It seemed like their were more amps available and the prices seemed to be reasonable. It did seem that the Fender amps were very plentifull. Just added another Gibson GA-5T to make a pair and a bigger brother, a 1965 Gibson Apollo, from the Columbus Guitar Show. Like many amps in this wonderful world the possibilities are unlimited with different tubes, speakers, guitars, cabs, picks, strings, cords, relative humidity, temperature, aaaannnndddd.well I guess we can throw in the player too.īy the way.any suggestions for a replacement speaker for the Leslie 16? The original Utah is.well.crappy.Īlways on the lookout for 60's amps. So anyhoo.a Bandmaster is a wonderful amp. Put on my rose colored glasses, tie-dye shirt, and let the "smoke on the water" curl to the rafters. Of course the front end is different and is the AA763 circuit. The big difference is that Leo invented a new 85-100 watt transformer and went from two power tubes to four. I have a LARGE studio with WAY to much natural reverb. From The Soul Of Tone by Tom Wheeler, on pages 236-237 youll read where Leo Fender Freddie Tavares, and Dick Dale collaborated together on the Showman. Fun! I also have a couple of other cabs but the real neat opportunity is when I split the output to a reg cab and then to my 1968 Leslie 16.
I recently plugged into my Kustom 3-15" JBL (1968) cab. My first venture into vintage amp land is my 1968 Bandmaster. I love a Dual Showman.with or without the reverb. There's something for everyone, eh, grammerman. There is only one way to get the sound that you are getting, though imo, and that is with big watts.
Fender bandmaster vs bassman professional#
What we all do know is that your Dual Showman rig, while being a great professional amp, is not goign to be gettting any 'love' from the market.
Now that peopel are looking for 'more is less', the small OT helps the BAndmaster and the TRemolux somewhat imho, but hte market may never reflect this. The small OT of the other two amps in the BF era helped to keep the lid down on their value, imho, during the 'more is more' era. The Bandmaster is more typical of the clanky, squeaky clean, scooped mids big Fender amp sound. Brian SEtzer's use of the 6G6 Bassman has helped to place that amp in vintage market. The typical non-presence control Bassman has a lot more grind and grunt than other BF/SF 6L6 type Fenders, but lacks the clarity of the other Fenders and can be a bit low-mid heavy/woofy/muddy sounding. I agree that the 5F6A's claim to fame as the bassi for almsot everything that is good about old Marshalls puts it above the tweed BAndmaster and TRemolux in value. ACtually, the OP's first post refers to the 2X10 format of the Tremolux.so that puts his question into the 6G 'Blonde' era if not the BF era. Pete Townshend used a 1959 Fender Bandmaster amplifier with his Gretsch 6120 Chet Atkins Hollow Body to create the rich feedback-laden sound heard on virtually all studio recordings beginning with Who’s Next in 1971.
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