Dating my '65 Twin Reissue | Telecaster Guitar Forum
Matchless C 2x12 combo amp . white photo of a gloved hand on a naked woman's backside, shown in semi profile, . Unfortunately, none of the musicians showed up on date of the recording date so Fender '65 Twin Reverb Reissue. Oct 14, Find your vintage Fender amplifier date code to see when it was blackface amp has a date code stamp of OB, it was made in /February. Jun 9, Guitar: Fender Deluxe Fender Bassman Fender Blues Jr Ampeg J Jet Orange Tiny Terror Vox AC15CC Fender Super Reverb Fender Fender Twin and Princeton (both silverface) and Vibrolux (brownface) Best amp I've owned to date. Friedman Naked (the ONE for me).
How's that for a recommendation? Absolutely fantastic tone with somewhat remarkable volume I found it hard to play on the 15W setting. Has a wonderful character at 7W Exceptional bright clean tones think Pat Metheny and rich, fat "Billy Gibbons like" overdrive even at low volume.
Moreover, there is 'dark' character to the tone when the bass and presence are cranked think Tony Iommi. The very high treble notes on the e-mando say higher that the 7th fret B on the E-string sounded much cleaner on this amp with no clipping than they did on the other amps. In addition, this amp seems perfectly balanced across the mandolin's tonal range. Sounds much more expensive than any of the other amps.
I think it's time to sell the Line6 and take things to another level. Thanks again to everyone who has posted here helping me with my search. That sort of input is really helpful. I'm thinking the Blackheart is it, then, the others won't match up, I'm sure. Glad you liked the Egnator. I played around with a friend's for a bit and thought it was a good pice of gear for the cash, and pretty versatile. And, though it's supposed to not matter, I liked the looks.
I'm also a sucker for lots of little knobs, even if I can't figure them all out. I look for a guitar sound and guitar-amp tone, meaning not tinkly mandolin high end. For that I would mike or piezo an acoustic mando. Another issue is whether tone means distortion at some level. The warm tube tone usually implies less crackly highs, due to lousy high-frequency response, but also, in the case of Fender amps, sharp drop in high end from the Jensen speakers.
This means that the dynamic value of clipping sustain and controlled attacks is achieved without obvious crackle and dirt. Another issue is the transition from clean to clipped, thus the Class A devotees. Fender amps are Class B, various design issues are involved, etc. Very crackly transistor sound even though it was a tube amp.
Nice, but who needs that kind of burden? I am ready to order a pedal from AnalogMan waiting list called King of Tone, that has two channels for switching between presets. All analog, long battery life. Speakers are a huge issue, most are brighter in tone than 60s cones. For a sweet, fat tone, the Celestion 12s are great, and they have a 10 called the Greenback that is not hard and crackly. I use a neodynium-magnet Celestion 12, rather bright but I like the 4. BTW, their very inefficient power consumption is not a "green" approach.
I recommend something handy and compact, install the speaker of choice I like 12sapply extra distortion and EQ as needed. But the Boss EQ pedals are handy, and can dramatically change the color. The belief that tube watts are louder is not founded on reality. Some amps have a less-obvious distortion happening, and thus seem loud, compared to a crackly solid-state amp that needs to stay away from clipping.
Really more like watts. Tom-- I'm not sure what you mean here. In the first quoted sentence, are you suggesting that one should simply add pedals, rather than look for tone or gain style within the amp?
And along with the second sentence, it almost sounds like you are claiming that boutique amps are--by definition--inefficient, expensive, and clunky. Truly not trying to start an argument here; I'm trying to understand because I'm trying to figure out my next amplification move.
Ignatius Tom Wright Sep, I just feel that going the boutique route is both expensive and burdensome, and not necessary.
Fender 65 Twin Reverb – Thomann UK
Lower-cost tube amps may be fine, but I think the key is the speaker, the EQ, and the distortion response. All can be achieved in various ways. And tube amps just weigh so darn much, heavy transformers for power supply and output coupling, heavy box to protect the fragile tubes, etc. The above does require experimentation, so maybe not the easy route for a starter. But I would not recommend an expensive boutique amp for starters, either. I've owned a Rivera Sedona since they first came out, years ago when it was a bit less expensive.
Here's some thoughts on it. First, it's truly the only dual-purpose tube amp that can be used for electric instruments and acoustic instruments with pickups, due to the tweeter that can be kicked in or out of circuit. It has a feedback notch filter too, which you'd never find on a standard electric guitar amp. It's hand-wired, built like a tank, and heavy I have the original 12" combo version.
It's not a good bedroom amp. At 55 watts, it's very loud when driven hard enough to saturate the power tubes. The master volume lets you get a distorted preamp tone at lower volume, which isn't quite the same thing, but may work for some folks. A while back, I replaced the original speaker -- a JBL with a huge, heavy magnet that's really more of a PA speaker -- with a lighter-weight Celestion.
That shaves a bit of weight off the amp, and shifts the tone a little more towards traditional electric guitar amp tone without compromising the acoustic amp side very much. I think it took about 8 lbs. In fact, it's been years since I've gigged with it. I use it now mainly as a studio recording amp. For electric tones on a gig, or just fooling around at home, I use a Roland VG that covers a lot of sonic ground and doesn't have the weight I know digital amp modelers are heresy in a discussion like this, but it really does sound great.
On the acoustic side I've got a nice compact PA system. So, the Sedona fits in an awkward middle ground for me now, and doesn't get used much. But I'll still never sell it.
It's nice to go back to it every once in a while, and remind myself what a good tube amp sounds like. Okay, that's a bit of a diversion from what Ed is looking for, but I thought I'd mention it since others here are looking at the Sedona as a possibility. It's a great amp, but you have to really need that tweeter to make it worthwhile. On the general topic of tube amps, I like the Fender Blues Jr. Nice and simple, good tone. In the boutique area, I like the Carr Mercury a lot.
I keep trying to find an excuse to get one, but I'm just not playing that style of music right now, and I have a lot of other bases covered between the Sedona and the VG Ah well, maybe one day Your thoughts on its practice volume sound are VERY helpful to me. I was hoping the master volume would work miracles, but I may need to look elsewhere--and it sounds like the Sedona's weight truly is a huge problem.
Ignatius Mike Bromley Sep, 6: A simple fix for those so inclined to tinker. I also tried running an old blackface Super Reverb with a 12AU7 preamp tube in the vibrato channel.
Dating my '65 Twin Reissue
That worked fairly well too. These insights have led me to using amps with the lowest overall power that is still practical for the gig. The output tube type does seem to make a difference to my ear, though that said, I have heard some great amp tones and some horrible amp tones from the same type of output tube. I gravitate toward EL84s for their old-school bluesy vibe. Speakers also make a huge difference, and Celestions have always sounded better to my ear than just about any other brand.
I can't stand bad clean tone, so I listen to the amp's clean sound first. If it's not there for me, I move on, because there is no pedal in the world that will make a bad sounding clean channel sound any better. I prefer amps with a good, serviceable reverb on board - one less foot pedal between my guitar and amp! If you liked that Marshall you tried early on, I suggest you try out one of the lower wattage UK-make Marshalls.
They are still one of the best amp companies in the business, and To my ear there is a distinct character to the Marshall amps that is uniquely their own. Unfortunately, the DSL20 is no longer in production, but eBay always has several listings for used ones.
They are not highly collectible, so the street prices are very reasonable, and these are incredible-sounding amps for the money. Every Trace Elliot I ever played was astounding. Sadly, the design changed when Gibson brought the production stateside, and the US made Gibsons don't have the same ballsy punch, to my ear anyway. Again, these early Gibsons are readily available on the used market for quite modest sums owing to their inexplicable lack of collectibility.
If you can find a used Trace Elliot Velocette, those were also unbelievable tone machines. Mark Seale Sep, 2: Could be the size and scope of the venue, but the sound was incredible. A friend of mine swears by these. I've played through them guitar and mando and they really are impressive. Lots of tonal options even at low volume. They're also hand wired but somewhat less expensive than the Cat-5 will set you back. My Carr Rambler is not so much an an amp as it is an "instrument" Incredible clean tune amp tones.
Ed Goist Sep, 8: The Frankenstein 17 Well; I have had an unexpected, yet delightful plot twist in my search for a small tube amp! As part of my search, I decided to get the advice of the radio engineer with whom I work. He is a very knowledgeable and multifaceted guy. He was a bass trombone player with our local symphony for over two decades, and before serving as the RF engineer at the radio station he was an audio engineer.
Needless to say he knows his stuff about amps, speakers, sound and music. When I told him that I was looking for a small up to 30W all-tube amp, he first acknowledged that there is no substitute for tubes, but then he told me about a tube amp that he had built many years ago for one of his sons who was playing guitar at the time. His son had lost interest in guitar playing many years ago, and the amp was just sitting in his basement collecting dust. He offered to clean it up, and give it to me to play through to see if I liked it.
Well; he gave it to me at work the other day, and I was absolutely floored by the cool retro vibe! He built the amp into an old portable phonograph frame, and even used the original, detachable 6X9 speaker cabinets for the speakers!
The amp itself is based on an old Fender Princeton amp, and the inner workings of the amp are on display as one plays through it! As a result of this delightful feature, I have dubbed her 'The Frankenstein 17'.
Here are her specs: And here are some pics: This thing is an untamed beast, especially when she warms up. The Tele sounded fantastic through this amp, especially on hard driving stuff like early Stones, early Who and The Ramones.
I could not believe how loud and aggressive this amp is never got the volume much past 2. It is so much more raw and untamed than the modern tube amps I've tried When playing through this amp one expects a fight to break out any second It's the amp for me! Though there is a warm "purr" from this amp as one turns the instrument volume knob up, it really doesn't have an overdrive channel, so I will likely pick-up a nice distortion pedal of some type to run into it.
I will probably also upgrade the speaker set-up. Speaking of which, I'll have to ask my engineer buddy if I can use just one of the parallel outputs, or if I'll need to get two speakers and run them both My heavens, I can only imagine this thing running into two 12s Ed Goist Good advice, Rico. I'm pretty careful with stuff like that. I unplugged it right after using it last night, and left the top uncovered giving the tubes time to cool off.
Tom Haywood Sep, 4: I've been a tube amp guy since the s, but that has changed a little lately.
I was getting ready for a few solo gigs on acoustic guitar and mandolin last May. I experimented with my Twin Reverb and my Blues Jr. It turned out to be a nightmare. First the Twin's transformer caught on fire in an upstairs carpeted bedroom.
I could barely pick it up to carry it out. I wound up playing through the Blues Jr. Volume control in a large room was extremely limited due to feedback, and the tone was much thinner than I expected. Tried it again at the next gig using mics instead of pickups.
Tone was better, but volume was still a big problem. A player who was in the audience later loaned me his Acoustasonic I bought it from him that same day. Fantastic tone and plenty of volume for a 15 watt amp.
No feedback and it hardly weighs anything. I'm solid state now, at least for acoustic. Verne Andru Sep, 4: I have a bunch of different amps for different purposes. So far I prefer the sound of mandolin through a clean amp.
Approximately 3 watts, hand-wired point-to-point [i. I've used it extensively for jamming my mandolin with a delay pedal. My second fave is: Traynor is selling the exact same unit in Canada under their brand. 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 spst pot is not good for enabling and disabling the tremolo very often because of the click and the volume difference but is a nice when you play without tremolo.
A good thing with this mod is that you have both the tremolo pedal and spst pot to use. We like this mod a lot for stratocasters wi the Fender ABsimilar circuits since they boost a relatively scooped and thin sounding guitar and amp.
In addition to pulling the V1 tube, this mod is one of those must have mods which we never undo once having implemented it.
This mod can be implemented in two ways, either by unsoldering the tremolo circuit or replacing the tremolo intensity pot with a swicthable pot, so-called SPST pot. The switch is enabled when you turn down intensity to zero. Order a 50k SPST from one of our recommended amp part dealers. Remove the original 50k trem intensity potmeter by unsoldering the wires to the potmeter lugs and unount the pot from the chassis. The black plastic wheel is to be used for the new pot.
Install the new 50k SPST pot to the chassis. This is a switchable pot offering a mid positioned switch in addition to the variable resistanse KOhm between the lugs.
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- Fender 65 Twin Reverb
See the wiring diagram below. Then solder a new red wire between the other side of switch to the right lug. Note that the figure below shows the Super Reverb. The Bandmaster would be the same. You will not need to replace the intensity pot with a spst, but let the yellow wire to the tremolo pot go through the tremolo pedal. In our opinion this is not a good idea since one loses the possibility to use both the spst switch and tremolo pedal.
Using the pedal will now involve a significant click sound and volume increase. Negative feedback loop The negative feedback loop can easily be tweaked to alter the treble cut and distortion in your amp. The NBF theory is that you take the signal from the speaker output, let it go through a resistor and mix it in at the entry point of the phase inverter.
The speaker signal is out of phase degrees with the signal at the entry point of the phase inverter and will cancel out equal frequencies. Most importantly the tone gets rougher and rawer with more mids and higher frequencies, aka presence. You may choose to implement the mod in several ways and in various combinations with the ground switch or a foot pedal.
No negative feedback at all. Simply disconnect the feedback loop a wire and tape insulate it. You get the most effect of this mod by disconnecting the NFB loop entirely. If so, read more about the cap in the next bullet point. Keep the feedback loop and install a. Depending on the cap value treble frequencies will be fed back to the phase inverter which cancels out the treble in the main path.
The tone gets less harsh and you still have a noticable effect. You should experiment with different cap values. Increase the feedback loop resistance value. A good starting point is around 1.