Gibson/Fender Amp Comparison

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?

Fender Princeton Reverb

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.

How the “Hand Stamped” Date Code Works. The Code on the tube chart of your Fender Amp is made up of two letters. The First letter equates to the Year and the Second letter to the Month.

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.

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This guitar has a nice weight at well under 9 lbs: The neck has a comfortable 59 profile: This was used as a reference color guitar over the years, and has never left the Memphis factory since until now. This was a limited release guitar from The new Gibson ES in a Sunset Burst finish is designed with historic hollow-body features at heart. 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.

GAS Stereo-Vib (tweed): 2x18W 4×8″ and 1×12″ Guitar Combo with Stereo Vibrato Speakers: 4×8″ & 1×12″ (Jensens) Inputs: 2 stereo, 2 mono Channels: 2 Volume Controls: 2.

In accountancy, depreciation refers to two aspects of the same concept: Businesses depreciate long-term assets for both tax and accounting purposes. The former affects the balance sheet of a business or entity, and the latter affects the net income that they report. Generally the cost is allocated, as depreciation expense, among the periods in which the asset is expected to be used.

This expense is recognized by businesses for financial reporting and tax purposes. Methods of computing depreciation, and the periods over which assets are depreciated, may vary between asset types within the same business and may vary for tax purposes. These may be specified by law or accounting standards, which may vary by country.

Vintage 1960s Fender Super Reverb Combo Amp

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. It was in production from and was discontinued in The Pro Reverb is a watt tube amplifier and has a pair of 12″ speakers; however, models later than were increased to 70 watts.

Teagle and Sprung, authors of the definitive book on Fender amplifiers Fender Amps:

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.

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.

1972 Gibson ES-320td

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:

As a direct consequence, the band spent eight months off-and-on in the studio not only recording the album but getting used to—and experimenting with—the new technology.

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.

Greg was passionate about Fender amps and his knowledge, insight and humor will be missed very much. Paul Linden has volunteered to fill in for Greg.

1965 Fender® Princeton® Reverb Blackface, Very Good, $2,699.00

TH Darmstadt, Germany, Dipl. He has submitted several important technical papers to the Journal of the Audio Engineering Society and other related publications, which have become foundational to modern loudspeaker theory[2]. Examples of his recent work include extensive development of dipolar loudspeaker theory[3]. He left no diary, nor chatty relatives to memorialize him in print.

Permalink. I bought a Evil Twin i and I must say it is the best amp I have ever owned. I have only had to replace some tubes and the reverb tank in twelve years.

When an electron beam impinges on a solid surface, it loses energy primarily by electron-electron interactions. In those interactions, the energy gained by electrons in the solid is often sufficient to ionize them; the electrons thus ionized are called secondary electrons SE. The interactions of a primary electron with the solid are classed as elastic energy-conserving and inelastic energy non-conserving.

In the latter case, energy fails to be conserved in the sense that, while total energy is conserved, energy is transferred from one subsystem typically the primary electron to another the solid. It is important to recognize that the simpler processes one imagines are typically elastic. For example, if one regards the solid simply as a rigid electrostatic potential, then almost no energy is lost by the primary electron: It is thus clear that inelastic processes–and energy loss by the primary electron–require recoil–some movement of the electrostatic potential generated by the solid.

There is a more roundabout intuitive way to see this, which demonstrates in a small way the unity of physical law. If energy is lost by the primary electron, then the energy lost must be taken up by the solid. Since the potential energy of the solid is determined by the positions of its constituents, it is clear that neither the potential nor the kinetic energy can change unless some part of the solid moves. A junction in a bipolar junction transistor BJT between emitter E and base regions.

BF/SF Deluxe Reverb

Much of this is due to an unefficient phase inverter circuit design. In build quality and component selection brands of caps, resistors, pots the silverfaces are not as robust as the blackface models. The glued and stapled baffles on the silverface amps is to us one of the bigger differences between the blackface and silverface amps, or should we say, the cabinets. Still, many people consider the tone of the silverface Princeton Reverb just as good as the blackface.

Our amp section contains information about vintage Fender amps from the blackface and silverface era between and We consider these amps the most .

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.

Fender Bassman

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We’re also happy to share with you that we set up a similar amp to Amund Maarud, a real Norwegian blues guitar “hero”; a hot-rodded Fender Deluxe Reverb.

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.

Why has the desire for low wattage amps with watts of tube power come up so late? Many people consider the silverface amps just as sonically good as the blackface models. Being almost a blackface amp with a new faceplate wrong for collectors , the silverface models became popular value-for-the-money amps. The circuit was then significantly different from the blackface circuit. You will be able to shape your tone significantly with just the right speaker s and tubes.

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.


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.

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 s being a popular and important amplifier in its own right, the Bassman also became the foundation on which.

These models were Fender models and not Squier models. The stratocasters had Fender USA pickups installed and were made for the Japanese market only and not for export. The Squier series were also made available for the Japanese market in October , which incorporated small changes compared to the export Squier series. The large Fender logo of the export Squier series was soon changed to a large Squier logo.

The SQ Squier series was introduced in late to early Squier Vista Series[ edit ] In , Squier began to manufacture the Vista Series, which saw them introducing their own unique guitar designs independent from the Fender mother company for the first time. Made in the same factory as the Japanese Fenders of the era, they were known as high quality guitars. Later, in 97, a guitar version of the Musicmaster Bass was added, though it should be noted this was based on the bass design, and not the Fender Musicmaster guitar design of the s.

Fender 1968 Reissue Princeton & Deluxe Amps – Sit Back & Chillax