Fender bassman amp Abdominal165 amplifier, with 2×15' speaker cabinet.
Mod your Bassman reissue for vintage tone To start I´m sorry to point out that this here will NOT turn your Bassman reissue amp into an original, it´s NOT a 1:1 copy and it is NOT exactly sounding like the old, most sought after 5F6A Bassman version with the 4x10' speaker open cabinet. But that´s ok, the reissue amp is a fantastic. I've got a friend who's selling his early 90's '59 Bassman RI. He laquered the tweed and it looks really nice. He also had his tech put in a bias adjustment and a tube rectifier. So is the 'finger-joined' pine cab and Jensen speakers all I'd be missing out on with this amp in comparison to the Bassman LTD? I think I read somewhere that the older Bassman RI's use a pine cab also but it's not.
TheFender Bassmanis definitely a bassamplifier introduced by Fender during 1952.quotation neededInitially meant to enhance bass guitars, the5B6 Bassmanhad been utilized by musicians for other instrument amplification, including the electric clarinet, harmonica, and pedal steel guitars. Besides becoming a well-known and essential amplifier in its personal ideal, the Bassman furthermore grew to become the basis on which Marshall and other companies built their high-gain tube amplifiers.quotation needed
1Background
Historyedit
The 5B6 Bassmanedit
During 1952, the Fender 5B6 Bassman amplifier was presented as a combo amplifier cupboard that incorporated the amplifier chassis combined with one 15' loudspeaker. The 1952-195415B6 Bassman amplifiers got two 6SC7 or 6SD7GT pre-amp pipes, two 5881 strength pipes and a solitary 5U4G rectifier tube. It had been created to generate 26 watts at an 8 ohm impedance insert, and provided a cathode-based prejudice.quotation needed
From 1952 through the spring of 1954, Fender produced around 660 design 5B6 Bassman amplifiers (serial quantities #0001-0660).quotation neededThe earlier cabinets have been known as 'TV Top' designs,1with a top -panel that had a rectangular grill material with curved edges and looked much like a tv of that period. In 1953 the cupboard designs had been transformed to the so-called 'Wide Screen' style, with a 5 inch wide tweed covered panel above and below a wider swath of grill cloth. Fender ceased creation of 5B6 Bassman amplifiers during the springtime of 1954.citation needed
The 5D6 Bassman with double rectifiersedit
During November 1954, Fender launched the newly created 5D6 Bassman amplifier offering four ten inches speakers and was designed utilizing two rectifier tubes. The 5D6 had been a main flying from the previous 5B6 Fender Bassman design. Made by Freddie Tavares, longtime Ramp;Deb guy at Fender,2the brand-new circuit included two rectifier tubes and became known as the Dual Rectifier Bassman.34Instead of the one 15' speaker, four 10' Jensen Alnico P10R loudspeakers were used. The signal got two innovations: a set prejudice for the strength pipes, which elevated strength in assessment to the previous cathode bias design, and a cathodyne phase inverter, making use of fifty percent of the 12ATimes7 tube and permitting a 3rd gain phase on the various other fifty percent.5
The very first 4x10 Bassman amplifiers began with a group of prototypes in November and December 1954, model 5D6. No schematic for the 5D6 signal has actually been found, but Ken Fox and Open Roy have got developed a several from originals, and copies are openly obtainable online. Just 11 of these earlier 5D6 Bassman good examples are identified to possess survived. The minimum serial quantity known to still exist is 0013 (Frank Roy), 0035 (Albert Talley), 0075 (Jim Cornett), 0077 (Perry Tate), 0089 (Mark Grandfield), 0701, 0745 (Walter Horton), 0769 (Hayes Kolb), 0780 (sold on eBay November 2006), 0783, and 0785 (Hayes Kolb) are usually among those nevertheless recognized to can be found.
Narrow panel versions, 1954 to 1960edit
Fender began making some other models with tweed spread over, a equivalent open up backed cabinet with a square grill fabric and a slim (just over an inches wide) tweed covered panel at the top and bottom. Created from 1954 until 1960, these versions are known as the 'small section' tweed amps.5
Fender launched the design 5D6 'DK' in November 1954 adopted by the 5E6 Bassman Amp during earlier 1955. The 5E6-A Bassman design was presented later on that season and included some evolutionary enhancements.citation requiredDemand for the tweed Bassman amp increased, therefore Fender enhanced production. By the middle of 1957 even more than 1,500 illustrations of the 5E6 series had long been sold.6
In Come july 1st 1957, Fender presented the design 5F6 Bassman. This model also got four Jensen P10R loudspeakers, but the power supply had been remodeled around a solitary 83 mercury steam rectifier pipe, and a brand-new preamp outlet was released that integrated a three knob tone collection, with split handles for Treble, Mid and Striper. The strength amp included a 'lengthy tailed set' phase inverter, an invention that noticeably increased the 'headroom' or clean power output ability of the amplifier. Very similar preamp changes were furthermore integrated in the 5F8 Side by side Amp at about the same time, but not on various other large size Fender amps.
During 1958, Fender introduced the model 5F6-A Bassman design. This last 1950s Tweed Bassman design product range included a transformation from the 83 mercury vapour rectifier tube to the GZ34 rectifier tube, as well as a changes within the Presence control outlet.7During earlier 1960, Fender began making the 5F6-A Bassman with Jensen G10Q speakers. The P10Q Jensen audio speakers are even more able to handle stronger electric input strength and generate better 'clear' result noises than earlier installed G10R Jensen speakers. The G10R Jensen audio speakers were delivered within all Fender Bassmen from late 1954 until earlier 1960. Several professional songs industry analysts have got heralded the 1950s Fender 4×10 Bassman amps as the biggest clarinet amp actually. The first 1954 Fender Tweed 5D6 4×10 outlet generated more Tweed Bassman amplifier advancement through 1960. Several Bassman models were steadily motivated by the 5D6 through the last Fender Tweed 5F6-A Bassman't circuit design. The 5F6-A Bassman's design was directly copied by Marshall Amplifiers within their JTM-45 amplifier during the early 1960s.8
In 1990, Fender began reissuing the 5F6-A new Bassman. The first series of the reissue were made at the Corona, Ca facility, and came equipped with four Eminence-made 10' blue framework AlNiCo speakers, and a solid condition rectifier unit. Later in, production was relocated to Ensenada, Baja California, and the model name was altered to '59 Bassman LTD'. The LTD came outfitted with the primary 5AR4 rectifier pipe, and four Jensen G10R reissue alnico speakers, which was period proper for the unique amp.
Piggyback modeledit
In past due 1960, Fender presented a completely redesigned design 6G6 Bassman Amp, using the 'piggy-back' style, in which the amplifier chassis is located in a little cabinet, connected by steel videos to a larger separate speaker box.
The earlier models were called 'Brownface' because of the dark brown colour used on the handle board. The 6G6 model was covered in tough Blonde coloured Tolex material with Oxblood shaded grill towel. It got a one GZ34 rectifier, two 5881/6L6GD power tubes and four 12AA7 preamp tubes. The result has been 50 watts at 8 ohm into a single 12 inch speaker, with a 'Tone Ring' baffle in the speaker cabinet. In earlier 1961, design 6G6-A has been released with a solid condition rectifier changing the GZ34, and two 12 inches speakers with a conventional baffle in a slightly larger cabinet (wired in parallel) with a 4 ohm output. In 1962, model 6G6-C was introduced, which incorporated circuit changes but utilized the same speaker configuration. In 1963 smooth Brunette Tolex spread over was utilized rather of the early rough structure cover up, and a lighting tan barbeque grill material. In past due, 1963, Fender changed the makeup to what is commonly known as the 'blackface' scheme. This amp still acquired the presence button and exact same signal (designated 6G6-B) as the easy Blonde Tolex Bassman, but the faceplace had been now dark, the Tolex was black, and the grillcloth experienced moved to a metallic cloth with dark twine. The logo had furthermore transitioned from the toned team tin Fender with the brown paint in the end, to a plastic material logo with imitation chrome and more 3-M shape.
In 1964 Fender released the AA864 circuit, and changed the appearance to the 'Blackface' design, with black tolex covering and a dark painted control section. Fender was sold to CBS in 1965, and the AA165 outlet was briefly launched, before getting replaced by the Stomach165 circuit. The 'Blackface' design continued until the 'Silverface' design was presented in 1968. Earlier 'Drip-Edge' Silverface Bassmen utilized the same Abdominal165 circuitry as the previous Blackface versions. The Brownface, Blackface, and Silverface 'piggyback head' (except the Bassman 10 and 20, which were also combo amplifiers) variations of the 1960s, 1970s, and earlier 1980s usually followed a development toward cleaner audio and more headroom.
Various other modelsedit
Super Bassman (1969-1971) - one speaker cupboard
Top Bassman II (1969-1972) - two loudspeaker cupboards
Bassman 10 (1972-1982) - Silverface combo - four 10' speakers, 50 Watts/RMS (models produced after 1977 arrived with a three-band EQ on the Largemouth bass approach and 75 Watts/RMS with ultra-linear result area).
Bassman 50 (1972-1977) - Silverface piggyback head - two 15' speakers, 50 W/RMS - Same specifications as the primary silverface Bassman brain created between 1968 and 1972, except for the add-on of a tailless amp decal and an Air conditioning unit568 outlet.
Bassman 100 (1972-1977) - Silverface piggyback head - four 12' audio speakers, 100 W/RMS.
Bassman 135 (1978-1983) - Silverface piggyback mind - Exact same as the Bassman 100, with 135 W/RMS, ultra-linear output area and a three band EQ on the Largemouth bass channel.
Bassman 70 (1977-1983) - Silverface piggyback mind - Same as the Bassman 50, with 70 Watts/RMS, ultra-linear output area and a grasp volume control.
Bassman 20 (1982-1983) - Blackface combo - one 15' speaker
'59 Bassman and '59 Bassman LTD (1990-found) - 5F6-A reissue