To get this amp into overdrive requires a volume level that hardly anyone can handle. Also, the Twin can handle humbuckers well, which is not the case with some other Fender amps. It’s a Blackface Twin which breaks up easy compared to later Twins. Furthermore, as with all models, it is modeled on the “Hi” input. If you don’t want it to break up as easy turn Input Trim to 0. You may want to turn the Bright Switch off as well. People who want squeaky clean usually turn the Bright Switch off on these amps. However, you’d be surprised that a Twin isn’t nearly as clean as you think. It’s just so damn loud that you get the sensation that it’s clean because a light touch on the strings creates a lot of volume. This was stated by a happy Twin Reverb owner on Harmonycentral.
1974 Fender Silverface Pro Reverb Questions
This is exactly what the amp is made for, being played unmiked in in a gospel band in a seat church every Sunday. Warning nr 1 Weight. Warning nr 2 Volume and clean headroom. In a 50 year old vintage amp the condition of the speakers varies a lot. Beware of the weight, though. The plate voltage will increase a little when two of the tubes are removed.
Publish date: Jul 10, It’s not difficult to convert a silverface Super Reverb to blackface spec, and the end result will usually sound as good as or even better than its blackface counterpart.
If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 and I firmly believe, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size.
I would have called it a Custom 22S or something. I like the blade so much more than the rotary. A few clear coat indents or scratches but nothing through to the wood. It plays easily with low action and with the Fralin pickup it has a sweeter selection of single coil tones. Would be very at home in a modern country band or, of course, rock or blues.
Not a 10 top but on another day I think it could have made the grade. Fender American Deluxe Pickup Assembly. Mounted on original Fender mint green pickguard. Quick and easy upgrade for your Strat. Super clean – modern take on the old Stingray 1, first released in along with the Stingray Bass.
Eric Clapton’s Guitars and Gear
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.
Description: This is great vintage constructed power most of the cheaper constructed, nylon bobbin wound versions currently available on the market, these are paper layer wound transformers just like Blackface and Silverface era originals.
Other than these circuit changes, a BF may or may not have better speakers and that is something that should never be ignored when modding any amp. Speakers can make a bigger difference than most of the circuit changes, but that is another topic. If all works out there will be two PDF files that show the circuits with my annotations and then two that are in original condition attached to the post. On to the circuit changes. I circled the various locations that need to change on the circuit diagrams so you can see the before and after.
The layout of the drawings is different but the electrical connections and the layout is essentially the same.
Dating fender twin reverb abusive intimidating
Fender ’68 Custom Twin Reverb was a transitional year for Fender amps, with tone that was still pure Fender but a look that was brand new. 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. Clear, deep and powerful, it produced big tube tone, with world-class Fender reverb and vibrato effects.
Dec 26, · Re: Silverface Faceplates (Twin Reverb) Post by dodge» Wed Dec 26, am I would love one for my Bassman head a friend of mine pulled out of the trash and I fixed.
Input impedance ohms, output impedance ohms, medium decay 1. See explanation of Accutronics reverb tank numbering system here. See a chart which lists AC impedance and DC resistance measurements for reverb tanks here. View the 2-year warranty details here. Input impedance ohms, output impedance ohms, long decay 2. Short Tank, Medium Decay, input impedance 10 ohms, output ohms, grounded input and grounded output.
Mounts horizontal, open side down. Short Tank, Medium Decay, input impedance 10 ohms, output ohms, insulated input and grounded output. Short Tank, Long Decay, input impedance ohms, output ohms, insulated input and grounded output. Short Tank, Medium Decay, input impedance ohms, output ohms, insulated input and grounded output. This is the most popular short tank. Mounts vertical wall, long axis horizontal, connectors down. Input impedance 10 ohms, output impedance ohms, medium decay 1.
Input impedance 10 ohms, output impedance ohms, long decay 2.
BlackFace your 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.
The Fender twin reverb amplifier is a great classic sounding amplifier they get you one of the most highly used in easily recognizable tones in all of rock ‘n roll music. It’s a classic feeeling and virtually one of the best clean platforms you’re ever going to get an amplifier.
There are known as the “ultralinear” models with different transformers. Master volume was added after , and pull-out boost circuit added in Line Out jack socket and a 3-band equalization for the Normal Channel added in Silverface amps made between ’68 and ’72 were emblazoned with “Super Reverb-Amp” with a tailed amp logo in the grille cloth.
After this was changed to just “Super Reverb” and the tailed Fender logo from the mid s was replaced with a modern “unscripted” tailless amp decal changed to a “scripted” style in There were only minor adjustments made to the pre silverface Super Reverbs. Today aftermarket kits are sold for non-master silverface amps allowing them to be taken back to the more desired blackface specs.
A master volume was added in late A “Boost” control was added in A Mid control for the Normal channel and a Line Out jack socket were added in Super Reverbs produced between late and have blackface cosmetics and a silver sparkle grille cloth but the same circuitry as prior years.
Fender Twin (The Evil Twin)
And a new tube in the reverb driver position. If you don’t have an extra 12AT7 to swap out to test that, you can use a 12AX7 temporarily to see if that restores functionality – it won’t sound right, but if you hear reverb, that was it. The last time I fixed a reverb problem – inside the tank, a small lead wire had broken off of one of the transducers, which are the little things on each end that have the wires going to them, all I had to do was solder it back on.
That could have happened in shipping. The one on the input converts the electrical signal to physical vibrations, which rattles the springs. The one on the output end converts the physical vibrations into an electrical signal, which is then amplified along with the dry signal.
After the bump up to plus watts, then a brief pit stop at the blond Twin, the blackface Twin Reverb was the next rung on the evolutionary ladder – and arguably the last true classic rendition of the Twin format. This amp – a verified model, is the earliest Twin Reverb we’ve ever seen.
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: 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.