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1955 Twin-Amp, model 5E8. Dual rectifiers and 6L6 power tubes, twin 12" speakers. After the preceding looks of the early 1950s (TV front from 1950 to 51/2; wide panel '52–54), Leo Fender changed the cabinet design again, this time opting for no extra wood on the front of the amp, except for the narrow top and bottom panels that hold the baffle board to the cabinet.
Download as PDF; Printable version; ... Fender Princeton Reverb; S. Fender Super; Fender Super Reverb; T. Fender '65 Twin Custom 15; Fender Twin;
In 2013, Fender released the silverface '68 Custom amplifiers as a part of their Vintage Modified series, modeled after the original drip-edge silverfaced amps of 1968. Models included the Twin Reverb, Deluxe Reverb, Quad Reverb, and Princeton Reverb, and a Vibrolux Reverb was added to the line the following year. Each amp incorporates reverb ...
The Vibrosonic Reverb was a guitar amplifier made by Fender.This silverfaced guitar combo was basically a master volume Twin Reverb equipped with a JBL D-130-F 15" speaker. It was available with 100 watts RMS of power with a 1960s "tailed" Fender logo before its change to a 135 watts RMS combo featuring a "tailless" Fender decal in 1977.
The Vypyr series of amps are modeling amplifiers. They generate different amplifier sounds based on digital models of various popular amplifiers. The models include Fender twin and deluxe, Mesa/Boogie Rectifier, Diezel Boutique, Krank Krankenstein, Vox AC30—and a large collection of Peavey amps like the 6505, XXX, and JSX.
First production from late 1959, model 5G13 with prototype metal knobs and JBL D130 speaker. The Fender Vibrasonic was an amplifier made by Fender.It was debuted as the first of the new-model Fender amps of the 1960s, with new tolex-covered cabinets and front-mounted control panels that would replace the tweed-covered, top-panel cabinets that were prevalent during the 1950s, as well as new ...
Later Fender amplifiers used a different presence control. The presence control on the 1975 Fender Super Twin did not modify the negative feedback loop, but was an active equalization circuit, controlling the 3.9 kHz frequency range. It had the ability to both amplify (boost) and attenuate (cut), unlike the earlier presence control.
Both were hand-wired, but the newer version was designed by Paul Rivera, who Fender hired to redesign a number of amp models during the decade. The new Concert put out 60 watts into a single 12" speaker, and featured both clean and overdrive channels, a standard channel switch pedal, and traditional tank reverb.