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!
Dating fender bassman ten Free adult xxx
The Age of Consent. The term also includes a person lawfully engaged in buying and selling securities for his own account through a broker or otherwise as a part of a regular business. The mother and father are the joint natural guardians of their minor children and are equally charged with the welfare and education of their minor children and the care and management of the estates of their minor children; and the mother and father have equal power, rights, and duties, and neither parent has any right paramount to the right of the other concerning the custody of the minor or the control of the services or the earnings of the minor or any other matter affecting the minor.
A lof of blackface Bassman amps with AA tube charts are actually AA’s, and a lot of AA charts are glued into AB bassman was a combo amp in the tweed era with the 1×15″ and 4×10″ speaker the blonde era Fender made the Bassman .
You must replace them before putting the amplifier up for resale. First up is the input of the 6G6A. The DC coupling is done to keep the phase shifting in the lowest frequencies at a minimum. At the least, replace the. If the cathode follower is not to your liking, you could have the one-half of that 12AX7 to use as you desire. There is more to tweak, beyond the input and tone control stages.
Blackface Bassman circuit has interesting possibilities. Above we see a partial schematic to the seldom-encountered AA Use a bare piece of wire, or move the. I sometimes parallel up the two halves of the 12AX7. You do not get any more gain doing this, but the noise level is improved. You will also notice about this time Fender started using a 12AT7 for the phase inverter tube.
The next example will demonstrate this quite nicely.
Dating fender bassman ten. Fender Bassman
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.
DATING FENDER AMPS BY SERIAL NUMBER, PART V by Greg Gagliano. Copyright , 20th Century Guitar Magazine. They said it couldn’t be done Over 6 years in the.
In terms of power and clean headroom it is the smallest of all the Fender piggy back amps. The blackface Tremolux and Bandmaster AB are almost identical amps, just that the Tremolux is sized for smaller events and gigs. The Tremolux had tube rectifier, while the blackface Bandmaster had diode. Both amps had tremolo but no reverb. The sound is nice and clean and the tone remains relatively clean when one turns the volume knob.
The video clip demonstrates a blonde Tremolux, which is quite similar to the blackface. The Tremolux is rarer than the other blackface piggy back amps since it was produced over a shorter period of time. It was discontinued in and had no silverface models to follow. All the narrow-panel tweed, blonde and blackface Tremoluxes are very valuable today with a well-deserved collector status. We usually start with explaining a mod from a functional perspective where we relate to components in the logical schematics diagram.
Finally we point out location of components in the physical layout diagram. Oxfords or CTS speakers were delivered with these cabinets in the blackface years. Replacing speakers is the easiest and most effective mod of them all.
Dating a Fender Bassmann 100
The tube charts are not very useful for determining the circuit model. At the Fender factory they used old tube charts when new models came, probably because the tube layout was the same. Determining production date by serial number and transformer codes is better, and you should also inspect the circuit to be completly sure. The picture below shows a transition model amp.
Amp collectors and idealists often prefer the pre-CBS models but if we study the AB circuit it does have something very interesting for guitar players who enjoy cranked Fender blackface tones. The AA is very rare and its circuit and tone is quite similar to the AA
dating fender bassman amps. fender bassman ampsfender bass amps. fender bassman amps on ebay. used fender bassman amps for sale. fender bass amps on ebay. Converting to cathode bias in the blackface and silverface Bassman circuits, and other Fender amps with fixed bias, is very simple. Fender Fender BF Bassman mods «HarpAmps.
Where can I get parts for my Fender Amp? Why isn’t my Fender amp listed in the Field Guide If you’re Fender amp isn’t listed in the guide it is most likely because it is a solid state amp. The guide is an extention of this fascination with tube technology so I have chosen to ignore the models that do not make use of thermionic phenomena for amplification. As for the qustion of tubes vs. What is meant when an amp is referred to as a “black face” Fender?
Contrary to what you might think, this term is not politically incorrect and has nothing to do with Al Jolson. The term “black face” refers to the color of the amp’s contol panel. Fender typically chose a cabinet style, covering, and grille cloth and used it across the entire amp line. Therefore it is a convenient way of refering to an amp of that particular era. This refers to amps produced between They are called woodies because of the uncovered wood cabinets and matching wood handles.
1966 Fender Bassman Blackface
And there’s so many variations from year to year that I could probably make this post long enough to be very boring. Here’s my basic rundown based on my experience with like 50 different Bassman amps. The early-mid 60’s blonde piggybacks saturate really well, do the “distorted guitar sponge” thing, and can be cleaned up nicely with the guitar’s volume knob.
They are also way too expensive for what they are and I’m glad I got one like five years ago instead of today!
The Fender Bassman is a bass amplifier introduced by Fender during [ citation needed ] 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
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. Besides being a popular and important amplifier in its own right, the Bassman also became the foundation on which Marshall and other companies built their high-gain tube amplifiers. History The 5B6 Bassman During , the Fender 5B6 Bassman amplifier was introduced as a combo amplifier cabinet that included the amplifier chassis combined with one 15″ speaker.
Mar 07, · From a 1/05 thread here: “The Bassman is designed to run either one or two 4-ohm cabinets. The output transformer has 4 and 8 ohm taps, and plugging in the second 4-ohm cabinet switches it in series with the first.
Besides being a popular and important amplifier in its own right, the Bassman also became the foundation on which Marshall and other companies built their high-gain tube amplifiers. 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 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  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.
Produced from until , these models are called the “narrow panel” tweed amps. The 5E6-A Bassman model was introduced later that year and included some evolutionary improvements. By the middle of more than 1, examples of the 5E6 series had been sold. This model also had four Jensen P10R speakers, but the power supply was redesigned around a single 83 mercury vapor rectifier tube, and a new preamp circuit was introduced that included a three knob tone stack, with separate controls for Treble, Mid and Bass.
The power amp included a “long tailed pair” phase inverter, an innovation that noticeably increased the “headroom” or clean power output capability of the amplifier. Similar preamp changes were also incorporated in the 5F8 Twin Amp at about the same time, but not on other large size Fender amps.
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
Dating Fender Tube Amps by Serial Number. I would like to thank everyone who responded to our request for data as outlined in Parts 1 and 2. Perhaps the most surprising transitional circuit that has been reported to me (thanks Brian!) is for the early silverface Showman.
History The 5B6 Bassman 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. These rare few are known to sound better than the revered 5F6-A circuit. Narrow panel models, to 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.
The output transformer in Fender amps in this era were well overbuilt but a 4ohm transformer really can only handle a 2 to 4ohm load, 4 ohms total being the optimal. To double that at 8ohm puts incredible strain on the OT and this is why you see so many bassman amp with replaced Output transformers.. Not to pick on you but because guys plugged in 8ohm cabs and said exactly what you did.
To affirm what I am saying I will find Billy Zoom’s quote on this very thing.
Nov 21, · The Bassman 10 is a silverface combo that’s pretty much like having a Bassman 70 with good speakers on wheels. A company called Fuchs (awesome) hotrods silverface amps to make them more like blackface amps on steroids.
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. Copyright , 20th Century Guitar Magazine. They said it couldn’t be done… Over
This may also be helpful when dating a vintage tube guitar amplifier. Green wire terminated in screw terminal for ground connection to chassis. It was designed to generate 26 watts at an 8 ohm impedance load, and offered a cathode-based bias.
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.
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