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Fender Silverface Bassman amp AB165 amplifier, with a 2×15" speaker cabinet. The Fender Bassman is a series of bass amplifiers introduced by Fender during 1952. [citation needed] Initially intended to amplify bass guitars, musicians used the 5B6 Bassman to amplify other instruments, including electric guitars, harmonicas, and pedal steel guitars.
The Concert amp was introduced as a replacement for the 4-10 tweed Bassman amplifier. Due to the popularity of the Bassman, both amplifiers were produced concurrently during 1960. Unlike most of the other Professional Series amps however, the Concert (along with Fender Vibrasonic) were not previously offered as tweed-covered models in the 1950s ...
Fender amplifiers would become favorites of guitarists like Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan, also known in these cases for playing Fender guitars. Fender amps have come in many configurations and styles. The early K&F and Fender amplifiers relied upon vacuum tube circuitry, with solid-state models appearing in the late 1960s ...
His amps were labelled named “Killer,” “No Remorse,” and “Murder One". [3] The Peavey Mark IV is a large, solid-state amp providing 300 watts at 2 ohms; the Mark IV was known for its affordable price and its reliability. [4] Fender developed a bass amplifier, the Fender Bassman, first produced in 1952. This was a 26-watt tube ...
It was modeled after a 1959 5F6-A "tweed" (a misnomer: the cloth is actually twill) Fender Bassman [3] and, unlike the Peavey Classic Amplifiers of the 1970s (which were covered in twill-patterned vinyl) the 4-10 was covered in authentic cotton twill, the first since Fender and Gibson stopped production of twill-covered amplifiers in 1960. [1]
The Fender Bassman was the first amplifier to standardize the tone stack design. Dubbed the 5F6-A from the Fender model number of the amp which first used it, this tone stack offered the performer the ability to control the amplifier's low, mid, and high frequency response independently.
A fixed-bias output stage and split-phase inverters helped the Super overdrive more quickly than the Fender Bassman and produce a sound that, according to Vintage Guitar's Dave Hunter, "in the estimation of many a vintage-amp fan, is among the sweetest and most delectable of any amp ever made." In 1960, the Super Amp was redesigned along with ...
The re-emergence of the Twin-Amp in mid 1960 revealed a new aesthetic design that would become prominent among Fender's top of the line amplifiers, with the exception of the Vibrasonic-Amp. By 1961, the Bandmaster, the Bassman and the newly debuted Showman were all covered in the new look exemplified by the late 1960 Twin-Amp: blonde tolex and ...
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