The shift from tweed to Tolex occurred in limited production in The tolex on the earliest versions in this era was pinkish brown and rough textured. There were only six amplifiers covered in tolex originally, the Professional Series: These were considered a step above the student models Champ , Harvard , Princeton which remained tweed-covered in Grillcloth was initially the same as used in the previous tweed era, maroon with gold stripe.
Beginning in mid to late , Fender introduced another color combination: By mid, after this short-lived look, Fender was using the darker brown tolex which was a mainstay for many of the mid to amps. Between and , there were three different grillcloth colors: The Brown amplifiers included all of the all-in-one combo models except the flagship Twin and Vibrasonic , and the little Champ which retained its "tweed" twill covering.
The Blonde amplifiers included all of the piggyback Fender amps the Tremolux , Bassman , Showman , and Bandmaster as well as the Twin and Vibrasonic combos.
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Two different colors of grillcloth were featured on the blondes, oxblood and wheat. There are several experimental Fender Tweed amps in blonde. While the majority of the piggybacks were produced in blonde tolex, there are a few examples of the brown tolex Bassman amplifiers.
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Accomplishments for the company's amplifier division during these years include the introduction of the stand-alone spring reverb unit in , followed by incorporation of the reverb circuit within a combo-amp design with the Vibroverb. Other changes include the shift of the top-of-the-line model from the traditional Twin to include other models, like the Vibrasonic in early , as well as the blonde Showman in Fender began using silicon rectifiers to reduce heat and voltage sag caused by tube rectifiers, and introduced an all-new, very complex vibrato circuit.
The Deluxe made the transition in The circuit was also changed to include a tremolo effect, and the output was increased. As the brown-era wore on, the plight of the smaller amps was varied. They all remained in name at least except for the 1x10" Harvard which was not continued through The 1x10" Vibrolux remained a tweed amp until it was upgraded in to a single 12" speaker powered by a duet of 6L6 power tubes and a larger output transformer. Also upgraded from tweed was the Princeton which acquired its brown tolex in along with a completely redesigned, more powerful twin-6v6 circuit and a larger speaker array: The Blackface amplifiers were produced between and some units continued to be made into early The earliest blackface piggyback amps as well as the Princeton had bodies covered in blonde tolex, but with the new back control panel with black skirted "hat shaped" numbered knobs and new circuitry featuring bright switches.
In the piggyback units began to be covered in black tolex.
The blackface cosmetics were phased out at the end of though some continued to be made on into early ; they returned for a brief period in before their discontinuation the following year. Blackfaced cosmetics do not necessarily mean "pre-CBS" since the CBS company takeover took place in and amps with blackfaced cosmetics were produced up to After the buyout the front panels were changed from "Fender Electric Instrument Co. No real changes were made to the amps until the silverfaced amps of where certain circuit changes made them less desirable than the blackfaced amps.
This affected some models more than others. For example, the Twin Reverb and Super Reverb combos, along with the Dual Showman Reverb and Bandmaster Reverb "piggyback" heads were equipped with a master volume control while other models such as the Deluxe Reverb were not altered in any way except for the change in cosmetics.
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Silverface cosmetics do not necessarily denote silverface circuitry, however. Leo Fender was notorious for tweaking his designs. These changes took some months to finalize, as Leo worked through some designs, and happened after the cosmetic changes. Furthermore, the schematic and tube charts that shipped with these models did not always reflect the actual circuitry. Fender had many leftover AB blackface tube charts left over well into and shipped these charts with silverface models.
Save for a few series such as HotRod series , a majority of modern Fender amplifiers sports blackface cosmetics. Fender Silverface amplifiers were built between and They are often referred to as Silverface or Chromeface because of their brushed aluminum face plate. The first Silverface amps, manufactured between and , had an aluminum frame trim, known as a "drip edge" around the grillcloth, mids "tailed" amp logo and the AB blackface circuit.
An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel. This cosmetic detail later referred to as "blackline" was quickly abandoned. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions such as the Bronco the colour was red instead. Some transitional models produced before the "tailless" period in featured the AC circuit, still retaining the tailed Fender amp decal introduced in In CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style which was first introduced in on the student Bronco amp.
A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal featuring a "Made in USA" script in the bottom in ; the power was increased between 70 and watts on certain models.
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The Silverface control face plate was discontinued in and the second series of the blackface amps designed by Paul Rivera were produced. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mids Twin Reverb models in The Silverface Edition MT had the authentic look right down to the grillcloth. This 1-watt Twin featured 3 in. In , Fender released the silverface '68 Custom amplifiers as a part of their Vintage Modified series, modeled after the original drip-edge silverfaced amps of These serial numbers can be decoded as follows:.
In August of Marshall switched to their current serial number format which contains more information and is easily decoded. These are printed on a sticker and affixed to the back of the amplifier and are comprised of a letter followed by ten numbers followed by another letter: Checking against other amps from the era as well as component markings speakers, potentiometers, transformers can help to confirm a year of production. You must be logged in to post a comment. Marshall amplifier serial numbers made simple Posted on April 25, April 27, by Phil by Phil.
JTM block logos changed to gold-plated plastic script, these are fragile and many have been replaced.
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Cabinet feet are small round and gray. Handles changed to plastic with larger end cap. Power tubes are KT66, 6L6 and Single W Drake transformer, rated at ohms, part number , for W models. Single 50W Drake output transformers rated at 3, ohms, part number , for 50W models. On less popular Fender instruments, such as LapSteels, pots can be as much as two years earlier than the actual date of the instrument.
Gibson didn't start using pots with source-date codes till or Of course this all assumes the pot or speaker is original.
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You have to make that call. I would suggest checking the solder joints - are they clean? Are the wires of the right era cloth insulation for older stuff? If so, you can check the pot or speaker for the source-date code, and determine an approximate age from that. How the Source-Date Code Works. 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: Stackpole for example converted from three to four digit date codes in late On 3 digit date codes, you have to "guess" the decade of the pot or speaker.
Usually this isn't too difficult. Pots used by Fender. The pots on the left and right are Stackpole pots manufacture Note the different position of the markings, even on pots from the same maker. The source-date code on a speaker. In this case, the speaker is made by Rola in the 9th week of The decade, though not directly shown by the source-date code, was easily determined because this particular amp was only made during the s.
Note the font style of the source-date code number always seems to be the same, for all speaker manufacturers. Jensen speaker made in the 41st week of Here are the most common pot manufacturers the first 3 digits of the source-date code: During the 's, Fender used mostly Stackpole pots. Then in roughly early , they changed to CTS pots. This supply lasted for over five years.