Replacement speakers for Fender 1970 Twin Reverb Amp

E-H talking pedal I just earlier this evening found out that what I thought was a talking pedal was actually called a Golden Throat. What does a talking pedal do, and how does it work? Is it the same thing as a Golden Throat? They are completely different. The golden throat is a “talk box” like Frampton, Walsh, etc used. It is a speaker driver connected to a tube which goes in your mouth and needs to be miked through a PA to be used. Your mouth acts as a filter. The Talking pedal is like a big wah wah pedal, but instead of saying “WAH” it says “eee aaaa iiii oooo uuuu” when it is moved, the vowel sounds. It goes in the path between the guitar and amp, much more useable than a talk box. But the talk box can make more different sounds.

Univox Guitars

Return to the Main Index. Sometimes there just isn’t enough information on electric instruments and amps to allow them to be properely dated. And many people ask me to try and determine the year of their old amplifier, or to help them with the year of their older off-brand electric guitar. Since I primarily collect amps by Fender, and guitars by Gibson, Fender, Martin, National, Epiphone, Gretsch and Rickenbacker, I really can’t help them with these other less popular brands.

As you have probably noticed, there is plenty of information here to help date the brands that I am interested in. But where does that leave everyone else?

So looking at the photo of the speaker on my tweed Fender Champ we see a code of (we’ll cover the 8EV code in a later post). This tells us that this is an Oxford speaker ( is the number for Oxford, is CTS, is Jensen and is Utah).

Tweet on Twitter Ca. Among the major players in the American market were the many importers and distributors who enriched the guitar landscape with instruments — usually at the lower ends of the market brought in from other countries, primarily from Europe, Asia, and to a lesser extent, Latin America. The analogy with automobiles is obvious. Univox was one of the first brands to make copies, and the brand achieved a fair amount of national visibility and distribution.

Univox was not, as you might guess, just another isolated Japanese import, but was part of a much larger story of its importer, the Merson company. Unfortunately, not many reference materials are available to document in complete detail, but we can hit some of the highlights, and illuminate a number of relationships along the way. If you have catalogs, ads or pictures of guitars that can help fill in some of the blanks, please let me know Michael Wright, PO Box , Philadelphia, PA Tempo Merson was a distribution organization founded by a man named Bernie Mersky.

At some point, Merson was taken over by Ernie Briefel. The Merson Tempo was an auditorium-sized archtop with a glued-in neck, a harrow center-peaked head which looks almost Kay. The guitar was finished in a shaded mahogany with a pair of widely separated white lines around the edges. Available source material is hard to see, but these appear not to have any soundholes. The fingerboard was probably rosewood with four dots beginning at the fifth fret. The cabinet was covered in two-tone leatherette.

Frequently Asked Questions

The first Fender solidbody model, the Esquire , lasted in name only from June to October This model name was replaced by the “Broadcaster”, which lasted in name only from the October to January All Broadcasters have truss rods, where many Esquires often have no truss rod. In Gretsch had trademarked the name “BroadKaster” for a line of drums. After advertising the Broadcaster in music trade papers in February 20, , Gretsch took notice and sent Fender a telegram asking them to change their name.

After considering more than 30 series of marine speakers and spending more than 80 hours on research and eight hours of testing, the Fusion FR emerged as the best marine speaker. It performed the best in our audio quality tests and was above average in comparative loudness tests.

However, a methodical approach to the restoration of these ultimate performers will ease an otherwise difficult and time-consuming project. This web-article will go through the steps necessary for complete disassembly of the receiver to the individual module level. The thorough inspection and possible problems to look for in the Main Frame and each of the modules will be covered with individual sections. Additionally, photographs of typical problems I’ve found are included in each module section to illustrate what to be on the lookout for.

With careful attention to detail and a thorough approach to the rebuild and alignment the technician-enthusiast will be rewarded with being able to operate one of the best performing vacuum tube receivers ever designed. The first version of this incredible receiver was the R featuring 33 tubes includes the 3TF7 ballast tube, double or triple conversion, two RF stages, six IF stages, modular construction, three audio filter settings, six selectivity bandwidths and frequency coverage from kc.

It is a high performance receiver that really “shows its stuff” when conditions are poor but will also provide fairly nice audio quality when receiving conditions allow for it. The most common complaint is the cumbersome tuning that, while “parked” on one frequency is not apparent, shows up when spanning an entire band or changing ranges. Most of the “stiff tuning” complaints can be traced to an over accumulation of grease and dirt in the gear train. When clean and properly lightly oiled lubed, the tuning is very light and easy to manipulate.

Only Collins or Motorola built the R contracts which ran from through The military complained that the R was very difficult to maintain and too expensive. This circuit runs quite hot and accounts for many of the problems that develop in the audio module where the regulator circuit is located.

Replacement Speaker for Vibrochamp?

Only if we do not have a “viable” unit in yet, either already in process or in line to be processed, that may potentially need parts from a “parts unit”, will we release available parts for sale even though they may appear as available for sale to the public. As many of you know, the restoration of a unit can be a long, time consuming process. We may “lock up” parts that we may potentially need in the restoration of a unit and not necessarily get it marked ‘Hold’ or ‘Sold’ on the site right away.

Parts Photos; We get a number of requests for ‘photos’ of a specific part. Unfortunately, in most cases that is not practical as the amount of time involved in posting that exceeds the value of the ‘unique’ part.

Sep 16,  · Nevertheless, for dating purposes, the serial number provides adequate information during this period. For example, a Duette with serial number was made in (7), during October (10), and was possibly the st amp made that month.

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Dating a Fender Twin Reverb. (i think its a reissue)?

If you’re not familiar with my site, it’s simple, and you’ll love it or hate it: It’s not a fancy site but it remains unchanged since ’98 and I firmly believe, “if it ain’t broke – don’t fix it. Just click on any underlined text and it should open a picture; if you move your cursor over the pic and there’s a magnifying glass displayed instead of your cursor, click the pic and it will expand it to larger size. I would have called it a Custom 22S or something.

Nov 02,  · Fender stopped putting Date Codes on the Tube Chart in , so that number is meaningless so far as dating the amp is concerned. The other number A you found is a serial number and falls into the serial numbers for a Silverface Princeton Reverb – A to .

There are four basic model updates in the evolution of the Large Advent speaker: Original Large Advent LA – designed and introduced in , and was simply named “The Advent Loudspeaker” when it was their only model. Note that the is a real wood version of the The original Large Advent is most easily recognized by the Masonite wood ring adapting the 10″ woofer cone to the 12″ frame and an inward facing foam roll edge.

An all metal frame woofer was utilized in the NLA with the following changes: Outward facing roll edge Slightly shorter voice coil former, about. The woofer can be used as a replacement in the earlier LA. The tweeter also utilized an all metal frame and was flush mounted, unlike the original. Ferro fluid was used in the tweeter to enhance cooling and allow for a simpler, redesigned crossover network. The new tweeter has very different parameters as compared to the original and it cannot be used as a replacement.

Warranty & Support

This information original was found on The Unofficial Ampeg Page http: I pulled this information from Google’s cache of the site. It has a note at the top of the page that they were reprinting with permission from the authors of Ampeg:

Parts Express stocks and ships free – Pro Woofers, Tweeters, Horns & Horn Drivers in the Speaker Components Department.

A recent remark by message board poster indicating that many speakers sold under the Trusonic label were actually made by Utah got me to digging for evidence in support of this claim. In the process, I not only found evidence to support this contention, but I also came up with a family tree of sorts for Utah and Trusonic speakers circa Utah was primarily a raw driver manufacturer with a single plant located in Huntington Indiana.

It flourished in the s and 70s, as it undoubtedly made drivers for a large share of the one-piece console stereos that were proving increasingly popular by the mass market during the 60s and the 70s. In addition, I believe that they were a major supplier of drivers for many Allied house brand Knight speakers in the s. In my Allied Radio catalog, they were selling complete Utah speaker systems as well as two and three-way single raw drivers right along those labeled as Knight.

I suspect Utah also supplied Allied and later Radio Shack with raw replacement drivers for low-fi and mid-fi applications during the period as well as drivers for many Radio Shack systems. Utah loved Alnico magnets and used them even in inexpensive replacement speakers, and perhaps the declining availability of cobalt was also a factor.

Ever since I was a little child I was fascinated with the idea that a magnet attached to a piece of paper could produce sound. To further complicate matters there seemed to be little ordering to their numbering systems for the various models. As a starting point, lets begin with their basic model.

How to date vintage fender amps

I know there are some posts on speakers for Fender Twin Reverbs on this board already, but I don’t really feel that my question has been answered, so please forgive me if I bug you with questions, that might have been handled before! I recently purchased a Silverface Fender Twin Reverb in excellent condition according to the local amp guru but I am not really happy with the speakers. They are Fender stock speakers labeled 12T and I am afraid, those are the infamous and highly ineffective “Ox-Farts” as some people call them.

In fact the amp sounds nice at low volumes and played clean as long as there are no distinct transients in my playing which make it just “fart” with an unpleasant, fuzzy distortion. Using any kind of overdrive or distortion pedal just reveals this effect even more. What I am actually looking for is on one hand a true american Fender clean sound which in my opinion means a rich sound with warm round bass, tamed midrange and sparkling yet never shrill or biting highs.

Up for auction is a very fine pair of Jensen Duette DU speakers. Dating back to the 50’s when most audio was Hi-Fi using a single speaker enclosure, it is rare to find these as a matched pair.

Trem is best I’ve ever heard. Sweetest low volume clean sounds with p s volume control set higher to “m” on volume control gives perfect small stage volume, with a fulldrive 2 or other 2 channel pedal it’s all the rig an experienced player needs. Jazz tones thru classic or modern rock. Possibly one of the best kept secrets. Don’t agree with the princeton comparisons, and circut is better imho than delux. A perfect 10, if you have been around and know what good tone is. Fred Duffer At 14 to 18 watts it is not really very loud but what a tone.

Like the Fender tweeds it is easiest to use the guitar volume to to control the degree of overdrive. It does not matter if you are using humbuckers or single coils it is a great sound. Classic tube driven overdrive with just the right degree of valve driven compression. Give it some reverb and hold on, because the tone and sustain will blow you away.

In my opinion it is better than the Fender tweeds. If you need real volume, just do as Clapton and so many others do – mike it up into the mixer deck.

Speaker Comparison Weber vs. Vintage Jensen


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