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.
Silverface fender twin reverb dating
I changed the coupling cap to blackface standard. The Phase Inverter Plate Load resistors are the most important blackface mod. The only other difference between the AA and AA is the AA ‘s extra filter stage in the bias circuit for less hum. I like to use 1 or 2 watt rated resistors on preamp plates for a little less resistor hiss.
Here is a very original Fender Twin Reverb, dating from Serial number is B, and the original Utah speakers show a production date of mid (26th week).
Thus, for a given amp say, the 5E1 Tweed Champ they started with a definite number, in this case C , and just kept adding ‘1’ for each new Tweed Champ until the model was discontinued – in this case approximately C nine years later info from Greg Gagliano. So that’s about, oooh, let’s guess, 23, Tweed Champs. Some serial numbers were used more than once, on different amp types – example; A could be a Bandmaster, a Bassman, a Champ, a Concert, or a Deluxe info from Greg again.
There was no possibility of confusion though, as the amps’ names were clearly printed on the front panel For the Rivera-era, everything changed. One style of serial number was adhered to for all amp types, with each number used only once. That was a Super Champ, as were many immediately following. As we follow the serial numbers upwards, more and more amp types appear; about of those, about of these, etc etc.
That ‘top number’ in my data used to be around , and it took seven years for anything higher to turn up, so I think it’s safe to assume that anything YET higher out there must still be in the same ballpark. Some huge gaps are evident – the range doesn’t total , amps , minus , Fender’s Manufacturing Process Here follows some personal guesswork about how these amps were made. It’s decided dealer re-stocking demand?
How Do I Know What Year My Fender Twin Reverb Is?
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 and I firmly believe, “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.
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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.
The voltages shown on the AA schematic would seem to indicate Fender created the schematic based on mains at a lower line voltage, probably – VAC.
1970s Fender Silverface Twin Reverb
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. Fast forward ten or so years.
Dec 01, · Hey guys, I need help and FAST! I posted earlier about these amps, and now I may’ve found the amp of my dreams, a pre-master volume Fender Twin Silverface.
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.
Fender Twin Serial number?
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.
Vintage Fender Amp Repair specializes in do-it-yourself repair, modifications & upgrades, as well as vintage Fender amp schematics and layout diagrams.
This is a 70 watt model with solid state rectifier and master volume with pull-boost. The front end of this thing looks identical to a Twin Reverb of the same era. The only difference between this and the Twin is that this has two 6L6 power tubes instead of four. Anyway, there are two channels, Normal and Vibrato. Both have Volume, Treble, Middle, and Bass knobs. The eq is very nice and user friendly, covering the entire tonal spectrum when all three knobs are at zero there’s no sound.
This gives you all the flexibility you need for guitar without a lot of extra knobs and faders or anything. Everything you need and nothing you don’t. The Vibrato channel also has knobs for Reverb, and the vibrato’s Speed and Depth. Then there’s the master volume, though for this amp to sound its best you need to keep that knob all the way up and use the preamp volume knobs to set loudness.
The inclusion of the master volume and the pull-boost feature on this amp are both major design mistakes, but if you keep the knob pushed in and on 10 all the time you’ll basically have bypassed these flaws and drawn out the famous Fender clean tone. Note, again, despite the existence of a master volume knob this is not a high-gain amp. If you’re looking for distortion get a pedal or look elsewhere. One is that it’s really heavy, but mine has casters, so it’s pretty easy to work with.
Fender Pro Reverb
It has exactly the same chassis, circuitry and parts for contemporary models of these 2 amp but in a more manageable size and weight package head amp cabinet. That said, the heft of the head unit is still quite substantial, obviously due to the substantially oversized power and output transformers. IMO, the relatively big and heavy power and output transformers together with the solid state rectifier in these amps are the main factors that contribute to the well-known fender clean tone.
DATING FENDER AMPS BY SERIAL NUMBER, PART VI by Greg Gagliano. Copyright , Vintage Guitar Magazine This article updates information from research started in
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! Everything is confidential, we don’t make record of who owns what amp in the database.
502 Bad Gateway
The ” ” in the model name comes from the circuit change date of I will try my best to give a not-too-technical explanation of how the amp circuit works, what each component does, and how changing those components will affect the amp’s voice. The “blackface” nickname comes from the control panel color. I won’t be going over tube theory and other introductory material here so check it out if you have trouble understanding this webpage.
Fender bassman amp AB amplifier, with 2×15″ speaker cabinet. 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 guitars.
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. I think in the corners of the boxes were older pots remaining from earlier dates I think the better, older hands did 35 a day. Like I said, there were 5 or 6 of us at the benches every day. But it wasn’t always ‘cool guitar’ amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs.