a refret at some point,Comes with a non original black tolex hard shell case. No backplate or tremolo arm. Overseas clients PM me for accurate shipping quotes as free shipping is only to a lower 48 US address.
Trades may be considered.
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About the size of a Fender Twin, it has the classic tweed look of late s Gibson amplifiers. The only effect that the amp features is tremolo, but this is to be expected since the design predates the age of combo amps with on-board reverb The Gibson catalog claims true vibrato pitch modulation for this amp, but after listening to the true vibrato Magnatone amps, the Gibson sounds like it has tremolo volume modulation very similar to that used on brown Tolex Fenders i.
They play an important role in the unique sound of this amp which we’ll get to in a moment.
Is it documented somewhere how the Jensen speaker model codes work? Or can Dating Fender Tube Amps by Serial Number, Part 3, by Greg Gagliano CLASSIC AMERICAN GUITAR SHOW Check out Greg Gagliano’s extensive, 5-part article DATING FENDER AMPS BY SERIAL NUMBER.
I bought this body from Ed on Ebay, assembled it with other odds-and-ends I’ve had for too long, laminated some fabric on the front, and presto: I say pseudo because of the humbuckers and one-piece, wrap-around bridge. At least the bridge pickup is tapped for a single-coil sound, operated by a two-position rotary switch in the tone-pot location. The lightweight ash body is really nice and resonant. The fabric lamination works out better than I thought, and is a real conversation-opener at clubs.
I’m probably going to do a combo amp next. And, for all the great overdriven guitar sounds foisted off on us by Clapton in and later, others ad infinitum , I’ve always been most inspired by the ‘clang’ of single coils:
Fender Champion 600 – Serial Number 744
Find great deals on eBay for gagliano acoustic guitar. Who made this gagliano classical guitar in … I once owned a Gagliano classical guitar the name was done with brass inlay on the headstock in the early 90’s which was obviously vintage and I. Anyone heard of Gagliano guitars? Can you hear a electric guitar without the amp? What is the saddest guitar solo you have ever heard?
Heck about the origins of the modern six-string classical guitar, and how it differed from its antecedents first published
When attempting to create a reliable database (like Greg Gagliano did with amplifier serial numbers) it was hoped Fender would have at least some partial records in their old files but the only things found were duplicates of the already-known patent drawings and instruction manuals.
The Blue Book of Guitar Amplifiers is available through our website as an online subscription! Dating Ampeg’s from this era is approximate, the amp’s serial number is. There is a serial number on this amp but it’s on a very dusty piece of. Clicking on Thumbnail will open larger view. I have this Ampeg guitar amp the I presume is midsixties. When was your guitar or amplifier made? How to Date a Peavey Amp Match your amp model and serial number to find the year. From Inception To Resurrection. Ampeg had the and bass amp line but theres a good chance I used it on record dates for folks like.
This Ampeg B15N was built around At this time, from to , Ampeg was owned by Selmer. While the serial numbers can’t be used to specifically date the amp, its physical features such as the white rocker switches show it to be post Which serial number should you use to date a VOX AC 30 to use is the opposite to your original post in that its the external serial number which dates the amp.
Dating Gibson Amps ampeg svt classic watt bass amp head, made in usa, serial number:
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.
DATING FENDER AMPS BY SERIAL NUMBER, PART VI by Greg Gagliano. Copyright , Vintage Guitar Magazine This article updates information from research started in
Tweet on Twitter An S in natural finish. S in natural finish: It would be an understatement to say that Leo Fender, with the help of George Fullerton, was prolific in the years after he sold Fender Electric Instruments. Many concept instruments were prototyped, and often used as guides for final designs put into the catalog. Others were made in very small numbers, but died on the vine. The S guitar is a good example of how Fender and Fullerton cranked out designs that, with guidance from Hyatt, converged to become a final model.
Initially, Fender had no intention of revisiting the Stratocaster or Telecaster designs. Rather, he was focused on pressing forward with what he felt were new — and superior — instruments. Sifting through the prototypes, however, Hyatt saw redundant instruments that had Strat-like features; there were no fewer than eight variations that used the same double-cutaway body as the F , along with three single-coil pickups. The eight were differentiated by variations in pickup design, bridge design, pickguards, and control plates.
The S had its roots in two of these near-production models — the F and T These were high-output and had strong response in the upper frequency range. The pickups had rectangular bobbins and a ferrous metal keep plate that were similar to the metal-claw surrounds Fender had used years before on the Jaguar and Bass VI pickups.