Fender 65 twin reverb reissue dating site

Dating a Fender Twin Reverb - Ultimate Guitar

The Fender Deluxe Reverb is a guitar amplifier made originally by Fender Electric Instruments which became Fender Musical Instruments in early when the company was purchased by CBS, and now by Fender. In , Fender released the '65 Deluxe Reverb reissue. It possessed the original Website: decostarica.info Hello fellows, im going to buy a clean fender 65 deluxe reverb and just want old. can some give me a site where i can look up the serial number and i also own a 57 twin tweed and i love it. still trying to learn the I remember seeing VV or W in some sticker if my amp, that obviously is not the date code. FENDER AMP Chassis Serial Number DATE CODES A to A - A to . Twin Reverb AB, AC, AA, AA (silverface).

After a slight change in appearance, from the rough blonde tolex and maroon grille appearance to a smooth blonde tolex with a gold grille cloth, the Twin-Amp was replaced with the Twin Reverb-Amp in Blackface Twin Reverb[ edit ] During the blackface era of Fender amplifiers from tothe amps had black faceplatesblack tolex covering on the cabinet, and neutral to slightly amber tinted silver sparkle grill cloth with a small ribbed rectangular pattern.

The Twin now had an onboard spring reverb tank and was renamed the Twin Reverb. The Fender Twin Reverb is considered a standard model for players seeking a clean sound, and it is especially known for the quality of its built-in spring reverb. During this time the amplifier's output was rated at 85 watts into a 4-ohm speaker load. The circuit used is commonly known as the AB circuit. All Twin Reverbs feature a solid-state rectifier.

The controls have black-skirted knobs numbered from 1 to The Normal channel has two inputs, a "bright" switch which compensates for loss of brightness through the volume control when the control is set lower than about "6" on its scalea volume control, treble, middle and bass tone controls. The Vibrato channel has a duplication of the same controls as the normal channel, plus the addition of reverb, vibrato speed and intensity controls. The vibrato bug is a four-wire device consisting of a neon tube and light-dependent variable resistor, packaged in a short section of black tubing.

It resembles a water bug, with slender wispy legs. The tube generated vibrato oscillator pulsates the neon light, which varies the resistance on the resistive element. That variable resistance is applied to the audio signal on the Vibrato channel, creating a pulsating increase and decrease of that channel's volume.

The speed controls varies the rate of the oscillator. The depth control limits the amount of application the variable resistor has on the audio signal. The front panel also has a bright red pilot light lens better known as "pilot lamp jewel" for its multiple triangular-shaped facetscovering the pilot light made by the Chicago Miniature Lamp Co. Other colour schemes amber, white, green, purple and blue are also available.

Rear panel controls include a 2. Units made before the takeover of Fender by CBS in will be marked Fender Electric Instruments, and be worth a bit more on the collectors market. Twin Reverb amplifiers came standard with "tilt back legs" which allowed the amplifier to be tilted at an angle backwards, so the speakers faced at a more upward angle, promoting better distribution of their output to an audience when placed on a low stage.

Silverface Twin Reverb[ edit ] In the Fender amplifier line switched from the original black faceplate to a new brushed aluminum faceplate with light blue labels except the Bronco, which has red and changed the color of the grillcloth from silver grey to silver with sparkling blue threads embedded within it, ushering in the Silverface era.

Other blackface cosmetic features were retained. Since the tube complement was the same, Fender just used up their stock of printed tube charts saying AB until they ran out. Early silverface amplifiers made between and had black lines on the brushed aluminum faceplate, still retaining the '60s "tailed" design on the amp logo, installed on the upper left side of the grillcloth.

This feature was offered on models produced prior to the "tailless" period in Some later models came with an unusual silver grillcloth with sparkling orange threads "orange sparkle" ; a black grillcloth was even fitted on some production runs. During the silverface period, the Twin Reverb's chassis and AA circuit was shared by the Dual Showman Reverb, effectively producing the Twin Reverb in a head form, although the matching speaker cabinet for the Dual Showman Reverb sported a pair of inch JBL speakers rather than inch.

In a master volume was added, then in late '73 it was fitted with a push pull "boost" or acentric potentiometer in the master volume position. The rating of the amplifier's output power was upgraded to watts and between — an ultra linear output transformer was used, increasing the power to watts.

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A Hum Balance was added at this time Twin Reverb II[ edit ] In the Twin Reverb II was introduced to compete with Mesa Boogie's very successful products; it had an output rating of watts and a return to Blackface era cosmetics albeit with a different, channel-switching cascading gain circuit with a more modern mid-range voicing and without the 'traditional' vibrato.

The circuits for this series of Fender amplifiers were designed by amp guru Paul Rivera; the 60w Concert amplifier was by far the most successful in terms of sales, but all models in this range and the next are now becoming highly sought-after by collectors and players.

It featured a dual output switch, allowing the user to select either 25 watts or watts of output. This period marked the beginning of Fender's use of Tolex to cover amp cabinets. The brownface amps originally featured a dark maroon or "oxblood" grillcloth, which was changed to "wheat" in The shift from tweed to Tolex occurred in limited production in The tolex on the earliest versions in this era was pinkish brown and rough textured. There were only six amplifiers covered in tolex originally, the Professional Series: These were considered a step above the student models ChampHarvardPrinceton which remained tweed-covered in Grillcloth was initially the same as used in the previous tweed era, maroon with gold stripe.

Beginning in mid to lateFender introduced another color combination: By mid, after this short-lived look, Fender was using the darker brown tolex which was a mainstay for many of the mid to amps. Between andthere were three different grillcloth colors: The Brown amplifiers included all of the all-in-one combo models except the flagship Twin and Vibrasonicand the little Champ which retained its "tweed" twill covering.

The Blonde amplifiers included all of the piggyback Fender amps the TremoluxBassmanShowmanand Bandmaster as well as the Twin and Vibrasonic combos. Two different colors of grillcloth were featured on the blondes, oxblood and wheat. There are several experimental Fender Tweed amps in blonde. While the majority of the piggybacks were produced in blonde tolex, there are a few examples of the brown tolex Bassman amplifiers. Accomplishments for the company's amplifier division during these years include the introduction of the stand-alone spring reverb unit infollowed by incorporation of the reverb circuit within a combo-amp design with the Vibroverb.

Other changes include the shift of the top-of-the-line model from the traditional Twin to include other models, like the Vibrasonic in earlyas well as the blonde Showman in Fender began using silicon rectifiers to reduce heat and voltage sag caused by tube rectifiers, and introduced an all-new, very complex vibrato circuit. The Deluxe made the transition in The circuit was also changed to include a tremolo effect, and the output was increased.

As the brown-era wore on, the plight of the smaller amps was varied. They all remained in name at least except for the 1x10" Harvard which was not continued through The 1x10" Vibrolux 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.

Also upgraded from tweed was the Princeton which acquired its brown tolex in along with a completely redesigned, more powerful twin-6v6 circuit and a larger speaker array: Blackface Deluxe Reverb Blackface Princeton Reverb The Blackface amplifiers were produced between and some units continued to be made into early The earliest blackface piggyback amps as well as the Princeton had bodies covered in blonde tolex, but with the new back control panel with black skirted "hat shaped" numbered knobs and new circuitry featuring bright switches.

In the piggyback units began to be covered in black tolex. 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. 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 After the buyout the front panels were changed from "Fender Electric Instrument Co.

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. This affected some models more than others. For example, the Twin Reverb and Super Reverb combos, along with the Dual Showman Reverb and Bandmaster Reverb "piggyback" heads were equipped with a master volume control while other models such as the Deluxe Reverb were not altered in any way except for the change in cosmetics.

Silverface cosmetics do not necessarily denote silverface circuitry, however.

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Leo Fender was notorious for tweaking his designs. These changes took some months to finalize, as Leo worked through some designs, and happened after the cosmetic changes.

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Furthermore, the schematic and tube charts that shipped with these models did not always reflect the actual circuitry. Fender had many leftover AB blackface tube charts left over well into and shipped these charts with silverface models. Save for a few series such as HotRod seriesa majority of modern Fender amplifiers sports blackface cosmetics.

They are often referred to as Silverface or Chromeface because of their brushed aluminum face plate. The first Silverface amps, manufactured between andhad an aluminum frame trim, known as a "drip edge" around the grillcloth, mids "tailed" amp logo and the AB blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel.

65 Twin Reverb® Demo - Clip 1 - Fender

This cosmetic detail later referred to as "blackline" was quickly abandoned. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions such as the Bronco the colour was red instead. Some transitional models produced before the "tailless" period in featured the AC circuit, still retaining the tailed Fender amp decal introduced in In CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style which was first introduced in on the student Bronco amp.

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.

The Silverface control face plate was discontinued in and the second series of the blackface amps designed by Paul Rivera were produced. Fender made a limited-edition Mini-Twin practice amplifier modeled after the mids Twin Reverb models in The Silverface Edition MT had the authentic look right down to the grillcloth.

This 1-watt Twin featured 3 in. InFender released the silverface '68 Custom amplifiers as a part of their Vintage Modified series, modeled after the original drip-edge silverfaced amps of Each amp incorporates reverb and tremolo on both channels.

Other features include a Custom channel which has a modified Bassman tone stack giving modern players greater tonal flexibility with pedalsquicker gain onset and reduced negative feedback for greater touch sensitivity. Early solid-state models[ edit ] This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.

December Learn how and when to remove this template message Fender's first transistor amplifiers were introduced in At the time they were the company's "flagship" range and aimed to make the tube-based designs obsolete.

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. Paul also designed the distinctive angled chassis and overall cosmetic styling.