Read the current issue of VG. A serious look at the birth of the bass amp begins with the instrument intended to plug into it — the electric bass. Fender showed serious consideration with the solidbody Precision introduced in late ; some music historians argue it had a bigger impact on popular music than either the Telecaster or Stratocaster.
But it soon became clear that bassists needed a dedicated amp. But, in most ways it was very different; though it used an octal 6SC7 preamp tube like the Proit employed a 6SL7 phase inverter with 6L6 output tubes, and a 5U4 rectifier. With just a single channel, it needed one fewer preamp tube and carried single controls for Volume and Tone.
A schematic exists for what is believed to be a first-iteration Bassman circuit 5A6but no examples of the amp have surfaced in this format. The diagram shows a circuit with two octal 6SJ7 tubes in the preamp, a 6N7 phase inverter, two inputs for one channel and one for the other, individual channel Volume knobs, a shared Tone control, and two output transformers feeding the two speakers. This is the exact configuration of the V-front Dual Professional fromwhich seems to indicate someone doctored and re-labeled the schematic for that amp.
As it was, though, heat from the bottom-mounted chassis was able to rise and partially vent through the ports. In any case, this short-lived back panel was seen as important enough to low-frequency reproduction as to warrant the odd constructional format. During the wide-panel years, the Bassman also transitioned from octal preamp tubes to more compact nine-pin tubes, using a 12AY7 in the first gain stages and a 12AX7 phase inverter.
But, its large cone was prone to flubbing out when hit hard with a low E at high volumes, and the travel required of the underpowered voice coil proved problematic. Fender surmised that dividing the load between four smaller speakers would be the way forward; less individual cone surface — but more overall when used in multiples — required less voice-coil excursion, therefore applying less stress to each speaker. This theory played out in the next incarnation of the Bassman, which not only introduced several upgrades to the platform, but launched the journey toward one of the most-revered tube amps ever created… for guitar.
The short-lived 5D6 and the 5E6 that followed had circuits much like larger Pro, Super, Bandmaster, and Twin of the era. Oddly, the early narrow-panel Bassman had only one input for each of its two channels, labeled Normal and Bright the latter differentiated internally by a capacitor on its Volume potwhereas similarly sized amps had two inputs per channel four total.
They otherwise shared most aspects. It was also given independent Bass and Treble controls governing a cathode-follower tone network with its own 12AY7 preamp tube and a Presence control enabled by tapping the feedback loop around the output stage. As those were qualities demanded by bass amps more than mere guitar amps, the Bassman was also equipped with two 5U5GA rectifier tubes, where its guitar-intended siblings had just one.
While such was clearly the way forward for bass amplification, it was clear that guitarists also needed louder, stouter amps, and the Bassman was having plenty of crossover success hence the Bright channel. Combined, these elements showed the road forward for guitar amps, but the narrow-panel Bassman had yet to reach its zenith. For the 5F6 Bassman ofFender scrapped the cathodyne a. Feeding the output tubes with this more efficient stage encouraged even greater headroom and a clearer, more-balanced overall signal reproduction.
Other alterations might have seemed minor, but did play a part in the culmination of a classic design.
Among these was the removal of the 1. By this time, Buddy Holly and other major stars had made it their amp of choice, and a near-endless list of greats would discover its toothsome charms in years to come, from Buddy Guy to Bruce Springsteen, Jimmie and Stevie Ray Vaughan to Mike McCready of Pearl Jam, and near-countless others. Hit it harder and it veritably wails with the perfect blend of speed and articulation from the four 10s and touchy-feely dynamics from the tube rectifier, the no-nonsense gain stage, and the cathode-follower tone stack.Fender Play Play free.
Play on. How Fender's invention of the Precision Bass led to one of its greatest amps. Since the solid-body electric bass guitar was largely a previously nonexistent form of instrument, what was it supposed to be plugged in to? The original Bassman was solid, powerful and loud. Fender was phasing out the TV-front style by summer in favor of the wide-panel design, and the Bassman was no exception.
Restyled with a wide-panel front, the version model 5B6 was otherwise essentially the same amp as its TV-front predecessor. A growing number of musicians, however, were finding that the Bassman made a fine guitar and harmonica amp, too. Fender heeded this and soon stopped billing the amp as a bass-only model.
In the meantime, back in Fullerton, Calif. The new narrow-panel version of also featured more controls—bass, treble and presence knobs, plus standby and ground switches—that were a significant tonal improvement over the sparse control layout of the earlier TV-front and wide-panel versions.
In The Soul of ToneWheeler writes that:. It sounds great, responding beautifully across the frequency spectrum. It exhibits a sparkling, harmonically rich tone at low and moderate volumes.
It is particularly well matched to certain popular guitars, especially the Stratocaster. What is it about model 5F6-A—the last in the original tweed Bassman series—that has made it such a prized and copied amp? Once again, perhaps Wheeler put it best in The Soul of Tone when he noted that:.
It seems to combine the perfect array of preamp components, output tubes, power, negative feedback loop, passive tone controls, cab, baffle, and speakers. It was the circuitry of this amp that was copied in London in by Jim Marshall and Ken Bran as the basis for the first Marshall guitar amplifiers.
The tweed era ended with the s, however, and model 5F6-A was discontinued in when most Fender amps changed from tweed to a textured vinyl covering called Tolex.
The s was a decade of constant change for the Bassman. Wheat-colored grille cloth replaced maroon in lateand a reinforced black handle replaced the brown handle which tended to break in early By mid, it had black Tolex covering and silver sparkle grille cloth; the first of these still had white knobs, but these were very quickly replaced by black knobs that were both numbered and skirted.
The blackface Bassman with black Tolex covering and black knobs existed basically unchanged until Odd, but it lasted untilwhen Fender discontinued all solid-state amps. The regular watt model remained available during the short tenure of the Super Bassman. Names were changed with upgrades in power in —the 50 became the 70 and the became the Fender released the Bassman bass amp head. This versatile, portable and powerful addition to the Bassman family offers two versatile channels vintage and overdriveclassic good looks, and ultra-musical Fender tube tones—all in a lightweight chassis only 17 lbs.
By Jeff Owens. Once again, perhaps Wheeler put it best in The Soul of Tone when he noted that: It seems to combine the perfect array of preamp components, output tubes, power, negative feedback loop, passive tone controls, cab, baffle, and speakers. Be the first to know about new products, featured content, exclusive offers and giveaways. United States Twitter.
Fender Musical Instruments Corporation. All Rights Reserved.It basically was a guitar amp with a little more low end response, but it set the stage for all bass amps to come that would literally change music forever. Initially the Fender Bassman suffered from a problem that would plague many early bass amps of the day…. The powerful new bass guitar was simply too much for the guitar speakers that were being used in the first bass amps. These amps were much better at handling the power of a bass and produced better tone and gain.
Ironically the tweed Fender Bassman will probably be best remembered as a great guitar amp. Guitar players, especially blues musicians absolutely loved the tweed Bassman. The Fender Bassman gave them a warm fat tone and smooth overdrive no other guitar amp of the era could match.
The Brownface, Blackface, and Silverface bass heads now had tolex covering instead of tweed and no longer came attached to a speaker cabinet like the old combos. These heads could be matched up to various Fender cabinets depending on what speaker size and arrangement the bassist desired. Fender still offered combo bass amps but most were sold as lower end budget models. The newer bass heads featured increased power with more headroom and had a huge influence on bass amp design.
Fender Bassman amps had their own special sound, which made them stand apart from other brands. Most of this was to due to their unique tube circuit designs and cabinet construction. Soon solid state amps started to emerge in the bassman line, offering more power, less weight and lower cost.
Unfortunately these new transistor amps left a lot to be desired in the tone department. Few bass players cared for the new solid state technology as they tended to sound dry and sterile. Today Fender still produces the Bassman amp line and offers many different products. Massively powerful solid state heads, small combo amps, high powered combo amps, hybrid tube amps and even all tube bass heads that can handle the biggest venues.
Still some bassists, myself included will always be drawn to the older classic Bassman designs. Your email address will not be published. Bass Guitar Shack. These heads could be matched up to various Fender cabinets depending on what speaker size and arrangement the bassist desired Fender still offered combo bass amps but most were sold as lower end budget models. Solid-State Amps December 16, Leave a Reply Cancel reply Your email address will not be published.Effects: None Watts: 50 watts Tubes:.
They also came in both tube and Solid State rectifier versions. I have 2 Blonde Bassman amps in the shop right now, so I just wanted to add some additional details on handles, logos and grill cloth for these 2 samples. Tube Chart on the 6G6-B label shows 6L6 power tubes, not A stock 63 Bassman will have smooth blond tolex and a wheat grill, but don t get too hung up on the cosmetics. Over the past few decades, many of them have been retolexed or had different cloth installed.
These are easy things to replace unless you absolutely need a completely original amp and cab. Anything is possible in Fenderland. In reference to your comments about Fender P19A power transformer in your Bassman: was the performance you liked when using 6L6 power tubes?
Going Low: The History of the Bassman
If your bassman has the factory spec PT try a variac at V……. I have a 61 Bassman, that has some weird anomolies, and when i got it, it sounded terrible. Can you think of anybody who can make it sound good. You want someone who can make it sound good? Stunned at how good it sounds now. Giovanni went through the amp doing what needed to be done. He said someone put in a solid state rectifier, but I told him to leave it in. After he recapped it, etc. I am a Fender amp specialist, with 39 years running my own shop.
I can help. I do whats best for the customer and the amp. I play the amps, and frequency sweep them to find anomalous speakers, cabinet hardware, haunted wires, tubes, etc.
I have a selection of different sounding preamp tubes and a website you can hear themstock the most reliable components, full stock of correct parts. I have excellent reviews even though there is a very long queue.
Expedited service is available for a labor premium. It took a few techs to locate the problem but it was judged as a minor flaw in the original circuit which was probably resolved by Fender as they quickly moved to the 6G6A and 6G6B revisions. It was a simple resistor fix as I recall. Personally I would reverse the MV and SS rectifier tweaks as they are not right for that rare edition vintage amp, it sounds superb, tube-rectified when the circuit issue is addressed.
I prefer it to the sound of the 6G6B amps I also owned. There was barely any brown paint on the faceplate, just bashed in bare aluminum. Fortunately, Larry Rodgers provided a repro brown plate before he passed away. The filter cap fiberboard crumbled to pieces. Hang onto that Super. I picked up a Fender Bassman 6G6B and it appears to be all original. It has the original Sylvania 6SJ7 Metal tubes installed, although one of the keyholes was snapped.This seller has not set a shipping cost for Russian Federation.
Please contact them to ask about shipping. This seller is shipping orders within 24 hours, on average. Reverb Protection has you covered. We provide a safe community for finding the gear you want. The amp's chart list this as an AA but the circuit is the AB It's a great sounding amp. The condition is excellent. Aesthetically it looks great. The tolex is in nice shape. There is a a small section on the back, on the other side of the back plate. I have this pictured. All date codes match up on the transformers.
This item is sold As-Described and cannot be returned unless it arrives in a condition different from how it was described or photographed. Items must be returned in original, as-shipped condition with all original packaging. Change shipping region. Predicted to Sell Soon. Only 1 available and 1 other person has this in their cart.
Add to Cart. Make an Offer This seller is open to offers. Still Shipping Quickly This seller is shipping orders within 24 hours, on average. Buy With Confidence Reverb Protection has you covered. Shipped From. Preferred Seller.To start a free preview, please follow the steps below:You can also see what you will learn in a course and review its curriculum, on the course landing page. Each course landing page features a What Will I Learn. In addition, you can also review the course curriculum, by scrolling down the course landing page.
Below the course curriculum is the About the Instructor section, which includes information about the course instructor and their biography. Below the instructor section is feedback and reviews students have left for the course, which should also help you determine if the course is right for you.
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Instructor Information Below the course curriculum is the About the Instructor section, which includes information about the course instructor and their biography. Student Feedback and Reviews Below the instructor section is feedback and reviews students have left for the course, which should also help you determine if the course is right for you. Updated December 04, 2017 02:40 Was this article helpful.
To subscribe for home delivery of the Houston Chronicle or get a digital subscription access for the eNewspaper, please visit www. We appreciate your loyal audience over the years and hope you will continue to visit us and keep up with the news on chron. In his last 15 games, Rockets forward Trevor Ariza is making 50. Portland Trail Blazers guard Allen Crabbe dunks the ball Houston Rockets guard Lou Williams during the fourth quarter of an NBA basketball game in Portland, Ore.
The Blazers won 117-107. The Blazers wonHouston Rockets head coach Mike D'Antoni yells out at the officials during the fourth quarter of an NBA basketball game against the Portland Trail Blazers in Portland, Ore. ThePortland Trail Blazers guard Damian Lillard drives to the basket against Houston Rockets guard Eric Gordon during the fourth quarter of an NBA basketball game in Portland, Ore.
ThePortland Trail Blazers forward Maurice Harkless blocks the shot of Houston Rockets guard James Harden, front, late in the fourth quarter of an NBA basketball game in Portland, Ore. Portland Trail Blazers guard Allen Crabbe, left, heads up the court after stealing the ball from Houston Rockets guard James Harden, center rear, as Portland Trail Blazers forward Maurice Harkless, right, joins in during the fourth quarter of an NBA basketball game in Portland, Ore.
Portland Trail Blazers guard Damian Lillard celebrates as the Blazers take the lead late in the fourth quarter of the team's NBA basketball game against the Houston Rockets in Portland, Ore. Portland Trail Blazers guard CJ McCollum shoots over Houston Rockets guard James Harden during the first half of an NBA basketball game in Portland, Ore. They have led by at least 20 points in all eight games, outscoring opponents by an average of 20.
They have won 14 of their past 15 games.The centroid goes through a number of states until its fully completed. Through the status field in the centroid you can determine when the centroid has been fully processed and ready to be used. Most of the times centroids are fully processed and the output returned in the first call. These are the properties that a centroid's status has:To update a centroid, you need to PUT an object containing the fields that you want to update to the centroid' s base URL.
Once you delete a centroid, it is permanently deleted. If you try to delete a centroid a second time, or a centroid that does not exist, you will receive a "404 not found" response. However, if you try to delete a centroid that is being used at the moment, then BigML. To list all the centroids, you can use the centroid base URL. By default, only the 20 most recent centroids will be returned. You can get your list of centroids directly in your browser using your own username and API key with the following links.
You can also paginate, filter, and order your centroids. When you create a new anomaly score, BigML. The closer the score is to 1, the more anomalous the instance being scored is. That is, how much each value in the input data contributed to the score. You can also list all of your anomaly scores.
History of the Fender Bassman
You can use curl to customize new anomaly scores. Once an anomaly score has been successfully created it will have the following properties. Creating an anomaly score is a near real-time process that take just a few seconds depending on whether the corresponding anomaly has been used recently and the workload of BigML's systems.
The anomaly score goes through a number of states until its fully completed. Through the status field in the anomaly score you can determine when the anomaly score has been fully processed and ready to be used. Most of the times anomaly scores are fully processed and the output returned in the first call. These are the properties that an anomaly score's status has:To update an anomaly score, you need to PUT an object containing the fields that you want to update to the anomaly score' s base URL.
Once you delete an anomaly score, it is permanently deleted. If you try to delete an anomaly score a second time, or an anomaly score that does not exist, you will receive a "404 not found" response. However, if you try to delete an anomaly score that is being used at the moment, then BigML.
To list all the anomaly scores, you can use the anomalyscore base URL. By default, only the 20 most recent anomaly scores will be returned.
You can get your list of anomaly scores directly in your browser using your own username and API key with the following links. You can also paginate, filter, and order your anomaly scores. Association Sets are useful to know which items have stronger associations with a given set of values for your fields. The similarity score then is multiplied by the selected association measure (confidence, leverage, support, lift, or coverage) to create a similarity-weighted score and finally return a ranking of the predicted items.
Fender Blonde 6G6-A Bassman
You can also list all of your association sets. You can use curl to customize new association sets. Once an association set has been successfully created it will have the following properties.
Creating an association set is a near real-time process that take just a few seconds depending on whether the corresponding association has been used recently and the workload of BigML's systems. The association set goes through a number of states until its fully completed. Through the status field in the association set you can determine when the association set has been fully processed and ready to be used.