December Learn how and when to remove this template message Fender's first transistor amplifiers were introduced in Furthermore, the schematic and tube charts that shipped with these models did not always reflect the actual circuitry. Early solid-state models[ edit ] This section does not cite any sources. Seth Lover, the legendary designer of the Gibson "P. Blackfaced cosmetics do not necessarily mean "pre-CBS" since the CBS company takeover took place in and amps with blackfaced cosmetics were produced up to The blackface cosmetics were phased out at the end of though some continued to be made on into early ; they returned for a brief period in before their discontinuation the following year. Leo Fender was notorious for tweaking his designs. The first Silverface amps, manufactured between and , had an aluminum frame trim, known as a "drip edge" around the grillcloth, mids "tailed" amp logo and the AB blackface circuit. Some of these amplifiers had a silver grillcloth typical to previous BF and SF series amps, but more often the amplifiers sported a black grillcloth. Paul also designed the distinctive angled chassis and overall cosmetic styling. The infancy of semiconductor technology also meant that many designs failed due to thermal runaway caused by insufficient cooling or lack of knowledge concerning "safe" power ratings of transistors. No real changes were made to the amps until the silverfaced amps of where certain circuit changes made them less desirable than the blackfaced amps. The schematics you will find on the 'Eighty-Five' amp will be labeled 'Studio 85' which can be confusing to those trying to find an accurate schematic. Additionally the experience also scared Fender away from solid-state amplifier technology for the next ten years. Certain elements of the Blackface cosmetics were reintroduced in the mids on a series of amplifiers designed by Ed Jahns. Fender mostly stopped using the twill covering in , though the Harvard was still covered in twill until , and the Champ until
Fender made a limited-edition Mini-Twin practice amplifier modeled after the mids Twin Reverb models in Early solid-state models[ edit ] This section does not cite any sources. Aside from being covered with fake alligator skin, they were cosmetically very similar to Super Showman. Brownface Brown and Blonde [ edit ] Blonde twin, The Brownface series was introduced in and discontinued in These were some of the first models produced by the newly formed Fender Musical Instrument Corporation. Fender tweed Fender amplifiers began making a name for themselves with the Tweed series, so called because of their cloth covering, which is actually varnished cotton twill tweed is a coarse woollen fabric, commonly used for jackets, coats and caps; it is often woven in a twill pattern, which is likely the reason for the confusion over naming. Many key executives of Fender had resigned after the CBS purchase and quality control of the PCB-constructed amps was rather sloppy during the times. The schematics you will find on the 'Eighty-Five' amp will be labeled 'Studio 85' which can be confusing to those trying to find an accurate schematic. This affected some models more than others. This cosmetic detail later referred to as "blackline" was quickly abandoned. Paul Wentling is credited as the designer. Other notable accomplishments of this period include the shift of the top-of-the-line model from the traditional Twin-Amp to include other models, like the Vibrasonic Amp in early , as well as the blonde Showman Amp in There were many notable accomplishments for the company's amplifier division during these years. The twill was first used in on the Dual Professional a twin 10" 6L6 powered model of which only were made before being renamed "the Super Amp" in This market was dominated by companies such as Marshall and later Mesa Boogie —both of which had gotten started modifying Fender amps the Bassman and the Princeton, respectively. Blackface Deluxe Reverb Blackface Princeton Reverb The Blackface amplifiers were produced between and some units continued to be made into early Fender later on constructed them with "narrow panel", in which all the panels have more or less the same width. Fender's early transistor amplifiers had an extensive marketing campaign but in the end they proved to be a major disaster. The 1x10" Vibrolux amp remained a tweed amp until it was upgraded in to a single 12" speaker powered by a duet of 6L6 power tubes and a larger output transformer. Additionally the experience also scared Fender away from solid-state amplifier technology for the next ten years. The amplifiers were naturally given traditional Fender model names, earliest including 'Dual Showman', 'Twin Reverb', and 'Bassman'. The amplifiers were mainly designed by Robert "Bob" Rissi, Sawa Jacobson and Paul Spranger, who came up with the novel idea of making a heatsink to operate like a chimney to achieve increased and non-restricted airflow. Zodiac-series amplifiers consisted of 'Capricorn', 'Scorpio', 'Taurus' and 'Libra' models. Paul also designed the distinctive angled chassis and overall cosmetic styling. A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal featuring a "Made in USA" script in the bottom in ; the power was increased between 70 and watts on certain models.
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