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    Dating fender bassman head intimidating flag football team names

    Initially intended to amplify bass guitars, the 5B6 Bassman was used by musicians for other instrument amplification, including the electric guitar, harmonica, and pedal steel guitars.

    Besides being a popular and important amplifier in its own right, the Bassman also became the foundation on which Marshall and other companies built their high-gain tube amplifiers.

    Production years 1964 -1967 “blackface” circuits AA864, AA165, AB165 1967 -1977 “silverface” circuits AA165, AB165, AA270, AA371, AA568, AC568, AA864 Tube layout AA864 Tube layout (Seen from behind, V1 is to the right side): V1 12ax7 = Preamp bass channel V2 12ax7 = 2’nd gain stage bass channel (and normal channel for AB165) V3 12ax7 = Preamp normal channel V4 12at7 = Phase inverter V5 6L6 = Power tube #1 V6 6L6 = Power tube #2 Summary The Fender Bassman is a legendary guitar amp known to both guitar and bass players.

    It was introduced in 1951, primarily targeted for bass guitar players and promoted as a bass amp for the Fender Precision Bass guitar, the first mass-produced electric bass guitar ever.

    At the Fender factory they used old tube charts when new models came, probably because the tube layout was the same.

    Determining production date by serial number and transformer codes is better, and you should also inspect the circuit to be completly sure.

    Some things are very obvious such as non-original or reconed speakers, non-original transformers, replaced pots, re-tweed, re-tolex, re-grill, etc.

    and these changes are often disclosed and of a non-malicious nature.

    It was designed to generate 26 watts at an 8 ohm impedance load, and offered a cathode-based bias.

    Other things to look for include chasses placed in cabinets from a different year, “doctored” tube charts, non-original control plates (usually reproductions) on silverface amps, original transformer bell ends (they have correct date codes, of course) on non-original transformers, and non-original knobs (either repro or silverface knobs on blackface amps).unusual things can be found such as the empty “Pulse Adjust” hole on the rear of early ’60 brown amps, the “middle” volume control, use of tweed style grill cloth, strange non-documented transitional circuits, and changes in tolex color including the super-rare cream colored “brown” tolex that is found on some late ’60 amps. Given that people may refer to this information seeking specific production quantities of amps they are curious about, it should be pointed out that the serial numbers apply to chassis types, and not specifically to amplifier models.

    Looking at serial numbers next to the ’60 5G5 brown Pro Amp for example, we see numbers ranging from 00001 to 02000, suggesting that there are 2000 of these amplifiers made in ’60.

    The following chart, was originally printed in VG magazine, by Gerald Weber.

    If you see any data that is not listed here or notice any errors, for 1970’s and earlier Fender amps, please send us an email and we will update the chart.

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