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In January 2020 Fender reintroduced the Lead II and III as a part of their Player series. These Made in Mexico recreations sport an alder body, two slanted alnico V single coils (Lead II), alnico II humbuckers (Lead III) and a modern C-shaped maple neck with maple or pau ferro fretboard, 9.5” radius, 22 medium jumbo frets. Other features ...
The II Series amplifiers [8] were produced from 1982 until 1986, being the last Fender amps to be made at Fullerton. The specifications for these amplifiers, and leadership of the design team, came from Paul Rivera (then marketing director) and are known as Fender Rivera era amplifiers.
In late 1959, all of the Professional Series of Amps were debuted at the summer NAMM show. They sported a new light brown Tolex covering, solid state rectifiers (with the exception of the Super Amp), tweed style grill cloth and short-lived metal control knobs (later replaced with the more common brown plastic barrel knobs). In 1961 there was a ...
Fender Bass V; Fender Bass VI [20] (now reissued as Squier Classic Vibe Series) Fender Bullet Bass; Fender Coronado Bass; Fender Musicmaster Bass [21] Fender Performer Bass; Fender Prophecy II Bass; Fender Starcaster Bass; Fender Zone Bass; Fender Dimension Bass
Relatively unique elements of the Mustang bass are the string-through body design, and the 7-bolt bridge. The pickguard and control plate are two separate pieces, with the control plate made of metal, similar to the Fender Jazz Bass. The control plate features a tone knob, a volume knob, and an output jack facing out of the guitar.
Leo Fender resurrected the solid-body "bass guitar" in 1950 with the Fender Precision bass. Unlike the upright bass, a solid-body electric bass does not produce acoustic sound from a hollow body; while an upright bass player often benefits from using a bass amp, a bass amp is a necessity for an electric bass player.
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The Princeton circuits up through 5C2 differed from the Fender Champ in having two versus one preamp stage (6SC7 dual-triode vs 6SJ7 pentode) and added the tone control that was absent in the Champs; the 12AX7-based Princeton models 5D2 through 5F2-A were essentially the Champ circuits 5D1 through 5F1 with a tone control and a somewhat larger ...
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