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The Fender Harvard is a vacuum tube (valve) guitar amplifier made by Fender from 1955 to 1963. The Harvard appeared only in a tweed covered "narrow-panel" cabinet, but in two very different circuit designs, namely 5F10 (1955–61) and 6G10 (1962–63).
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 ...
Fender Bronco [10] (Lives on through Squier as a bass guitar) Fender Bullet [11] (lives on through Squier) Fender Coronado [12] Fender Cyclone (lives on through Squier) Fender Esquire; Fender HM Strat USA/Japan; Fender Marauder; Fender Musicmaster; Fender Performer; Fender Prodigy [13] Fender Showmaster; Fender Starcaster [14] (lives on through ...
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1953 Fender Champ in tweed covering, wide-panel cabinet. Fender tweed is a generic name used for the guitar amplifiers made by the American company Fender between 1948 and 1960. The amplifiers are named for the cloth covering, which consists of varnished cotton twill, incorrectly called tweed because of its feel and appearance.
The Hot Rod Deluxe is an all tube combo amp rated at 40 watts. It utilizes a single 12-inch Celestion A-Type Speaker. The Hot Rod Deluxe is a mono-channel amplifier featuring 3 switchable gain levels: "Clean", "Drive", and "More Drive" selectable on either the control panel or footswitch (if plugged in).
The Fender Concert was a guitar amplifier made by Fender Musical Instruments. Its production can be split over 2 phases. Its production can be split over 2 phases. The first of these running from 1960 and until approximately 1965, at which time a typical Fender Concert was priced at $315.
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.
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