- Fender Bassman 59 Reissue Serial Number
- 1956 Fender Bassman Serial Numbers
- Fender Guitar Serial Numbers Check
Written by: Mark Ware
Revised: v1.13 - 4/23/2004
This document is intended to answer some of the most common questions that people ask concerning Fender amplifiers. It applies mostly to dating, identification, amp cosmetics and other (mostly) non-technical stuff. If you have any additional information that you would like included or if you have any additions/corrections, please contact me at steve@mojotone.com.New/Updated this version:
- Added expanded EIA codes section.
- A chart showing the output transformer numbers and impedances for all the various models of vintage Fender Musical Instrument guitar amplifiers. Bassman 5F6/5F6A.
- In order to date your 59 Bassman Reissued LTD I will need to know one of the below;. The 2 letter date code on the Tube Chart, or. The 2 letter date code on the QA Sticker, and/or. The Transformer Number that starts with “606-XX-XX”, with the 'X's' being 3 or 4 additional numbers that I'll need to know.
- 1951 Fender Bassman - Serial: 0081. This is a fantastic sounding amp, one of my all time favorite for recording! I got this one in very rough shape, had been painted black all over, apart from the bottom tweed.
Contents:
Determining production date by serial number and transformer codes is better, and you should also inspect the circuit to be completly sure. The picture below shows a 1969 transition model amp. Unfortunately the Bassman was one of the first amps that CBS laid their hands on after buying the company from Leo Fender.
- What is meant when an amp is referred to as a 'black face' Fender?
- 2.1. Woodie
- 2.2. TV Front Tweed
- 2.3. Wide Panel Tweed
- 2.4. Narrow Panel Tweed
- 2.5. Brown
- 2.6. Blonde
- 2.7. Black Face
- 2.8. Silver Face
- How old is my amp?
- 4.1. Date Code
- 4.2. EIA Source-Date Codes
- 4.2. Dating By Serial Number
- 4.3. Circuit Revisions
- 4.4. Misc Dating Info
- Where can I find out more about Fender Amps?
- 7.1. On the Web
- 7.2. USENET
- 7.3. In Print
1. Why isn't my Fender amp listed in the Field Guide
If you're Fender amp isn't listed in the guide it is most likely because it is a solid state amp.I like to build/restore/repair tube amplifiers as a way of excaping the pressure of daily existence. The guide is an extention of this fascination with tube technology so I have chosen to ignore the models that do not make use of thermionic phenomena for amplification. As for the qustion of tubes vs. solid state, my opinion would obviously be skewed. My advice is to use your ears and play/buy what you think sounds best.2. What is meant when an amp is referred to as a 'black face' Fender?
Contrary to what you might think, this term is not politically incorrect and has nothing to do with Al Jolson. The term 'black face' refers to the color of the amp's contol panel. Fender typicallychose a cabinet style, covering, and grille cloth and used it across the entire amp line. Therefore it is a convenient way of refering to an amp of that particular era. (in this case 63-67)Below is a listing of some other terms you might hear when people refer to Fender amps.- Woodie: This refers to amps produced between 1946-1948. They are called woodies because of the uncovered wood cabinets and matching wood handles. These cabinets came in three finishes: mahogany, maple, and walnut. The baffle was covered in either a red, yellow, or blue fabric with three (sometimes only two) chrome 'slats' running from top to bottom. The controls were mounted on a rear facing control panel. At this time Fender only had three models, Princeton, Deluxe, and Professional.
- TV Front: These amps are recognizable by the shape of the speaker baffle cutout. The cutout is rectangular with rounded corners and looks like an old fasioned TV screen. These amps were produced between 1948-1953. The cabinets were constructed in a new way with the corners of the box 'finger joined' which gave a much larger gluing surface and as a result, more strength. Unfortunately the new joinery isn't very nice to look at so Fender covered the cabinet in a very durable tweed material that was popular for covering foot lockers and suitcases. The early tweed was light colored and had a vertical pattern. Later this was changed to a diagonal pattern with more contrast between the light and dark fibers. Conrol panels on the TV front amps were located on the top rear, facing up. (except the Champion) and had a chrome finish. The baffle of TV Front amps are covered in brown mohair.
- Wide Panel: From 1953-1955 Fender used a new style of cabinet which had a rectangluar cutout for the baffle with the corners squared. When viewed from the front, there are two wide panels above and below the baffle while only the ¾' edge of the side panels shows on the left and right. The chrome, top facing control panel, tweed covering and brown leather handle are the same as the TV front amps, but a dark brown linen material replaced the brown mohair grille.
- Narrow Panel: Cosmeically these amps are almost identical to the Wide panel amps, with the exception of the top and bottom front panels. These were narrowed considerably so that the front was almost completely grille. These amps were produced between 1955-1960. (the Champ went to 1964) Early in this era the linen grille was replaced by genuine brown grille cloth. The narrow panel amps were the last of Fender's tweed amps. (until the reissues)
- Brown: Big changes were made with the new decade. The amps produced between 1959-1963 were completly redesigned with an angled, forward facing, brown control panel and round brown knobs. (replacing the old black pointer control knobs fender had used since the woodies) The tweed covering was replaced with a new, brown, fabric-backed vinyl material called Tolex. The brown Tolex was reserved for the smaller fender ams such as the Deluxe, Princeton, and Super while the larger amps had a differnt color scheme. Most of these amps retained the leather handle of the tweed amps. Early brown Tolex amps had a pinkish hue, while the later amps had a truer brown color.
- Blonde: These amps were produced at the same time as the brown amps, but were covered in a white (more like biege) Tolex and had round white knobs. This color scheme was reserved for the new 'piggyback' amps (Showman, Bassman, Tremolux, Bandmaster) and the Twin combo. Early blonde Tolex had a rough texture while later amps have a smoother surface. Grille cloth varied with early amps having the brown grille cloth of the tweed amps. Later amps had maroon grille cloth, and the last having a wheat or gold sparkle color. The handle was changed to a brown plastic strap which held up a little bit better than the leather handles Fender had been using for over a decade.
- Black Face: Amps produced between 1963-1967 retained the cabinet style of the brown/blonde amps, but were covered in black Tolex. Also new was a new reinforced black strap handle, and silver sparkle grille cloth. The control panel was changed to black with white labels and fitted with numbered, black skirted knobs. Many consider the amps produced durring this era to be the best ever produced by Fender and are sought after by players and collectors alike.
- Silver Face: In late 1967 the color scheme was changed once again. The black Tolex remained, but the control panel was changed to a dull chrome with blue labels. The gille cloth changed to blue sparkle (some late 70s silver face amps have orange sparkle grilles) and for 1968 and 1969 there was an aluminum frame around it. From 1980-1982 Fender reverted to the black face era cosmetics, but since these amps share the same circuits as the silver face amps, many people will refer to them as silver faces. An easy way to tell these amps from a real black face is the model name on the control panel. The word 'Amp' was dropped. (eg. 'Deluxe Reverb Amp' became 'Deluxe Reverb')
3. What is a 'Pre-CBS' Fender?
In January of 1965, Leo Fender sold Fender Electric Instruments Co. and Fender Sales to broadcasting giant CBS who renamed it Fender Musical Instruments. So a Pre-CBS fender is simply an amp produced before the sale. It is a widely-held opinion that most of the changes to the amp line made by CBS were NOTFender Bassman 59 Reissue Serial Number
for the better. Fortunately it wasn't until the early silver face years that most CBS 'improvements' were put into production and somemodels were left almost untouched. In 1985 CBS sold off the Fender name and all remaining product stock to Fender's top executives and distributors. This became the current incarnation of Fender known as Fender Musical Instruments Corp.4. How old is my amp?
There are serveral ways to determine when a Fender amp was produced. First use the cosmetic features to get a range of possible years. Next, (if applicable) look for the datecode on the tube chart. If your amp dosen't have a date code, flip the amp upside-down and check the transformers, and speakers for their manufacturer codes. If possible, open up the chassis and check a few of the pots' and capacitors' manufacturer codes. Remember, many components could have been changed over the years, speakers blow, caps dry out, transformers melt down, and pots wear out. Be skeptical when buying a piece of 'vintage' gear like a Fender amp, the prices for this equipment has risen high enough that many forgeries are out there. Caveat Emptor.- Date Code: Wide panel, narrow panel, brown, blonde, and black face amps have a date code hand-stamped on the tube chart. This code is made up of two letters. The first letter translates to the year and the second to the month. The reissue amps also made use of this code
Date Codes Letter Code Vintage Year Reissue Year Month A - 1990 January B - 1991 February C 1953 1992 March D 1954 1993 April E 1955 1994 May F 1956 1995 June G 1957 1996 July H 1958 1997 August I 1959 1998 September J 1960 1999 October K 1961 - November L 1962 - December M 1963 - - N 1964 - - O 1965 - - P 1966 - - Q 1967 - - Example: FG=July 1956, QA=January 1967, and a reissue CG=July 1992
- EIA Source-Date Codes: Electronic components such as transformers, potentiometers, speakers, and some capacitors are often stampted with a date code indicating who manufactured them and when. The code follows the format: XXXYYZZ where:
XXX = a two or three (possibly four on newer amps) digit number indicating the manufacturer. (see chart below)
YY = is a one or two digit code indicating the year. If it's a one digit year you need to determine the correct decade of the amp some other way.
ZZ = a number from 1 - 52 indicating the week of the year.
Remember, your amp is newer than the newest component. So if you find pots from late 68 and transformers from early 69 you can be pretty sure your amp is a 1969.Common Fender Source Codes Code Manufacturer Part(s) 67 Eminence Speakers 73 J.B. Lansing (JBL) Speakers 137 CTS Potentiometers, Speakers 220 Jensen Speakers 235 Mallory Capacitors 285 Rola Speakers 304 Stackpole Potentiometers 328 Utah Speakers 391 Altec-Lansing Speakers 433 Cleveland Speakers 465 Oxford Speakers 606 Schumacher Transformers, Chokes 649 Electro Voice (EV) Speakers 830 Triad Transformers, Chokes 1098 Pyle Speakers CLICK HERE FOR AN EXPANDED MANUFACTURER CODE CHART
- Serial Number: There is no information readily available for dating Fender amps by serial number but there are people working on it. Greg Gagliano has up a Fender Amp Survey website to collect serial number information. If you own a Fender amp of any vintage, stop by and input your amp's information. When he has collected a large enough sample the results will be made available. For a some preliminary results, check out the articles Greg wrote for 20th Century Guitar magazine.
- Circuit Code: In 1963 Fender stoped using model numbers to identify schematics and began using the model name and an assigned circuit number. These circuit numbers which are located on the tube chart can be usefull for getting a rough date on an amp. Fender often used the same circuit for many years so this is not a very accurate method for amp dating. The code is simple, the first two letters are the revision, where AA is the first revision, AB is the second, etc. The next one or two numbers are the month where January is 1 and December is 12. The last two numbers are the year.
Example: AB763 = second revision, July, 1963
AA1070 = First revision, October, 1970 - Misc Dating Info:
- Silver face amps with the aluminum trimmed grilles are from 67 or 69.
- The fist Master volume controls were installed in 72.
- The raised 'Fender' grille logo lost its tail around 76. There are exceptions to this rule like the the Bronco.
- Fender installed casters on some larger amps and cabs beginning in 72.
5. What does it mean to have an amp 'blackfaced'?
Thru the 50s, 60s and 70s Fender was in a wattage race with the other amp manufacturers. Fendersought to increase the output of the amps while lowering the amount of distortion. As a result,the Silver Face amps tend to be 'cleaner' and sometimes sterile sounding even at high volume than Black Face amps. Most people believe that the black face amps of the 60s are better sounding when overdriven than the silver face amps. Attempting to improve the sound of their silver face amps, some owners have opted to have the stock circuit altered so that it's the same as the black face amps. Generally this simple modification will be an improvement, but it will probably not sound exactly like a black face. Durring the 70s, the volatges produced by the power transformers in silver face amps steadily crept upwards, and lowering these volages is not typically part of the mod. In general, the older your silver face amp is, the more it will benefit from being 'blackfaced'. The late 70s high power silver face amps (Twin, Bassman 135, Showman, etc.) with the ultralinear output transformers are generally not worth the effort to convert.6. How much is my amp worth?
I cringe when people ask me this question. Vintage amps, like everything else in the world are worth whatever someone is willing to pay for them. There are many factors that effect the priceof a amp. Age, condition, originality of components, location, demand, buyers/sellers motivationlevel, etc. Check your local buy-n-sell papers, newspaper classified, and do a few Web/USENET searches. This should give you a rough idea of what people are
asking for the amp. Keepin mind that most things don't sell for the asking price.7. Where can I find out more about Fender Amps?
Fender amps have collected a huge following over the years due to their great sound and reliability. As a result there are many people who have a great deal of knowledge on the subject. Here are a few sources for Fender info.- On the Web: There aren't many sites out there devoted specifically to Fender, but there are a few tube amp sites that contain good Fendercentric tidbits. Heres a few:
Date Codes Name Link Description Fender Musical Instruments Corp. http://www.fender.com Vintage Fender amps are the companies biggest competition. Old amps are ignoredbut lots of info on current production models. The Fender Amp Field Guide http://www.ampwares.com Amp model info, pictures, circuit layouts and schematics. Fun for the ampoholic in us all. - USENET: If you like a more interactive site for amp info, try the USENET group alt.guitar.amps. This group is for discussion of musical instrument amps in general, but as you might guess, Fender amps are often the topic of discussion. Be warned, this is an alt group so there are no rules. Topics often spin off the subject into such topics as BBQ, beer, and the proper way to torch a Peavy. If you have a technical repair question, are looking for replacement tubes, or just want to talk about your favorite amp, stop on by and join Ned, Duncan, Lord Valve, Ferg and the rest of the loveable misfits on alt.guitar.amps.
- In print: Here's a few good print selections for Fender fans.
A Desktop Reference of Hip Guitar Amps
Written by: Gerald Weber
Published: 1994 Kendrick Books
ISBN: 0-9641-0600-0
A good book if you can get past all of the Kendrick/Trainwreck hype. Lots of technical descriptions and definitions. Some Fender models have entire chapters devoted to them. Suggestions for non-destructive mods and tons of schematics included. Be careful, some of the information may not be entirely accurate.Fender Amps: The First Fifty Years
Written by: John Teagle & John Sprung
Published: 1995 Hal Leonard Corp.
ISBN: 0-7935-3733-9
This is an excellent book which covers the Fender company's history as well as descriptions of each of the amp lines. This is the authorized company history considering that Fender co-published the book. Lots of great pictures.The Fender Amp Book
Written by: John Morrish
Published: 1995 GPI Books
ISBN: 0-87930-0345-X
Excellent Fender history as it relates to Fender amps, both tube and solid state.The Tube Amp Book
Written by: Aspen Pittman
Published:
ISBN:
Written by the Groove Tubes hypemiester himself. Lots of excellent color pictures to drool over and a good schematic section. Ignore any sentence containing the words 'matching', 'selected' or 'quality'.
8. Where can I get parts for my Fender Amp?
Mojotone.com
Mojo Musical Supply
513 South Dudley St
Burgaw, NC 28425
1-800-927-6656
(910) 259-7291
FAX: (910) 259-7292
The best source on the web for all your tube amp needs including tubes, transformers, caps,Tolex and MUCH more. All your restoration, repair and tube amp building supplies in one site.
What a lot of people do not know is that the 1964 6G6-B
Bassman with Utah Speakers was actually the most recorded amplifier
used by The Beatles. The amp was first used by Paul McCartney as his
main bass amp from 1965 to mid 1967 (he did use a Vox during this time
but not as much as the Bassman). In 1966 and 1967 John Lennon and
George Harrison shared it (sometimes playing their guitars through the
amp at the same time) and from early 1967 George Harrison took it over
as his main amp. This amp was then used on a few of the early John
Lennon solo albums when George was there and then George used it as
his main solo amp. It even became George’s main amp when they did
Antholody and Real Love/Free As A Bird (you will see it in the
recording sessions). If you look at any Beatles documentary from 1967
you will always see it there (even in the Apple offices at times), it
is all through the Lennon Imagine films and documentaries and also the
Harrison documentaries and it was even on stage during the Concert for
George, as a tribute when George died. So, the 1964 Bassman is
actually the “real” amp used by The Beatles in the latter years and
most creative years, rather than the iconic Vox which dominated their
early years. So, although the Utah speakers were not the best
speakers their sound dominated Beatle recordings from Rubber Soul
(1965) to Abbey Road (1970) so that is not too bad 🙂
1961 Pro Reverb and 1963 Bandmaster. Both have 6G6-B circuit.
1964 Fender Bassman.
THE BEATLES’ GEAR
October 1965–March 1966
1964 Rickenbacker 325
1961 Fender Stratocaster (studio only)
1964 Gibson J-160E
Vox AC-30 and AC-100 amplifiers
1956 Fender Bassman Serial Numbers
1963 Hofner 500/1 bass
1964 Rickenbacker 4001S bass (studio only)
Fender Bassman amplifier
2nd Gretsch Country Gentleman
1961 Fender Stratocaster (studio only)
Gibson ES-345
1962 Gibson J-160E
1965 Rickenbacker 360/12
Vox AC-30 and AC-100 amplifiers
Starr’s 4th Ludwig drumkit with 5th drop T logo drumhead
April 1966–June 1966
1965 Epiphone Casino
Gretsch 6120 (studio only)
1964 Gibson J-160E
Vox AC-30 amplifier
Fender Showman amplifier
Vox 7120 prototype amplifier
1964 Rickenbacker 4001S bass (studio only)
1962 Epiphone Casino ES-230TD (studio only)
Fender Bassman amplifier
Vox 4120 prototype amplifier
1961 Fender Stratocaster
1965 Epiphone Casino
1965 Rickenbacker 360/12
1964 Gibson SG Standard
1962 Gibson J-160E
Burns Nu-Sonic bass guitar (studio only)
Vox AC-30 amplifier
Fender Showman amplifier
Vox 7120 prototype amplifier
Starr’s 4th Ludwig drumkit with 5th drop T logo drumhead
More on the bassman:
The Great Bass Amps Of The 60s
By David Hicks | March, 2005
Although the bass guitar was introduced in 1951, bass amplifiers lagged far behind. For a decade, bassists had to make do with guitar (or accordion) amps ill-suited to reproducing low-frequency sounds. Even the early Fender bass amps, including the ’59 Bassman 4×10, had open-back enclosures that produced little more than a muddy approximation of the instrument’s true sound. Finally, in the early 1960s, engineers began to turn their attention to the problem of amplifying this “new” instrument. Let’s take a look at some of the more memorable designs they came up with during that turbulent decade.
Fender Bassman
As the mid-’60s neared, a phenomenon called the “British Invasion” occurred. Suddenly, everybody was learning to play guitar, bass, or drums, and combos were forming in every town across the nation. While many of the English groups were using strange gear made by Vox, most music stores in the U.S. featured amps manufactured in California by Fender. At this time, Leo and company had some 15 years of amp-building experience under their belts, and they were building what proved to be perhaps the most durable—and desirable—amplifiers ever made. In 1964, if you were serious about your music, your amp of choice was a “blackface” Fender Bassman (so called because of the black paint on its front panel).
This amp featured the relatively new (at the time) piggyback design, with separate amp head and speaker bottom, which provided flexibility as well as an illusion of size. (While some of the Fender piggyback amps had tilt-back legs and fasteners to attach the head, no self-respecting rock player of the era set his speaker bottom on its side!) The Bassman’s all-tube amplifier design included dual channels, one marked BASS and the other NORMAL—implying, one assumes, that playing bass was somehow abnormal. Each channel had volume, treble, and bass controls, as well as individual voicing and preamp designs for optimum sound with bass or guitar/microphone. And, as the popularity of electric music continued to expand, the 50-watt power section and pair of heavy-duty 12″ speakers set the standard for bass. The tone was pretty good—all of a sudden, you could hear the bass guitar, without a lot of buzz or distortion. At the time, it was the ultimate in bass gear.
Fender Guitar Serial Numbers Check
Modstock Proband Day August 8
2:00 The Wet Bandidos 2:45 M!ddleroad 3:30 True South 4:15 Gravel and Grace 5:00 Gary Gervase and Kickstart Blues 5:45 The Patty Castillo Davis Group 6:30 Sindria 7:15 Sticks and Stones 8:00 Triple D 8:45 Whiskey Skulls