Fender® Forums • View topic - Dating a '65 Twin Reverb RI
Leo Fender began building guitar amplifiers before he started manufacturing electric guitars. This period marked the beginning of Fender's use of Tolex to cover amp cabinets. The name For example, the Twin Reverb and Super Reverb combos, along with the Dual Showman Reverb and . "Dating Fender Tube Amps". When most people think of a Fender amplifier, these are the first that come to mind. The iconic '65 Twin and '65 Deluxe Reverb reissues utilize the C12K for its . I'm trying to date a '65 Twin Reverb reissue. The serial number is AC xxx. When I look online regarding modern Fender serial numbers it.
This mod is a must-know survival trick for all Twin owners. 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. Pull out the V1 normal channel preamp tube — More preamp gain in vibrato channel. It is so easy to enable and disable that it can hardly be called a mod.
This is the preamp tube for the normal channel which you are not using when playing the Vibrato channel. This mod is safe. It has stood the test of time and been been done by players in 50 years in blackface Fender amps.
Very practical mod at practice and low volume environments. If you pulled the V1 12AX7 tube you may use it as V6 phase inverter. Reverb is an important character with vintage amps, yet so individual and mysterious.
BF/SF Twin Reverb
We all know that speakers change their tonal character during age. So does the reverb. Some amps have long, lush and soft reverb while others are mushy and overwhelming. We often find the reverb sweet spot around 2. Some amps are sensitive and difficult to control the reverb on. The whole dynamic area can be within a narrow interval, i. These amps require a careful touch when dialling in the reverb, which irritates us.
The reverb circuitry consists of two tube sections reverb driver V3 and reverb recovery V4 and the physical reverb tank. If you replace the V3 12AT7 reverb driver with a 12AU7, you will reduce the effect of the reverb and it will be much easier to control with the reverb knob. So simple as that. Use normal channel for reverb control — Adjust EQ and depth of reverb. This mod is relevant only for two-channel amps with normal and vibrato channel. Plug your guitar into the vibrato channel, then unplug the reverb return cable on the back of the amp the one that comes from the reverb tank output and plug it into the normal channel input.
The reverb knob on the vibrato channel will have no effect any longer. This mod is not applicable together with the Pull V1 mod, as you need the normal channel preamp tube. The effect of this mod is similar to pulling the V1 normal channel preamp tube when playing the vibrato channel.
This mod suggests to entirly disconnect the tremolo circuit from the signal path by replacing the tremolo intensity pot with a switchabe pot spst. One side effect with this mod is a noticable click and a volume difference between tremolo on and off using the new spst pot. The Normal channel has two inputs, a "bright" switch which compensates for loss of brightness through the volume control when the control is set lower than about "6" on its scalea volume control, treble, middle and bass tone controls.
The Vibrato channel has a duplication of the same controls as the normal channel, plus the addition of reverb, vibrato speed and intensity controls. The vibrato bug is a four-wire device consisting of a neon tube and light-dependent variable resistor, packaged in a short section of black tubing. It resembles a water bug, with slender wispy legs.
The tube generated vibrato oscillator pulsates the neon light, which varies the resistance on the resistive element. That variable resistance is applied to the audio signal on the Vibrato channel, creating a pulsating increase and decrease of that channel's volume. The speed controls varies the rate of the oscillator. The depth control limits the amount of application the variable resistor has on the audio signal.
The front panel also has a bright red pilot light lens better known as "pilot lamp jewel" for its multiple triangular-shaped facetscovering the pilot light made by the Chicago Miniature Lamp Co. Other colour schemes amber, white, green, purple and blue are also available.
Rear panel controls include a 2. Units made before the takeover of Fender by CBS in will be marked Fender Electric Instruments, and be worth a bit more on the collectors market. Twin Reverb amplifiers came standard with "tilt back legs" which allowed the amplifier to be tilted at an angle backwards, so the speakers faced at a more upward angle, promoting better distribution of their output to an audience when placed on a low stage.
Silverface Twin Reverb[ edit ] In the Fender amplifier line switched from the original black faceplate to a new brushed aluminum faceplate with light blue labels except the Bronco, which has red and changed the color of the grillcloth from silver grey to silver with sparkling blue threads embedded within it, ushering in the Silverface era.
Other blackface cosmetic features were retained. Since the tube complement was the same, Fender just used up their stock of printed tube charts saying AB until they ran out. Early silverface amplifiers made between and had black lines on the brushed aluminum faceplate, still retaining the '60s "tailed" design on the amp logo, installed on the upper left side of the grillcloth.
This feature was offered on models produced prior to the "tailless" period in Some later models came with an unusual silver grillcloth with sparkling orange threads "orange sparkle" ; a black grillcloth was even fitted on some production runs. During the silverface period, the Twin Reverb's chassis and AA circuit was shared by the Dual Showman Reverb, effectively producing the Twin Reverb in a head form, although the matching speaker cabinet for the Dual Showman Reverb sported a pair of inch JBL speakers rather than inch.
In a master volume was added, then in late '73 it was fitted with a push pull "boost" or acentric potentiometer in the master volume position.
The rating of the amplifier's output power was upgraded to watts and between — an ultra linear output transformer was used, increasing the power to watts.
December Learn how and when to remove this template message Fender's first transistor amplifiers were introduced in At the time they were the company's "flagship" range and aimed to make the tube-based designs obsolete. The amplifiers were naturally given traditional Fender model names, earliest including 'Dual Showman', 'Twin Reverb', and 'Bassman'. The amplifiers were mainly designed by Robert "Bob" Rissi, Sawa Jacobson and Paul Spranger, who came up with the novel idea of making a heatsink to operate like a chimney to achieve increased and non-restricted airflow.
Paul also designed the distinctive angled chassis and overall cosmetic styling.
He was granted patents for both accounts. In more transistor amplifiers were introduced, including the 'Zodiac' series and the behemoth 'Super Showman System'. Seth Lover, the legendary designer of the Gibson "P.
The head featured three cascadable channels, a "Dimension V" oil can delay effect, reverb, vibrato, and a fuzz.
The powered cabinets could switch between normal and "tube-emulated" operation. Zodiac-series amplifiers consisted of 'Capricorn', 'Scorpio', 'Taurus' and 'Libra' models.
Aside from being covered with fake alligator skin, they were cosmetically very similar to Super Showman. However, these were smaller combo amplifiers with fewer features and aimed for the lower end of the market. Fender's early transistor amplifiers had an extensive marketing campaign but in the end they proved to be a major disaster. Many key executives of Fender had resigned after the CBS purchase and quality control of the PCB-constructed amps was rather sloppy during the times.
Reputedly many of the early solid-state amplifiers failed simply because employees didn't bother to clean up the soldering machines or attach the semiconductors properly to their heat sinks. The infancy of semiconductor technology also meant that many designs failed due to thermal runaway caused by insufficient cooling or lack of knowledge concerning "safe" power ratings of transistors. The cascaded effects from all this created a very poor reputation for the transistor products and the entire solid-state line was discontinued already in Additionally the experience also scared Fender away from solid-state amplifier technology for the next ten years.
One well known player who took to the Fender Solid State amps was Jan Akkerman who used Super Showman full stacks during the early years of Focus, favouring their clear sound.
Fender Twin - Wikipedia
He used them well into the seventies, often in conjunction with Marshalls to add low end. Second series blackface[ edit ] The Silverface amplifiers were succeeded by a new breed of Fender designs. Fender was now competing with manufacturers who were more in tune with the market; specifically, many guitar players were interested less in "cleanish" country amp and instead wanted more versatile tone controls and, perhaps more importantly, greater amounts of distortion.
This market was dominated by companies such as Marshall and later Mesa Boogie —both of which had gotten started modifying Fender amps the Bassman and the Princeton, respectively. Certain elements of the Blackface cosmetics were reintroduced in the mids on a series of amplifiers designed by Ed Jahns. The first amplifiers in this new line included the infamous W 'Super Twin' and 'Super Twin Reverb' amplifiers which featured active tone controls and a built-in distortion circuit that blended between clean and distorted sounds.
Some bass amplifiers with similar architecture were also released, namely the 'Studio Bass' and 'PS'. These amplifiers didn't yet render obsolete the Silverface series and manufacturing of both co-existed for years. In fact, many Silverface designs were revised to the ultra-linear architecture to step up their output power from watts to watts. Also, existing Silverface Princeton Reverb and Deluxe Reverb circuits were offered in a slightly modified Blackface cosmetic package from roughly tothe difference from the s versions being that the model designation on the faceplate did not include the word "Amp" after the script typeface model name, as the earlier versions had.
The new Blackfaces came in varying cosmetic styles. All of them had a black control panel and traditional knobs, but they no longer featured the Blackface-style lettering to depict the model name and the traditional control panel layout was partially redesigned. Some of these amplifiers had a silver grillcloth typical to previous BF and SF series amps, but more often the amplifiers sported a black grillcloth.
Fender amplifier - Wikipedia
Some amplifiers also had an aluminum trimming running around the grille. The styling didn't become consistent until the early s, at which point all these designs were already discontinued to make way for the very similar looking "II Series".
- How to Date Fender Twin Reverb Amps
- How to Date Fender Twin Reverb Amps
- Dating my '65 Twin Reissue
In the late s and very early s the "Supers" were followed by the tube-based '30', '75 Lead ', and '' tube amps with reverb and overdrive features and two solid-state 'Harvard' amps one with reverbwhich were 15W practice amplifiers. Design-wise the tube amplifiers were quite different from their predecessors, as the active tone controls and blending distortion circuit had been removed and the latter feature replaced by a crude version of the channel switching concept.
A new feature addition was a crude insert-style effects loop. The specifications for these amplifiers all 14 of which are listed hereand leadership of the design team, came from Paul Rivera then marketing director and are known as Fender Rivera era amplifiers.
Many of these amps had the normal Fender clean sound and in addition a switchable mid voiced gain channel, designed to compete with the Mesa Boogie Mark Series series amps that had gained popularity at the time. The tube amps in the series feature hand-wired eyelet board construction and are also becoming sought-after collectors items, due to the design and build quality.