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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 Fender SuperBassman is a 300-watt tube head which has a built-in overdrive channel. The Fender Bronco 40 includes a range of effects including modern bass overdrive, vintage overdrive and fuzz. Lemmy Kilmister, the bassist for Motörhead, obtained a natural fuzz bass tone by overdriving his triple 100 watt Marshall Bass stacks.
These new "double" cabinets proved too heavy and awkward to be transported practically, so Townshend returned to Marshall asking if they could be cut in half and stacked like his old Bassman rig, and although the double cabinets were left intact, the existing single cabinet models were modified to make them more suitable for stacking, which has ...
Fender generally stopped using the twill covering in 1960, though the Harvard was still covered in twill until 1963, and the Champ until 1964. At the beginning of the "tweed" era, Fender constructed many of its cabinets in "TV front" style, amps which bore a strong resemblance to TVs of the time.
For their Bassman, Fender used four ten-inch Jensen speakers in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four 12-inch Celestion speakers in a separate closed-back cabinet instead of Fender's four 10-inch Jensens in an open-back combo.
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]
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A Fender Bassman amp head with a 15" speaker cabinet. Typically, guitar amplifiers have two amplifying circuit stages, and frequently have tone-shaping electric circuits, which usually include at least bass and treble controls, which function similarly to the equivalent controls on a home hi-fi system.
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