Jensen speaker, 1st week of He recalled, "We just went to a big bin every morning and loaded our wheeled rack with a batch of whatever chassis we were working on that day. The bias feed resistors were 68K instead of the normal K, and there was a disc ceramic cap on the board connected between the phase inverter plates. For the uniquely serialized models, the production estimates using my hypothesis, can be determined from the serial number tables. The result is a kind of stock rotation whereby the serial numbers definitely go up with elapsed time as you move from one batch to the next batch of the same amp type. The baffle board was removable on amps made from to about and glued-in thereafter. He had the only RPW-1 in the world - the prototype - and had recently, generously, passed it on to Paul Rivera. We also received a report of a tweed 5G12 Concert. This circuit is unique and transitional - part 6G4 in places, part 6G4-A in places, part "unique experimentation" in places. How about those rarebird Vibroverbs? Particle board some call it MDF - medium density fiberboard baffles debuted in and were used through the early s. This is similar to the early '50s Telecaster and Precision Bass having their own unique serial number system. Some general information about cabinet construction:
The result is a kind of stock rotation whereby the serial numbers definitely go up with elapsed time as you move from one batch to the next batch of the same amp type. It's decided dealer re-stocking demand? For other countries, unknown factors like rarity and relative income levels mean I. Some Fender amp expert I turned out to be. For the uniquely serialized models, the production estimates using my hypothesis, can be determined from the serial number tables. But within a batch the numbers were used in semi-random order. For some models like the blackface Concert, there was no change in phase-inverter resistor values, and no changes in tone stack cap values fascinating! How to date Fender amps by serial number!! A tweed Vibrolux was reported with a tube chart printed with circuit "5E3" tweed Deluxe instead of the correct 5F11 see photo. But because the amps were serialised before assembly even began, the system would lose its meaning if a batch of chassis weren't all used by the end of their calendar year. There was no possibility of confusion though, as the amps' names were clearly printed on the front panel The first was a brown Super Amp. I have to wonder how often Fender used the SPEC check box and what features a "special" amp or cabinet would have?! There is some debate about how to interpret the production code information on late '50s to mid tube charts and Greg Huntington is still working with those. I Didn't Know That! These 3 amps are often erroneously described as belonging to the Rivera-era range of Fenders, possibly due to the design of some circuit elements and the fact that Ed Jahns carried on to be a key player in the design of the Rivera-era amps. When you consider that the vast majority of the US range were made in three years '82, '83 and '84 my figures suggest the factories averaging over 50 hand-assembled amps per working day, which is not to be sniffed at. The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. An October Deluxe Reverb was reported with transformers all Schumacher all dated to mid, except the reverb drive transformer which dated to December 62! The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code. These amps could be modified simply by lifting the center tap, and installing the ohm resistors in the usual place on the power lamp socket. I think the better, older hands did 35 a day. But it wasn't always 'cool guitar' amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs. These laminated cabs were not finger joined, but rabbet joined. Less Common Source Codes.
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