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Old 10-05-2008, 12:58 PM   #21
lespaul#1
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I meant clean w/Reverb, the only one I've used broken in was the BFDR. They aren' great until broken in, if they aren't broken in, they aren't warm at all.
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 12:58 PM   #22
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Originally Posted by stevo_epi_SG_wo
i hate to hijack the thread but its fender related

just wondering which GFS pups you have in your strat and how they peform

cheers

premium alnico strat pickups, with a overwound bridge pickup. i like them alot. i do not currently have a recording of them though, but i might be able to find one.
and to make this not spam, they sound great through a FENDER amp, haha.
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Old 10-05-2008, 01:01 PM   #23
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what are the all the presets in the Fender G-DEC 30 amp?
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Old 10-05-2008, 01:07 PM   #24
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Feder Bassman
The Fender Bassman was a bass amplifier made by Fender in 1952. Although it was originally designed for bass guitars, it was frequently used for normal electric guitar in rock and roll, blues, and country bands.


The Bassman was designed for the first mass-production electric bass, the Fender Precision Bass. It was introduced in 1952 and discontinued in 1983. In 1990 Fender began producing a reissue of the 1959 Bassman model 5F6A, known as the '59 Bassman. The newest version of this reissue is the '59 Bassman LTD. The LTD version has a lacquered tweed covering and 4x10 inch Jensen speakers instead of the Eminence speakers used in the earlier reissue '59 Bassman.

The evolution of the Bassman amplifier followed that of the Fender amplification line. The Bassman amps of the 1950s were covered in tweed and had a more raw sound than later models. The tweeds were followed by the Blonde, Blackface, and Silverface "piggyback head" (excepting the Bassman 10 and 20, which were combo amplifiers) versions of the 1960s, 1970s, and early 1980s with cleaner sound and more headroom.

A unique aspect of the Tweed Bassman circuit is the use of a cathode follower, which provides a slight compression of the sound while also allowing an increase in current, and thus more signal is sent to the power amp. It also had the secondary consequence of increasing the amp's dynamic.

Despite the fact that it was originally designed for bass guitars, it was more famous for its use with normal electric guitar and thus, when Fender recently reissue the 59 (5F6A) edition, it was categorized under guitar amplification instead.

Many famous amplifier manufacturers, including Marshall and Traynor, based their first batch of amplifiers upon the 5F6A Bassman, in examples such as Marshall's JTM45 (a clone of Bassman, using British-equivalent parts), and Traynor's YBA-1 (Head form of Bassman).



The Fender Twin is a guitar amplifier made by Fender. It was introduced in 1952, about the same time as the Stratocaster (1954). As the Stratocaster's sales partner, its success was a large part of the increase in popularity of the electric guitar in music. To this day, these amplifiers continue to be sought after by guitarists for their characteristic clean tone. The Twin's circuit has been copied and modified by many other manufacturers.


The Fender Twin has gone through a number of changes over the years, both cosmetically and electronically.
"Wide Panel" Twin
The original version was an all-tube combo amplifier with dual 12" speakers and two 6L6 tubes for a rated output of 25 watts.

"Narrow Panel" Twin
Please help improve this article or section by expanding it. Further information might be found on the talk page or at requests for expansion. (July 2008)
After the preceding looks of the early 50's (TV front from 1950-51/2; wide panel '52-54), Leo changed the cabinet design again, this time opting for no extra wood on the front of the amp, except for the narrow top and bottom panels that hold the baffle board to the cabinet.
These "narrow-panel" tweeds are also remarkable for their refined electronics whose circuit design is improved by the replacement of input capacitors for resistors in the preamp. The long-tailed phase inverter is another improvement given Fender's quest for a louder, cleaner amplifier. The entire line of Fender amplifiers from 1955-1959 (later for smaller models & bassman) was uniform in this look - tweed or "airline linen" covering with a maroon w/ gold stripe woven saran grill cloth. To the ear of this writer, the 1x12 Deluxe-Amp, the 1x15 Pro-Amp and the 3x10 Bandmaster are exceptional in dynamics and tone.
Like its predecessors, the narrow panel tweed Fender amplifiers used Jensen Alnico V Concert Series Speakers.

Tweed Twin
It was modified in 1958 for more volume, switching to four 5881 power tubes for a power increase to 80W. This "hi-powered," tweed-covered design continued into early 1960, after the other Professional Series of Fender amplifiers had made the transition to the modern brownface design.

1960
The exact plight of the Twin-Amp during the months between January and May of 1960 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. kept the image of the Twin-Amp before potential consumers during this short period. The image of the Twin-Amp in the 1960 Fender Catalog has been the subject of considerable scrutiny.

Blonde Twin
1963 Fender Twin-Amp in blonde (or white) tolex with an oxblood colored grille cloth.
The re-emergence of the Twin-Amp in mid 1960 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 1961, the Bandmaster-Amp, the Bassman-Amp and the newly debuted Showman-Amp were all covered in the new look exemplified by the late 1960 Twin-Amp: blonde tolex and maroon or "oxblood" grille cloth. The Twin-Amp of this period (late 1960-1963) was manufactured with a variety of speakers including Jensen, Oxford and JBL designs. This variation lends support to the idea that the 80-watt circuit was beyond the power handling capacity of the speakers of the late 1950s.

Blackface Twin
After a slight change in appearance, from the rough blonde tolex and maroon grille appearance to a smooth blonde tolex with a silver grille cloth, the Twin-Amp changed both circuit design and appearance in 1964. Along with the rest of Fender's line of instrument amplifiers, the Twin-Amp was covered in black Tolex at this time. Like many of the most popular designs, including the Super Reverb-Amp and the Deluxe Reverb-Amp, the Twin would also incorporate an on-board reverb circuit. As opposed to earlier designs that required the use of a stand alone, outboard reverb unit, this new design incorporated a spring-reverb circuit in the combo design. Paired with the Vibrato feature (technically a "tremolo" effect) and the monstrous 80-watts of output, the ability to create instrument sustain through the use of reverb made the blackface Twin-Amp an instant favorite among electric guitarists.

Tweed twin


Blackface
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Old 10-05-2008, 01:22 PM   #25
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Fender Champ
It was introduced in 1948 and discontinued in 1982. [1] An updated version was introduced in 2006 as part of the "Vintage Modified" line.
The Champ had the lowest power output and the simplest circuit for all of the Fender tube amps. The Champ had only one power tube, which meant that the circuit is single ended and class A. Five watts and the simple toneful circuit meant that the Champ was often used in recording studios.

Champion 800/600
First introduced in 1948, it sported the name "Champion 800" (with 8" speaker), changing a year later to "Champion 600" (6" speaker) with circuit designation 5B1. It was rated at about 3 watts, featuring a "T.V. Front" style cabinet with two-tone blonde & brown vinyl covering. This style lasted until 1953, when Fender's cabinet style changed to the "Wide Panel" design with a tweed cloth covering. Fender also renamed the circuit the 5C1, 5 standing for the decade (1950s), C for the third circuit revision, and 1 was the Champ's circuit designation. The 5C1 circuit was extraordinarily simple, using one 6SJ7 pentode in the preamplifier section to provide a single stage of voltage amplification, one 6V6 beam power tetrode in the power amplifier section, and a single volume knob and no tone controls.

The Champ
By 1955 Fender started putting its amps in the "Narrow Panel" tweed cabinet, and by this time the Champ was officially named the Champ. Up until 1956 Champs only had a six inch speaker, but the new 5F1 circuit of 1956 featured an 8". This circuit was also a little beefier than the original "Champion 800's" circuit, and was about 5 watts.

Blackface/Silverface
The 5F1 lasted until 1964, when the Champ finally made the transition to the "Blackface" style of circuit and cabinet. A small number of the last 5F1 style cabinets were covered with the "Blackface" amp cosmetics around this transition, as the factory most likely ran out of the tweed cloth covering. In 1964, a Champ with tremolo was also introduced. It was called the Vibro Champ. In late 1964 the Champ switched to Blackface. In 1968 it switched to silverface. It switched back to blackface in 1981.

Champion 600 reissue
In 2006, Fender "reissued" the Champion 600. Cosmetically similar to the original Champion 600, internally it features a modifed blackface Champ circuit (with the settings of the tone-stack being hard-wired rather than adjustable via Treble and Bass controls, and a couple of additional resistors reducing input-stage gain) and a switch to solid-state rectification from the original 5Y3 tube. The current look is the TV-front with two-tone tolex and speaker grille cloth of imitation suede. The same electronics are available with a different look and feel - based on "tweed" Fender amps, despite the branding - as the Gretsch G5222.

Specifications
Available as a 6" Combo, features an internal 4 ohm speaker output jack
5 Watts RMS
Volume Control
Power Switch
2 Input (high, low), 1 Channel
1x 12AX7 and a 6V6
Solid State Diode Rectified
Class A, Single Ended

wide panel

"TV" front


Fender Deluxe Reverb
The Fender Deluxe Reverb is a high-end guitar amplifier made by Fender. It has been in continuous production, in one form or other, for more than 60 years. The Deluxe Reverb is a 22-watt tube amplifier (at 8 ohms), powered by a pair of 6V6 power tubes, one 5AR4 rectifier tube, four 12AX7 preamp tubes, and two 12AT7 tubes driving the reverb and tremolo circuits. Throughout its production, the amplifier has most often featured a Jensen C-12 series 12 inch loudspeaker, although Oxford, Marlboro SE and Eminence speakers have also been used.

The Deluxe Reverb is most often used by players seeking a traditional Fender clean tone, with, owing to the relative low output power, propensity for 'breakup,' or musically-pleasing distortion. Many players note the quality of the tube driven spring reverb and tremolo (referred to somewhat inaccurately as "vibrato" by Fender).


Fender Princeton
The Fender Princeton was a guitar amplifier made by Fender. It was introduced in 1947 and was discontinued in 1979.[1] After Fender introduced the Champ Amp in 1948, the Princeton occupied the next to the bottom spot in the Fender line. Fender Princetons (as well as their sister amp the Princeton Reverb) from the early models into the 1970's models are highly valued particularly as recording amplifiers.

The original Princeton used one 6SL7 dual-triode tube to provide two stages of RC-coupled voltage amplification in the preamplifier section. The power amplifier section used a single cathode-biased 6V6 beam power tetrode configured for Class A operation. The amplifier had a single volume control and a simple low-pass tone control to control treble response. In 1961 a new Princeton of fundamentally different design was introduced. This version used a single 7025 dual triode in the preamplifier; a 12AX7 dual triode, one half of which operated a tremolo oscillator and the other half of which served as a split-load phase
inverter; and two 6V6GT tubes (again cathode biased) in Class AB push-pull configuration in the power section.

It is particularly famous as the basis for Mesa Boogie's Mark I, which is a heavily hotrodded Princeton equipped with modified preamp and a Bassman transformer, allowing it to output high gain, 60 watts.

In 2006, Fender revived the Princeton name, under "Princeton Recording-Amp" (Pro-tube series) and "Princeton 650" (under Dyna-touch III series). The Princeton recording Amp is basically a blackface princeton with build in overdrive, compressor, and power attenuator. Fender also reissued the Princeton Reverb in 2008.


Super Reverb
The Fender Super Reverb was a guitar amplifier made by Fender. It was introduced in 1963 and was discontinued in 1982. This was essentially a Fender Super amplifier with built-in reverb and vibrato. The original Super Reverb amplifiers were all tube design and featured spring reverb. There were two different designs, distinguishable by the color of the "face" or front control panel. Super Reverbs from 1963 through 1968 had "black face" panels. From 1969 until its discontinuation in 1982, the Super Reverb had "silverface" cosmetics and circuitry. Fender introduced a reissue '65 Super Reverb in 2001.

Specifications

45 watts into 4x 10" 8 Ohm Jensen Speakers (wired in parallel for 2 Ohms)
Silverface models: 40 watts (power increased to 70 watts during the late 70's)
Tube (Valve) Complement: 4 X 12AX7, 2 X 12AT7, 2 X 6L6, 1 X 5AR4 RectifierTube
2 Channels: Normal and Vibrato, with Bright Switch
Height: 24 7/8" (63.2 cm)
Width: 25 1/8" (63.8 cm)
Depth: 10 1/2" (26.7 cm)
Weight: approx. 65 lbs.
A "Boost" control and a master volume were added in the mid '70s.
A Mid control for the Normal channel and a Line Out jack socket were added in 1978.
Super Reverbs produced between late 1980 and 1981 have blackface cosmetics and a silver sparkle grille cloth.
Master volume has a pull-out pot for distortion.

silverface


Blackface
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Old 10-05-2008, 01:28 PM   #26
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while i'm at it, my local guitar store has two fender Super Reverbs, a silverface and a blackface, both all original. i'm pretty sure the guy said the blackface was from the 60's. here's the question:
the silverface is 1900$, and i'm sure the blackface is much more, so should i save for the blackface? i've heard blackfaces are of better quality, but i'm almost certain Derek TRucks uses a silverface...
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Old 10-05-2008, 01:40 PM   #27
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Quote:
Originally Posted by Jhachey22
while i'm at it, my local guitar store has two fender Super Reverbs, a silverface and a blackface, both all original. i'm pretty sure the guy said the blackface was from the 60's. here's the question:
the silverface is 1900$, and i'm sure the blackface is much more, so should i save for the blackface? i've heard blackfaces are of better quality, but i'm almost certain Derek TRucks uses a silverface...

You can always get the SF one Blackfaced and buy a BF panel for $35 on Ebay.
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Originally Posted by chip46
"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 01:43 PM   #28
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Quote:
Originally Posted by Jhachey22
while i'm at it, my local guitar store has two fender Super Reverbs, a silverface and a blackface, both all original. i'm pretty sure the guy said the blackface was from the 60's. here's the question:
the silverface is 1900$, and i'm sure the blackface is much more, so should i save for the blackface? i've heard blackfaces are of better quality, but i'm almost certain Derek TRucks uses a silverface...

he may use a Silver Face, but derek trucks could plug his guitar into a microwave and still sound like an angel having an orgasm.
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Old 10-05-2008, 01:46 PM   #29
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What does a high end amp mean?
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 01:49 PM   #30
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Hey, what does everyone think of a Fender Blues Deluxe? I like my Peavey, but I'm looking for more of an American-voiced blues sound. I ask because there's one on my Craigslist up for trades.
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Old 10-05-2008, 01:50 PM   #31
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Quote:
Originally Posted by Iceman 420
Hey, what does everyone think of a Fender Blues Deluxe? I like my Peavey, but I'm looking for more of an American-voiced blues sound. I ask because there's one on my Craigslist up for trades.

I believe it's supposed to be like the Bassman and Twin amp but more modernized.
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 01:51 PM   #32
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high end amp means it is made for preofessionals, and usually cast alot.

fender blues deluxes are really great for the money, esp. used. keep in mind they arent really capable of a lot of gain, if thats your thing.
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Old 10-05-2008, 01:55 PM   #33
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Quote:
Originally Posted by Iceman 420
Hey, what does everyone think of a Fender Blues Deluxe? I like my Peavey, but I'm looking for more of an American-voiced blues sound. I ask because there's one on my Craigslist up for trades.


It'll be great for a blues sound. The overdrive will suit you really well, tis' nice is the overdrive on a blues deluxe. And epic cleans as always.
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Old 10-05-2008, 01:58 PM   #34
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Quote:
Originally Posted by lespaul#1
You can always get the SF one Blackfaced and buy a BF panel for $35 on Ebay.

i don't care about the look as much as the sound. have you guys ever heard a difference between a silverface and a blackface? i hear fender cheaped out when they started making siverfaces (sometime in the seventies, i think), same time as they started to make crappier guitars.

also: are there any SF to BF conversion kits?
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Old 10-05-2008, 02:04 PM   #35
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Quote:
Originally Posted by Jhachey22
i don't care about the look as much as the sound. have you guys ever heard a difference between a silverface and a blackface? i hear fender cheaped out when they started making siverfaces (sometime in the seventies, i think), same time as they started to make crappier guitars.

also: are there any SF to BF conversion kits?



You could get a tech to Blackface it, you might not have to depending on what year it is. Give 'em a call and tell us what year it is, if it's '68-'72, then it probably won't need to be.
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 02:13 PM   #36
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Here's a Blackfacing guide: http://www.unclespot.com/FenderBF.html.
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 02:29 PM   #37
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Quote:
Originally Posted by lespaul#1
You could get a tech to Blackface it, you might not have to depending on what year it is. Give 'em a call and tell us what year it is, if it's '68-'72, then it probably won't need to be.

they're not open until monday, but i'll comeback with results!
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Old 10-05-2008, 02:54 PM   #38
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Ok.
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."
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Old 10-05-2008, 03:42 PM   #39
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My Fender Twin Reverb is nothing short of amazing.
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Old 10-05-2008, 04:22 PM   #40
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Are you guys suprised at the lack of a Showman reissue?
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"I'm discontinuing production on the Timmy now as well. It might come back into production at some point down the road, but probably not because people will just clone it anyway cause they're stupid jerk face doo doo heads. -Paul C."

Last edited by lespaul#1 : 10-05-2008 at 04:39 PM.
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