The Sequoia Seminars

The Vibrolux and Pro were very similar. Many of the components were the same, chassis, boards etc. The Pro reverb used 12″ speakers, produced 40W, had higher voltage transformers and only used an AA or AB circuit. Its possible they both used the same output transformers. The difference between 35 and 40W isn’t much. The power transformers did have higher voltages for the pro however. Tone wise the amps were very similar. The Vibrolux having 10’s had a more focused midrange and broke up early.

Amp Talk is a great info source on valves for amps. Info on amp repairs

In dealing with tube amps, one of the questions that gets asked a lot is “what is the Belchfire Quintessential amp like? One brand I hear this sort of question about a lot is Gibson. Since I’m a big Kalamazoo fan and Kalamazoo was a Gibson line, I pay a bit more attention to Gibsons than to some of the other, less common brands. I also discovered that at least one version of the Gibson GA-5 Skylark used exactly the same circuit as the Model One. Further investigation brought to light the fact that quite a few Gibson amps were extremely close, circuit-wise, to various Fenders.

Others were unlike anything else anyone built!

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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.

Craigslist Vintage Guitar Hunt: ALERT!! Fender Princeton Reverb in CInicinatti for $

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.

Looking for a vintage Fender Blackface Super Reverb, Pro Reverb, Deluxe reverb or Princeton Reverb. Must be from between***** Not interested in a re-issue. Fender Stratocaster 62 reissue neck dating dec 84 C-serial, body is a 57 reissue plays sweet, neck has been resprayed with nitro tint. Pickups are American made planet tone.

You just gotta have that amp or that guitar. Even if you already own plenty. Man will never stop coming up with ideas and rationale for why he constantly needs to aquire more gear. Man convinces himself, the wife and all who stands in between the gear and himself — the only responsible thing to do now, is to go get that gear. Man needs, man deserves. So, why constantly seeking for changes? But if your amp is a mint vintage peace of gear with high collector value, be careful and think through what you do.

You may get asked — why mod a classical tube amp to be some other wanna-be amp? Why not just get another original amp with the characteristics you desire?

Taylor 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.

Blonde Jaguars and Jazzmasters that were sold as a three-piece set with a Blonde Deluxe Reverb Amp. Peavey serial. Your interlocutor for some money to buy yourself a cheap usb webcam peavey amp basically i want dating serial number peavey to get your.

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.

The Marketplace for Musicians

It’s just my opinion, but I think the slightly larger cab makes the amp sound even better. The thing is with this PR, I got it for a pretty good price in the first place. And I bought it for it’s functionality, not it’s ‘collectors value’. This is the faceplate it came with. The UPS story is kinda interesting. The cabinet was a mess broken wood, tolex tears , and the reverb tank was broken.

DATING BLACKFACE, BROWNFACE, BROWN TOLEX, WHITE TOLEX OR TWEED AMPLIFIERS USING THE TUBE STICKER On the inside of the cabinets of most Fender amps made after and before , there might be a “tube location” sticker.

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. First, let’s go over the tube compliment. Every true stereo amp has two separate power amps. As such, they have more tubes, an additional output transformer, and sometimes an extra power supply compared to a standard mono amp. These tubes are readily available and not too expensive.

Dating profil foto ideer

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.

Apr 25,  · I just recently sold a 67 Princeton reverb the set screw was at one and no snoball 8. I said in my post I had already determined it to be a 66 and even said how I had determined it. So I was a little annoyed when that appeared to be ignored and it was claimed to be a 67 Vibrolux Reverb in a Pro Reverb .

While guitarists in the early part of this century played country, folk or blues on acoustic guitars, in the ‘s, jazz musicians experimented with amplifying traditional hollow-body guitars so they could play with other instruments at the same sound level. One problem was that the speakers and pickups tended to generate feedback when played at a high level. In the ‘s, a California inventor named Leo Fender had made some custom guitars and amplifiers in his radio shop.

Eventually, Leo would create the world’s very first instrument amplifiers with built-in tone controls. More importantly, though, was Leo’s vision of better guitar. With his knowledge of existing technologies, he knew he could improve on contemporary amplified hollow-body instruments. Over the next two decades, Fender Musical Instruments experienced some tremendous growth.

But as time wore on, CBS’s lack of commitment and real understanding of music and musicians was becoming apparent.

BF/SF Deluxe Reverb

This impressive guitar incorporates modern enhancements like an ABR-1 bridge with titanium saddles, and a hand-wired MTC control assembly paired to our MHS P pickups with hum-canceling capabilities. This is from the new limited run of Brazilian R9s — and the lefties are even more rare, with only a handful made. The Brazilian R9 Les Pauls have been among the most collectable of modern-era guitars. This guitar has a nice weight at well under 9 lbs:

Fender® ’65 Princeton® Reverb The original was used on countless hits over the years, and the new ’65 Princeton® Reverb is easily versatile enough to go from your .

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. On 4 digits date codes, the 1st and 2nd digits are the last two digits of the year. In either case, the remaining 2 digits are the week of manufacture 01 to With this in mind, remember if the last two digits of the source-date code are greater than 52, you’re not looking at the source-date code! Also it’s worth mentioning: On 3 digit date codes, you have to “guess” the decade of the pot or speaker.

Usually this isn’t too difficult. Examples of Source-Date Codes.

Fender Princeton Reverb Reissue