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Post by pete1951 on Mar 21, 2023 11:34:09 GMT
1972/3 Bandmaster, a classic Fender 40watt amp. Recently serviced, Classic Fender sound
£900 ( yes it is a lot ,but it will go on Reverb soon for £1200)
Collection from Cambridge, this is a very heavy head which I am not keen on posting.
Here it is making a noise. The tremolo is being switched with crocodile clips, I will include a proper Fender style foot switch in the sale
More photos if your interested
Pete
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Post by bonzo on Mar 21, 2023 12:17:04 GMT
Nice amp nice playing. 👌
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Post by mitchfit on Mar 23, 2023 2:30:35 GMT
these things sound amazing played through 3X 10" pine speaker cabs with thin pine "floating" baffles. [tweed 1950's style]
great stuff...
mitchfit
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Post by pete1951 on Mar 23, 2023 8:01:16 GMT
these things sound amazing played through 3X 10" pine speaker cabs with thin pine "floating" baffles. [tweed 1950's style] great stuff... mitchfit They do sound great, though I’m not sure that the floating baffle would be pine. Wouldn’t it be thin ply? Pete |
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Post by pete1951 on Mar 23, 2023 8:13:14 GMT
At one point I did have an 8” 50watt speaker mounted in the head ( yes there is room, though you have to move the Reverb tank) I have done this to a Dual Showman, with 2 x 50watts. They don’t sound as good as a proper cab, but it makes a very loud ( and VERY heavy) combo!
Pete
Happy to include the 50watt Celestion with the amp if the person who buys it has done some weight lifting.
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Post by mitchfit on Mar 23, 2023 18:43:43 GMT
pete1951, www.guitarplayer.com/gear/guitar-essentials-what-you-need-to-know-about-speaker-cabinetsThe cabinets in 1950s tweed and 1960s blackface Fender amps were made from glued, finger-jointed solid-wood boards, usually of yellow pine, red cedar, or a similar sturdy softwood. This element contributes a warm, round, slightly soft resonance to the sound of the speaker itself. It’s a factor that can be somewhat unpredictable, too, but when it comes off right, it becomes a big part of an amp’s voice. >>>The ’50s Fenders in particular had thin, “floating” plywood baffles mounted in these cabs<<< – which is to say the baffles were bolted in at their four corners only (with extra bolts center top and center bottom in the big amps), rather than firmly all across all four sides. When such an amp is cranked up, this floating baffle vibrates considerably, and it contributes its own resonance to the sonic brew. www.premierguitar.com/diy/amp-diy/anatomy-of-a-guitar-cabinetMany combo enclosures are made from solid wood—particularly vintage Fenders, which were built with >>>solid pine<<<. And since vintage gear is the gauge by which most new gear is measured, replica pine cabinets have grown in popularity over the years. Solid pine cabs typically have an open back, meaning the speaker is exposed to the air and thus delivers a more diffused and less directional sound. Solid pine is lighter than other cabinet woods and, as anyone who has lifted a combo amp knows, weight savings can be crucial—especially if you haul your gear to lots of rehearsals and gigs. But pine flexes, and this can emphasize certain frequencies. Because open-back combos don’t trap soundwaves, but rather allow them to escape, you don’t end up with resonant frequencies being accentuated by the cabinet walls. This explains why solid pine is ideal for open-back combos. Closed-back cabinets are more focused and directional, so it’s rare to find one made of solid pine, due to the aforementioned flexing and the sonic chaos it can bring. the '57 custom tweed deluxe reissue- from www.musicradar.com/reviews/guitars/fender-57-custom-tweed-deluxe-641323lotsa elbow room left here and above due to non-specific word choices--- The cabinet is finger-jointed solid pine, with expertly fitted cotton twill covering, gold/brown grille cloth, period-correct badge, leather strap handle and metal glide. the above said, all i can state with any degree of assurity is definitely maybe. my clone reffered to is a 310 victorilux which i >hope< has the thin pine baffle that Mark Baeir has praised as part of his sound quest with tweed series amps. have also heard/been warned about splitting tendency of thin pine from Winfield Thomas. at this point, not sure been digging so long that i'm running late now. to be continued... mitchfit |
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Post by pete1951 on Mar 24, 2023 7:50:28 GMT
For a small amp ( Champs etc) you could get away with a solid pine baffle. I think a big speaker would split the solid pine baffle if the amp was giged with.
I have made many cabs over the years , some finger jointed with floating baffles, but thin solid baffles....?. cutting a 12” hole will leave a very weak cross grain somewhere .
Possibly thin pine ply might be better than the birch I would usually have used.
Pete
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Post by mitchfit on Mar 24, 2023 17:53:25 GMT
pete1951,
gave the cabinet a close look. all of rear baffle was black coated in something thick enough to hide wood grain. at first it appeared to have a split between two speaker mount holes but it was thin copper wires under frames of speakers. (perhaps a transformer safety if a speaker blows?) was a front mount baffle and machine screws to mount spkrs came from front also. was hard to see much detail through grill cloth. in front baffle was 3/8 " (+,-) thick also painted black, even the bores for the speakers.
seems entirely counter-productive to apply a thick coating on wood that you are seeking sympathetic vibrations from. also seems this would be plywood as you stated above.
mitchfit
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