Any 12AX7 type will work here. NOS s recommended if lower gain is desired. Power tube middle socket is 6V6. Recommend using glass 6V6 GTs. NOS metal 6V6 s run too hot. DO NOT use other types. Rectifier tube is 5Y3 GT. Avoid using NOS metal 5Y3 s, only glass. You may also use 5V4 types or 5R4 types if they fit physically.
Dating A Silverface Twin Reverb Join Date Oct Posts FWIW, a silverface Twin can be a great amp. I prefer the earlier,. Probably the least desirable of the classic Fender reverb lineup.
Dec 08, · than waste them, they were used on combo amps such as the Twin Reverb and Pro Reverb. Although the cosmetics changed, the circuits remained unaltered from the blackface circuits on these early silverface amps.
The silverface Bandmaster amps got a 5U4GB tube rectifier and the vibrato channel got reverb. Due to this the silverface Bandmaster Reverb is less powerful, has less attack and breaks up earlier than the blackface Bandmaster. It reminds us more of a classic 80w Twin Reverb than a Bandmaster Reverb, and it shared its circuit design with the Pro Reverb and Super Reverb at that time. The reverb amps will start to break up around on the volume knob while the non-reverb amps stay clean to approx This is caused by the lack of gain stage in the reverb recovery circuit which contributes to tube distortion and compression in the preamp section when the amp is pushed.
They are similar in the way that both are clean sounding with just one 12ax7 tube in the preamp stage vibrato ch in bandmaster and normal channel in bassman. The vibrato channel in the Bandmaster is even more clean than the Bassman because of the vibrato circuitry loading the signal chain and reducing the gain level in the premp section. The Bassman has a slightly bigger output transformer resulting in a firmer tone and more attack. A smaller output transformer will introduce sag and compression in the power amp section.
The blackface Bandmaster is therefore ideal for those who look for a pure Fender clean sound without making ones ears bleed. These tubes have different frequency responses than 12AX7, particurlarly when distorting. People describe these tubes to have less harsh and buzzy distortion. This mod does not alter the tone significantly when amp is played clean or when only the power amp section distorts.
1968-1982 Twin Reverb
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.
I’m a fan of the. Fender used the smaller cap to trim some bass because the matching blackface extension cabs were closed back and had extended bass response.
Apr 08, · The Fender Twin Reverb amp has two 12″ speakers (hence, the Twin Reverb name). The problem that arises in changing the amp to one 15″ speaker, besides the baffleboard and carpentry issues, is the impedance matching of the amp to the speaker(s) for most efficient power transfer.
I know there are some posts on speakers for Fender Twin Reverbs on this board already, but I don’t really feel that my question has been answered, so please forgive me if I bug you with questions, that might have been handled before! I recently purchased a Silverface Fender Twin Reverb in excellent condition according to the local amp guru but I am not really happy with the speakers.
They are Fender stock speakers labeled 12T and I am afraid, those are the infamous and highly ineffective “Ox-Farts” as some people call them. In fact the amp sounds nice at low volumes and played clean as long as there are no distinct transients in my playing which make it just “fart” with an unpleasant, fuzzy distortion.
Using any kind of overdrive or distortion pedal just reveals this effect even more. What I am actually looking for is on one hand a true american Fender clean sound which in my opinion means a rich sound with warm round bass, tamed midrange and sparkling yet never shrill or biting highs. On the other hand the speakers should be able to handle quite some overdrive or distortion and still sound warm and thick.
However after reading several posts on this board, I am totally unsure, what the best option in my case would be. I hope, you can help me out! Thank you very much in advance!
1974 Fender Vibrolux 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.
Fender Twin Reverb Amp – Used With a silver-and-turquoise front panel and classy aluminum “drip edge” grille cloth trim, the Twin Reverb received a fresh new face as it remained the backline amp of choice for pros and amateurs everywhere.
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.
Dating A Silverface Twin 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. Working at FMI — I was able to interview a fellow who wishes to remain anonymous who worked at Fender in in the amp department.
Jan 10, · All Fender amplifiers, manufactured after include a date code on the amplifier. This code is located on the “QA” (Quality Assurance) sticker, .
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. Paul worked with Greg on their small box brown Twin myth busting research and is extremely knowledgeable about Fender amps in general with a specialization in the brown and blonde amps.
Since , more interesting factoids of interest have surfaced and are presented here. Interest in vintage Fender amps really took hold about years ago.
How old is my fender silverface twin reverb?
It has earned a reputation of being one of the cleanest tube amps ever, but it delivers a taste of the trademark Fender crunch when cranked up high. Delivers 85W through two Jensen 12″ speakers. It has two channels, tube vibrato, tube spring reverb, tilt-back legs and Blackface cosmetics. Includes two-button footswitch to control reverb and vibrato effects.
I recently purchased a Silverface Fender Twin Reverb in excellent condition (according to the local amp guru) but I am not really happy with the speakers. They are Fender stock speakers labeled 12T and I am afraid, those are the infamous and highly ineffective “Ox-Farts” as some people call them.
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.
The big iron core in the output transformer just couldn’t get saturated that easily either. Fender clean tone for days! It has the transition “cloth wire” and not the irradiated Teflon “thin wires” widely used in and model Fender amps. It still has all its original transformers and all original capacitors.
BF/SF Super Reverb
QR Code Fender amp “tailed” logo Fender amplifiers have a long history. Leo Fender began building guitar amps before he started manufacturing guitars. The original Fender amps were tube-powered and the company additionally started producing solid-state models in the late s.
Rated 5 / 5 Fender ’65 Super Reverb For the record, this is the third Super Reverb I’ve owned. The first one was given to me by my dad in I was a fledgling guitarist just navigating the waters of rock and I fell in love with the four ten, tube configuration.
That amp worked pretty well with my Rick string. That amp turned out to be an early-production Pro-Amp. I started to investigate the world of pre-CBS Fender amplifiers. During that era Fender blackface amps, covered in black tolex with silver grilles, were everywhere. I combed through vintage dealer ads and began to pick up Fender amps in tweed, white, brown and blackface versions, trying to stick to or before.
Some of the amps in my collection have their original tubes, capacitors and speakers; on some they have been replaced. I have presented my amps in rough chronological order by era. The general information provided was obtained from books, online sources or personal observation.
Fender Twin Serial number?
Product ExperienceI own it Closest StoreAbbotsford, British Columbia I have a little different review on this very heavy amp than the other two reviewers. I got mine when they first came out having heard about it just before they were released. I ordered one as soon as was possible. Played it for years as is from Fender and it was fine.
Vintage Fender Amp Repair specializes in do-it-yourself repair, modifications & upgrades, as well as vintage Fender amp schematics and layout diagrams.
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. 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.
It was designed to generate 26 watts at an 8 ohm impedance load, and offered a cathode-based bias. From through the spring of , Fender produced approximately model 5B6 Bassman amplifiers serial numbers — The earlier cabinets have been called “TV Front” designs,  with a front panel that had a rectangular grill cloth with rounded corners and looked much like a television of that era.
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 Bassman with dual rectifiers During November , Fender introduced the newly designed 5D6 Bassman amplifier offering four ten inch speakers and was designed utilizing two rectifier tubes.