There have been countless effects pedal makers over the years seeking to emulate the sought-after tones of the legendary Marshall Super Lead and Super Bass amp heads. Walrus Audio have developed a reputation for crafting high quality analog guitar pedals over the last few years. There’s also no mistaking that they make some of the coolest looking and beautifully designed pedals as well, particularly attributed to their eye-catching graphic artwork. But while gazing at their pedals may induce love at first Forgoing knobs for tiny buttons and 5 digital display screens make it look more like the interior of the Delorean from Back To The Future than a typical guitar pedal. But the Flight Time’s unique Enter the EarthQuaker Devices So you’ve bought a bunch of guitar pedals, then built your own pedalboard or picked up one pre-assembled.
Eventide H9 Harmonizer Review – Best Multi-Effects Pedal?
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.
Contains the following capacitors, used as main filters, decoupling filters, bias filter, footswitch suppression, and cathode bypass capacitors in the Fender 65 Super Reverb Reissue amp, produced from to the present.
Thanked 0 Times in 0 Posts Rep Power I wrote a big, honking post about selection of amp tubes yesterday and as I was finishing it, the power transformer up on the pole in the back yard blew out, leaving me with neither lights nor the post. Here’s the abbreviated version: Yes, tubes can make a big difference in how your amp sounds. New power tubes usually require re-biasing the circuit on older amps, and the replacement of electrolytic capacitors, which can and do fail catastrophically after as little as ten years, also should be performed.
It is also very important to get your tubes from a source that gives them a thorough testing before selling them. If you get your tubes from someplace that just resells the raw stock from the importer, say Musician’s Friend, you are going to get poor tubes at least part of the time. They may test OK, but will be noisy, microphonic or have other audible flaws.
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This makes it the perfect studio amp, as well. It’s a resurrection of a classic vintage tone monster, and its current iteration is used by many big-name bands, such as Flogging Molly, O. Crank up this faithful, U.
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See the lowest price on eBay. The scope of what the Eventide H9 Harmonizer offers far exceeds much of what has become standard fare in the world of guitar multi-effects. The 10 included algorithms are by no means shorting you of functionality and give you an incredibly wide range of ultra high-quality sound-shaping power even if you were to never purchase another algorithm. This preset gives you your first taste of the new original sounds the H9 is capable of.
Also, being able to change the spacing of the taps by off-setting them and having them speed up or slow down is very interesting. Resonator uses 4 staggered resonant comb filters to create ambient, arpeggiated, or reverberant sounds. The Resonator algorithm became available with an H9 Control App update that was released just as I received the H9 for review.
All that was required was a simple H9 Control App update and syncing of the H9, and voila, the new Resonator algorithm was available with plenty of accompanying presets. I find the Resonator very interesting for creating ambient soundscapes with additional harmonic coloring and movement. This is the kind of effect previously available in various forms as software plugins for producers and electronic musicians. Thanks to the H9 and the Resonator algorithm, guitarists can now produce very musical, comb-filtered, resonant sounds and etherial sound effects no other stompbox pedal can achieve.
Tape Echo gives you the warmth of tape echo complete with wow and flutter effects. Vintage Delay offers a range of analog and lo-fi digital delay style effects with or without modulation. Tweak the Filter to taste or assign it to an expression pedal for even more lo-fi fun.
1965 Fender Super Reverb amp – info needed
Here’s a faithful re-creation of the legendary and highly collectible Blackface Super Reverb from the s. This 45W, all-tube combo with 4 x 10″ Jensen speakers, tube reverb, and vibrato has long been considered one of the best amps to “crank up” for unmiked club gigs or on the concert stage. The all-time bluesy, funky rocker!
SUPER REVERB AA Fender. SUPER REVERB AA Fender. Title: Author: DLH Created Date: 12/5/ AM.
Australia Was goofing off at work – well it was lunch time. Cruising the online for sale ads as I tend, just in case anything special comes up. Spotted a super clean looking Super Reverb, local to me. As if I needed another amp!! Arranged to look at it, brought cash in case I decided to buy I have been after a Super Reverb for more than 25 years!!
So I bought it. Got it home yesterday. A quick look over again. Will have to look into that.
1966 Fender Super Reverb 4×10 Combo Amp
The ” ” in the model name comes from the circuit change date of I will try my best to give a not-too-technical explanation of how the amp circuit works, what each component does, and how changing those components will affect the amp’s voice. The “blackface” nickname comes from the control panel color. I won’t be going over tube theory and other introductory material here so check it out if you have trouble understanding this webpage.
Here’s my AB Modification page.
Download Fender Amplifier PDF manuals. User manuals, Fender Amplifier Operating guides and Service manuals.
Fender sold these amps with several speakers. The first AA models in had Jensen C10r. Then there were CTS ceramics and alnicos as well as Oxford Products covered, with text, some specs, and photos, include: Social media-obsessed and apathetic are two that I see thrown around most often Piano serial numbers help to identify the age of your piano and the history surrounding its production.
Run a free piano serial number search, here.
Dating Fender amps and speakers
Amsterdam Concertgebouw The Netherlands The most prestigious classical music concert hall in the world is captured in stereo and quadraphonic impulse responses. It is extremely silent and served The purposes of both communist propaganda and recording of classic music, pop music, big band for the Broadcast of German Democratic Republic. Internationally regarded by performance artists for its superb acoustics, the Hall also houses a complete recording studio. With its high vaulted ceiling and interior finishes of brush box and white birch timber, it is designed primarily for acoustic performances.
Fender Transformers View our excellent collection of Fender Transformers. Bring that old guitar or amplifier back up to working condition with these vintage parts & hardware.
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.
Fender Pro Reverb – Ultimate Vintage Club-Gig Amp?
In this article, Ben Fargen picks a Top 10 list of legendary songs that were greatly shaped by the guitar amp used to record them. I was asked to write a post for MyRareGuitars. Fender Showman Blonde Brownface Song: One of the most important pieces of his signature sound was a custom Fender reverb unit built by Leo Fender and given to Dick Dale as a prototype driving a cranked up dual showman into 2 X inch JBL D1 30 speakers.
This amp coupled with the Les Paul guitar created a new kind of sound no one had ever heard before in blues.
Up for sale is a fabulous sounding and clean Pre CBS Fender Super Reverb 4×10 Blackface combo amplifier. We get a decent amount of Supers through the store and this is .
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. Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built.
For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly just as with Fender guitar neck plates. The boss came around and said what we’d be building. The chassis weren’t used chronologically. Probably the same as the pots and transformers that we just dug out of the boxes.
I think in the corners of the boxes were older pots remaining from earlier dates I think the better, older hands did 35 a day. Like I said, there were 5 or 6 of us at the benches every day. But it wasn’t always ‘cool guitar’ amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs. I remember two ‘suits’ from upstairs standing behind me occasionally doing time studies.
Help dating my Super Reverb
The combination of a quad of ceramic 10″ CTS speakers and forty watts of pure Fender Blackface clean tone produces one of the best combo amps of all time. Perfect for gigging situations and an ideal recording amplifier, the amp provides you with plenty of pristine Fender cleans until you hit the range on the volume dial, where a bit of tube and speaker breakup send the amp into smooth overdrive. The reverb is lush and deep, and the tremolo has a nice pulse, with everything from swampy and slow to machine gun fast tremolo.
The circuit is untouched save for one new pot for the tremolo speed control. All of the original coveted blue molded Ajax tone caps are intact too.
FENDER style- New reproduction Footswitch for: Fender Blackface Amps – Princeton Reverb, Super Reverb, Deluxe Reverb, Pro Reverb, Twin Reverb, Vibrolux Reverb, & others with RCA ends.
Contains the following capacitors, used as main filters, bias filter, and preamp cathode bypass capacitors: Some Super Twin models without reverb will not use all of the cathode bypass capacitors provided. See the model cross reference for applicable models. Download the installation guidelines. Contains the following capacitors, used as main filters and preamp cathode bypass capacitors in the Fender blackface and silverface Vibro Champ and Bronco Amp Contains the following capacitors, used as main filters, decoupling filters, bias filters, low voltage filters and cathode bypass capacitors in the Fender 94 Twin Amp, Rev A-C.
The 94 Twin Amp is blackface, is “three channel” with a boost on the clean channel and high gain overdrive on channel two. Two input jacks, 14 knobs.
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While guitarists in the early part of this century played country, folk or blues on acoustic guitars, in the ‘s, jazz musicians experimented with amplifying traditional hollow-body guitars so they could play with other instruments at the same sound level. One problem was that the speakers and pickups tended to generate feedback when played at a high level.
In the ‘s, a California inventor named Leo Fender had made some custom guitars and amplifiers in his radio shop. Eventually, Leo would create the world’s very first instrument amplifiers with built-in tone controls. More importantly, though, was Leo’s vision of better guitar. With his knowledge of existing technologies, he knew he could improve on contemporary amplified hollow-body instruments.
Dating your Fender by the serial number By Greg Gagliano. Bandmaster 5C7, 5D7 (tweed) to – to – Bandmaster 5E7 (tweed).
A small sample of the amps in this range The 30, 75 and weren’t in the Rivera-era, as they pre-date Paul Rivera’s time with Fender. I include them here because people sometimes ask for the schematics. Info and advice here is offered in good faith but I take no responsibility for the outcomes. As he points out, that’s got to be a misprint, being the same figure as for the smaller PRII. Just in case anyone with back trouble thought this was a light-but-fully-featured 2-channel amp..
As I look after the website which concentrates on the Princeton Reverb II , I occasionally get requests for schematics for other amps in the Rivera-era Fender range. For two years I couldn’t help. Others came from other places. So here you are. All I’ve done here is gather this info in one place. Big thanks are due to all the anonymous folks down the years who kept the paperwork, scanned it into computer format, and shared it free of charge. I only own a Princeton Reverb II, so please don’t ask me questions which involve actual hands-on experience of the other amps.
I recommend another single-amp site – for the Super Champ – it’s been archived by the Wayback Machine here.