- #Fender bandmaster blackface mod#
- #Fender bandmaster blackface full#
- #Fender bandmaster blackface pro#
*Copies of the original blackface Fender schematic & layout diagram for your amp are included! These are invaluable tools for reference & learning about your amp! *Complete, detailed, easy to follow instructions with “before & after” diagrams are included. (Sorry! Tools, solder & wire NOT included).
#Fender bandmaster blackface full#
This kit includes all of the electrical components, diagrams & written instructions you need to perform a full blackface conversion on your silverface Fender Bandmaster amplifier, converting it to the coveted AB763 specs!
#Fender bandmaster blackface mod#
AB165 to AA864 'plus' tweed preamp for BLACKFACE AB165īandmaster (non-reverb) Blackface Mod Kit."1/2 Blackface" Mod for Ultralinear Fenders.Some of the changes from the AA568 were reverted in October, 1969, yielding the AA1069 circuit, but many of the changes remained in place. Unfortunately, the tube chart inside the amp head cannot be reliably used to differentiate the AB763 from the later circuits, as Fender continued using the older tube charts for a while after changing the circuit configuration. The circuit and cosmetic changes didn't happen at the same time some 1967 and early 1968 Bandmasters still possessed the blackface AB763 circuitry. It is referred to at times as the " silverface" circuit, referring to the brushed aluminum control plate used from 1968 to 1974. The AA568 version (introduced May, 1968) was met with popular dislike by Fender's customers. Later "silverface" amps retrofitted to this circuitry are described as having been "blackfaced," a reference to the black faceplate used on these amps during much of this era. Some 1964 blackface Showmen were still covered in blonde Tolex rather than the usual black. The complex brownface "harmonic vibrato", however, was replaced by a simpler electro-optic oscillator. The AA763 (July 1963) and improved AB763 (March 1964) ("blackface") circuit is arguably considered the "best" circuit version produced for this amp by collectors and aficionados. The new model was covered in Tolex rather than "tweed " still a combo in brown Tolex for 1960, and then a blonde-covered head-and-cab piggyback 1961-63. The 6G7 and revised 7-A circuit used the long-tail pair phase inverter introduced with the 1957 Bassman, used a solid-state rather than a tube rectifier, and also included a vibrato that is heralded as Fender's best by many enthusiasts. "Blonde" aficionados feel this circuit has superior tonal characteristics when overdriven, to the AB763 circuit. The circuit was used from 1960 until July 1963 when the "AB763" circuit was introduced. The 6G(n) ("brownface") circuit was used in several Fender amplifiers, including the Bandmaster. Phase inverter changed to cathodyne (concertina) type. Negative feedback and filter choke added, and the output section given fixed (grid) rather than cathode bias. the 6SC7, to nine-pin mini-tubes of the 12A(n)7 family, as well as the introduction of the floating-paraphase inverter. The D-series circuits represented Fender's shift from octal preamp tubes, e.g. Like the other larger Fender amps, the Bandmaster used cathode-biased 6L6G output tubes, a 6SC7 paraphase inverter, and two more 6SC7s in the preamp with a 5U4 rectifier.
#Fender bandmaster blackface pro#
The first Bandmaster was in all respects almost identical to the Fender Pro, a dual-6L6 26-watt amp with a 1x15 speaker, with one difference: separate treble and bass controls, where the Pro like all other Fender amps to that time only had a single "Tone" knob. Transition models had this period features with smooth blonde tolex covering/sparkle gold grille
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