![]() But if you are looking to capture some of that Super Reverb magic in a less expensive package, this 1965 Bandmaster offers a range of possibilities that is easier on your back. Granted a 2x12 and 4x10 are different beasts with a 2x12 being both more efficient, with a fuller midrange punch but slightly less sparkle. ![]() The good news is that Bandmasters don't have the allure of the Supers, and the prices are generally lower than Supers of similar years. Fender did their own share of "badge engineering" and through the years repurposed various amp layouts in several formats. Almost, that is: The Bandmaster does not have reverb, and it also has a solid state rectifier is place of a tube rectifier. I have had this amp for 35 years and never realized that the cabinet my not be a bandmaster until I decided to buy the piggy back thumb screws, which w. So yes, this Bandmaster is essentially the 40-watt 2-6L6 Super Reverb with a 2x12 cabinet. And if you recognize the schematic "AB763" you'll recall that this is the same as the Blackface Super Reverb. But keep in mind that Fender/CBS kept the AB763 schematic unchanged until 1968. Technically it is "CBS" as CBS acquired Fender in 1965. All electrolytic capacitors have been replaced for quiet and reliable operation. Tweed era cabinets are constructed of solid dovetailed pine with birch ply baffle boards and back panels then covered with authentic tweed fabric and oxblood / stripe grill cloth. This 1965 Fender Bandmaster head and cabinet i s in very good condition, and all knobs and switches are fully functional and scratch-free. Fender Twins were already a beast, a 3x10 not much better, and the Super Reverb was about the most anyone could deal with in one box. In 1963 it became the familiar 2x12 "piggyback" with separate head and the typical Fender "normal" and "vibrato" channels with high and low sensitivity inputs. We are not sure if Fender invented the piggyback concept, but as amplifiers became bigger and heavier it started to make sense to split the amp from the speakers. By 1960 the Bandmaster had morphed to a guitar-specific 2-channel amplifier in a 3x10 combo. A 1953 Bandmaster in today's dollars is $2400, solidly in the boutique category for a low wattage 1x15 combo.īut the Bandmaster name sounded good, and it stuck. And Fender products in the 50's and 60's were pricy and not considered amatuer or "everyman" products (that's why there was Harmony, Valco, Silvertone, etc.). The drivers could be Jensen, Utah, Quam, Oxford, whatever company gave Fender the best price for that particular production run. The cab in the picture is a large 2x12, so it dates from between 19. Given the cost of good musical equipment, it was not uncommon for players of that era to share amps. Fender Bandmaster 2x12 Speaker Cabinet (1962) - Black Vinyl Cover (fend401) Opens in a new window or tab. Stuffing is something else entirely, used in sealed cabs to lower the cab Qtc, although knowledge of that didnt exist before the 1980s. ![]() For many years amps did multiple tasks, and early Fender Bandmaster amplifiers had both instrument and microphone inputs. The name Bandmaster really meant "plug the whole band in". ![]() ![]() Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.The name Fender Bandmaster goes back a long way.all the way to 1953. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price). ![]()
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