Dating fender amp speakers

The nature of the 4×10″ speaker configuration is a directional tone with screaming treble right forwards and backwards and unfortunately little spread.

A lot of deep bass is produced by the bigt cabinet while the important mids are fairly low, a scooped tone.

It is so different from the blackface and silverface Pro Reverbs that it really doesn’t fit the description, but it is a wonderful amp.

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The blackfaces have more growl and a distorted, cranked tone.

It is heavy to carry with the 4×10″ speakers and massive iron transformers.

The later silverface circuits were changed further by CBS to become cleaner, harder and thinner sounding, specially if one compares amps at the same volume and EQ setting.

If you’re into sparkling clean tones, a silverface can do the job just as well as a blackface amp.

Fender ceased production of 5B6 Bassman amplifiers during the spring of 1954.

During November 1954, Fender introduced the newly designed 5D6 Bassman amplifier offering four ten inch speakers and was designed utilizing two rectifier tubes.

What someone finds harsh can be beautiful sparkle to others.

Smooth overdriven tones can mean very different things for heavy metal guys with Marshall and Celestion stacks and country musicians playing twangy Twin Reverb amps.

The ever-popular 40W Fender Hot Rod Deluxe III, equipped with a 12" Celestion speaker, may be the world standard for gigging guitarists.

With bottom-end headroom characteristic of 6L6 tubes and a versatile all-12AX7 tube preamp, the Hot Rod Deluxe III amp offers luscious Fender spring reverb, an effects loop and more.

Speakers are like ice cream; we all have our favorite taste. You need to experiment yourself and taste the hundreds of speaker flavors out there.

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