Hot-Rodded Fender Guitars
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Hot Rods are built to a price and they won't be around in 40 years.. If I could go and buy a blackface deluxe reverb handwired for the same price I would.
The Lone Star Strat featured two Texas Special single coils and one Seymour Duncan Pearly Gates Plus humbucker pickup. I owned a '67 Blackface Bassman head, and one of my friend's main amp is a '65 or '66 Blackface Bassman piggyback combo. Is that the only problem with the USA version?
Hot-Rodded Fender Guitars - One of these had a classic three-color sunburst finish; the other was a stained natural finish both with Jensen speakers. Questions can be submitted to: Blue Book Publications Attn: Guitar Trash or Treasure 8009 34th Ave.
The 12AY7 lowers the gain in the first two stages of the preamp. Whereas with that 12AX7, the volume is almost all you can stand at 3-4 on that first volume control, with the 12AY7 the usable sweep of that pot is extended on up to the upper range of that control. The max amount of gain is less but the pot is more usable.... FWIW, that circuit is based on the 5F6A BAssman circuit, and the 12AY7 is what Leo chose for that amp back in the '50's. One can change the volume pot to a different pot in order to widen the sweep of the control with the 12AX7 while maintaining that gain, but imho the amp is better off with the AY adn changing the tube is much simpler and less expensive than pulling that PCB for modding. The tone is sweeter, and the amp still gets loud. The OD functions are more usable, too, imho. In addition, these amps usually benefit from a rebiasing of the power tubes, ime. The 12AY7 lowers the gain in the first two stages of the preamp. Whereas with that 12AX7, the volume is almost all you can stand at 3-4 on that first volume control, with the 12AY7 the usable sweep of that pot is extended on up to the upper range of that control. The max amount of gain is less but the pot is more usable.... FWIW, that circuit is based on the 5F6A BAssman circuit, and the 12AY7 is what Leo chose for that amp back in the '50's. One can change the volume pot to a different pot in order to widen the sweep of the control with the 12AX7 while maintaining that gain, but imho the amp is better off with the AY adn changing the tube is much simpler and less expensive than pulling that PCB for modding. The tone is sweeter, and the amp still gets loud. The OD functions are more usable, too, imho. In addition, these amps usually benefit from a rebiasing of the power tubes, ime. I've worked on several hotrod series amps. Three differt revisions I know of on the circuit board on the old version. I haven't been inside the newest updated III series. I've repaired the tube socket mini boards that float downward 90 degrees from the main board for burn marks. Input Jack mods to make the stronger, they usually break solder joints eventually. Put in a linear pot on the volume and a 5751 in V1 and it becomes a better amp. A friends amp has been a road dog amp for a while. From the tube sockets to the plastic pot shafts to the chip-core cabinets, the Hot-Rod series is truly a joke. Personally if I HAD TO use one of these amps I'd choose the MIA model as the volume control can be worked around, but it's a large endeavor to replace the whole cabinet. MIM guitars: GREAT MIM amps: Garbage aside from maybe the Pro Jr. Still poorly made, but it's the best sounding of the lot. It's still the same low quality junk you;re used to... Fender makes a catalog of great amps... Are they designed to bounce? Didn't get the memo.... I own a 2002 MIM that has, in spite of being an MDF, PCB POS, managed to stay in virtually prisitne condition and perfect working order I guess it must be a fluke.... I wonder, sometimes, if people are in the habit of throwing these amps out of the rear of airborne C-147s, as it would seem that exercising reasonable care in transporting them would ensure a normal life span. Granted, I don't have a road crew and move things myself, so my gear benefits from my personal care. I've had mine apart many times for BillM-type mods. The work is clean and I've seen no signs of heat damage. I wonder if others might have their voltage bias running so hot that they're cooking things. No way to tell. It has a positive impact on both the overall volume and scaling of the volume knobs. Speaking for myself, I have no reservations regarding the reliability of my amp, whether in the studio or on stage. Not looking for a confrontation. Just adding my opinion to the mix. It's still the same low quality junk you;re used to... Fender makes a catalog of great amps... Consider this: The Peavey Classic goes for the same price or LESS, NEW, yet it's made with quality parts in the US and actually has a great OD channel. SO, if they cost the same, but the Fender uses cheap components and cheap materials to make the cab's, AND has a useless OD channel... SO, Why isn't the Peavey more expensive, and why does the Fender cost so much??? Because you're paying for the cachet of the Fender Logo and they're making a killing off of it... Ask any competent amp tech what they think of the Hot-Rod line and you'll get a wry smile and a chuckle before they tell you how much they love them because they keep their shop in business. To contact the forum owner hit the Contact Us link.
Fender 2018 Amps - New Hot Rod Deluxe, Deville, Blues Jnr & Pro Junior!
So what exactly would i do to fix this. Its costing me a fortune and I am not getting anything for it. This timber is considered 'best' for jesus-style Teles thanks partly to its appearance and also to its relatively scooped-mid, rich and lively twangin' tone when compared with alder. As the metal and hair bands of the eighties began to dominate the music scene, it was evident that Fender was going to have to change their guitars simply to keep up. The BF Bassman has a much more solid tone than the other BF models, even including the Twin and Showman IMO. Fjestad is the author of the Blue Book of Acoustic Guitars, Blue Book of Electric Guitars, and the Blue Social of Guitar Amplifiers. Anyway I never liked fender overdrive tones.