1965 Fender® Princeton® Reverb Blackface, Very Good, $2,699.00

When an electron beam impinges on a solid surface, it loses energy primarily by electron-electron interactions. In those interactions, the energy gained by electrons in the solid is often sufficient to ionize them; the electrons thus ionized are called secondary electrons SE. The interactions of a primary electron with the solid are classed as elastic energy-conserving and inelastic energy non-conserving. In the latter case, energy fails to be conserved in the sense that, while total energy is conserved, energy is transferred from one subsystem typically the primary electron to another the solid. It is important to recognize that the simpler processes one imagines are typically elastic. For example, if one regards the solid simply as a rigid electrostatic potential, then almost no energy is lost by the primary electron: It is thus clear that inelastic processes–and energy loss by the primary electron–require recoil–some movement of the electrostatic potential generated by the solid. There is a more roundabout intuitive way to see this, which demonstrates in a small way the unity of physical law. If energy is lost by the primary electron, then the energy lost must be taken up by the solid.

BF/SF Princeton Reverb

In accountancy, depreciation refers to two aspects of the same concept: Businesses depreciate long-term assets for both tax and accounting purposes. The former affects the balance sheet of a business or entity, and the latter affects the net income that they report. Generally the cost is allocated, as depreciation expense, among the periods in which the asset is expected to be used.

Our amp section contains information about vintage Fender amps from the blackface and silverface era between and We consider these amps the most .

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. On 4 digits date codes, the 1st and 2nd digits are the last two digits of the year. In either case, the remaining 2 digits are the week of manufacture 01 to With this in mind, remember if the last two digits of the source-date code are greater than 52, you’re not looking at the source-date code!

Also it’s worth mentioning: On 3 digit date codes, you have to “guess” the decade of the pot or speaker. Usually this isn’t too difficult. Examples of Source-Date Codes. With all this information in mind, can you identify the following manufacturer and date of these source-date codes?

Fender Schematics (Circuit Diagrams)

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.

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These models were Fender models and not Squier models. The stratocasters had Fender USA pickups installed and were made for the Japanese market only and not for export. The Squier series were also made available for the Japanese market in October , which incorporated small changes compared to the export Squier series.

The large Fender logo of the export Squier series was soon changed to a large Squier logo. The SQ Squier series was introduced in late to early Squier Vista Series[ edit ] In , Squier began to manufacture the Vista Series, which saw them introducing their own unique guitar designs independent from the Fender mother company for the first time. Made in the same factory as the Japanese Fenders of the era, they were known as high quality guitars. Later, in 97, a guitar version of the Musicmaster Bass was added, though it should be noted this was based on the bass design, and not the Fender Musicmaster guitar design of the s.

By the Vista Series was discontinued. Squier Affinity Series[ edit ] The Squier lineup was augmented in with Affinity series guitars and basses. Entry-level Affinity Series instruments were straightforward, basic Stratocaster, Telecaster and Precision Bass guitars in black, red and white. These bundled Affinity guitars are manufactured in Indonesia identified by badger stripe on neck whereas stand-alone Affinity are manufactured in China identified by no badger stripe on neck. Squier Vintage Modified Series[ edit ] The year saw the introduction of Squier’s Vintage Modified line, a series of high-end instruments based around the concept of taking vintage designs and adding “hot rod” features such as hardware variations, gloss maple necks, new finishes and pickguards, and Duncan Designed pickups.

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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.

The Fender Bassman is a bass amplifier introduced by Fender during [citation needed] 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 s being a popular and important amplifier in its own right, the Bassman also became the foundation on which.

You just gotta have that amp or that guitar. Even if you already own plenty. Man will never stop coming up with ideas and rationale for why he constantly needs to aquire more gear. Man convinces himself, the wife and all who stands in between the gear and himself — the only responsible thing to do now, is to go get that gear.

Man needs, man deserves. So, why constantly seeking for changes? But if your amp is a mint vintage peace of gear with high collector value, be careful and think through what you do. You may get asked — why mod a classical tube amp to be some other wanna-be amp?

1972 Gibson ES-320td

There is no reliable way to date amps other than to ask Fender customer support to look up the date from the serial number, although you may find a date code on the speaker. Early Tweeds The early green board tweed-covered amps were not lacquered. Once again, only the speaker is different. It is not old stock. It has the same cream board inside with the same components as every other current-production Blues Junior. Other Variants The Blues Junior chassis has also been used in the Two-Tone, a large amp with a inch and a inch speaker.

The V.C. Squier Company manufactured strings for violins, banjos, and was established in by Victor Carroll Squier in Battle Creek, , the company was acquired by , Squier became defunct as a manufacturer and a brand name for strings, as Fender opted to market its strings under the Fender brand name.

In dealing with tube amps, one of the questions that gets asked a lot is “what is the Belchfire Quintessential amp like? One brand I hear this sort of question about a lot is Gibson. Since I’m a big Kalamazoo fan and Kalamazoo was a Gibson line, I pay a bit more attention to Gibsons than to some of the other, less common brands. I also discovered that at least one version of the Gibson GA-5 Skylark used exactly the same circuit as the Model One.

Further investigation brought to light the fact that quite a few Gibson amps were extremely close, circuit-wise, to various Fenders. Others were unlike anything else anyone built! I’m not going to draw any conclusion as to who copied whom. Most circuits at least started out as copies of someone else’s circuits; then the new circuit was “tweaked” to the new designer’s specs, or simply to not be an exact clone of the original. An awful lot of electronics and software is still handled this way!

Cavenewts Or more commonly, “caveats”. I am by no means a Gibson amp expert, although I’m slowly getting to know as many as possible. I am somewhat of a relative expert on Kalamazoos, by virtue of interest and the fact that so few other people today have much experience with them. But with Gibsons, I know only what I have read and seen.

The following comparison table is based primarily on the time I have spent poring over schematics and old, Gibson marketing literature, the few Gibsons I have been able to work on, and information gathered from people I know who have a lot of Gibsons.

BF/SF Deluxe Reverb

It’s just my opinion, but I think the slightly larger cab makes the amp sound even better. The thing is with this PR, I got it for a pretty good price in the first place. And I bought it for it’s functionality, not it’s ‘collectors value’. This is the faceplate it came with.

DATING FENDER AMPS BY SERIAL NUMBER, PART V by Greg Gagliano. Copyright , 20th Century Guitar Magazine. They said it couldn’t be done Over 6 years in the.

These models were Fender models and not Squier models. The Squier series were also made available for the Japanese market in October , which incorporated small changes compared to the export Squier series. The large Fender logo of the export Squier series was soon changed to a large Squier logo. The SQ Squier series was introduced in late to early There were some JV serial numbered Squiers based on 70’s models as well with the larger head stock and a 3 bolt neck plate.

These were intended for the Japanese domestic market and were given a JV serial number, but they are identical to SQ Squiers that were exported at the time. Vista models[ edit ] In , Squier began to manufacture the Vista Series, which saw them introducing their own unique guitar designs independent from the Fender mother company for the first time. Made in the same factory as the Japanese Fenders of the era, they were known as high quality guitars.

Later, in 97, a guitar version of the Musicmaster Bass was added, though it should be noted this was based on the bass design, and not the Fender Musicmaster guitar design of the s. By the Vista Series was discontinued. Pro Tone[ edit ] Alongside the Vista series which focused on contemporary designs was the Pro Tone series, made in Korea at the Cort factory and focusing on classic models. The line consisted of 6 Stratocasters, a Fat Stratocaster Humbucker at the bridge position , a Fat Telecaster Humbucker at the neck position and a Thinline Telecaster as well as a 4 string and 5 string Precision Bass.

The series was discontinued under the Squier name in and moved to Mexico, as guitarists were unwilling to spend such high prices for Squier guitars.

Gibson/Fender Amp Comparison

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. Why has the desire for low wattage amps with watts of tube power come up so late?

We’re also happy to share with you that we set up a similar amp to Amund Maarud, a real Norwegian blues guitar “hero”; a hot-rodded Fender Deluxe Reverb.

This guitar has a nice weight at well under 9 lbs: The neck has a comfortable 59 profile: This was used as a reference color guitar over the years, and has never left the Memphis factory since until now. This was a limited release guitar from The new Gibson ES in a Sunset Burst finish is designed with historic hollow-body features at heart. This impressive guitar incorporates modern enhancements like an ABR-1 bridge with titanium saddles, and a hand-wired MTC control assembly paired to our MHS P pickups with hum-canceling capabilities.

The plastic is still on the black pickguard. With an estimated 40 to 50 left-handed instruments built up to the late ‘s, the Duo-Jet is an extremely rare model in factory left-handed, and even more rare when considering it is a lefty Golden Era single-cut Duo-Jet! For a left handed vintage Strat, this is as rare as it gets! This is a factory original Left Handed Fender Strat in the ultra rare custom color finish:

AMP SHOOTOUT – Fender ’65 Princeton Reverb VS. Fender ’68 Custom Princeton Reverb


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