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Discussion in 'Amps and Cabs' started by GiorgioV, Jul 29, 2020.
Brown ones get it.
Well, you’re in Italy so why not check out a Lazy J ?
Without the trem and reverb, they are (relatively) affordable .
but with your love of the Bassman , it implies you’d like a ‘big tweed’ like the J80, J40 or even J35 .
(I don’t think the J20 will give you what you want)
What's an AA864?
Yup, that was going to be my suggestion as well, but the OP is in Italy.
It's the circuit design.
I have a Suhr Bella head that I love. It's sounds very similar to a Fender Bassman. If you want breakup its gonna be loud. I love playing loud, but my wife and neighbors don't. A month ago I bought a Tone King Iron Man ll Attenuator. I was skeptical, but it sounds very natural. Works great.
For 15-20 years I have played through a early 70's Bassman 100. Always bring a back up, have never needed it.
At this point I still bring one assuming the Bassman will crap out the first time I do not bring backup.
A 70's Fender Musicmaster Bass combo.
its a 1x12 .....12-15 watts.
Sounds just like a mini Bassman combo.
Upgrade the speaker to a Celestion Vintage 30 and you will be set.
Mine was a 1978, I have missed it since the day I sold it but I got a great deal on a blackface Princeton at the time. It had to go.
Truth is I like the Muscimaster tone better than my Princeton.
So we are talking about the Fender Bassman amp.
The best bassman amp made was the original tweed with 4 ten inch drivers. With that said, amplifiers now appear to be about power. Big difference between the organic sound of an amp in a certain setting. In a studio if you mic your bass, the older, and reissued tube amps can’t be beat. However there is one outlier bass amp that many are not aware of generally speaking.
Ampegs 1-15 tube bass amps rather set the standard. Different sound than the Fender 4-10s. I play an old maple neck P bass which I had the frets professionally filed off thirty five years ago, I play fretless always. The reason having then filed down is in respect to how Fender put the frets into the fingerboard. I’m sure you know what I’m talking about. Maple necks are very hard wood, and it would be hell to remove them without chipping fingerboard.The best overall sound I get is with the one 15 Ampeg. The Fender 4-10 doesn’t match the bottom of a 1-15 speaker. That doesn’t mean I’m downgrading the Fender tube amp, it’s like all else. No one guitar,or one amp can fill all the holes. In respect to playing fretless I don’t understand why anyone would play a fretted bass on most genres. It has its drawbacks of course, no slapping etc. it depends on your technique. I’m stylized like most players , it suits me. I think players are intimidated by fretless. I can assure if you’re a professional player, you’ll adapt within a month at most. I only use either just my index finger or thumb index for speed depending on what a tune calls for. You may want to give it a try...
Sorry for getting off topic, but one thing always relates to another.
I have a Bassman from Roy as well - stock, just cleaned up. It's an "in between" model that was still blackface, but with the AB165 circuit. I traded him my AA864 for it. The AA864 had less gain, which is why I prefer the AB165:
Did you mean tweed combo instead of blond head? According to the Fender site https://www.fender.com/articles/gear/going-low-the-history-of-the-bassman (paragraph 13 and 14) the 5f6 was a tweed 1959 combo model with 4-10" speakers. The blond Bassman heads from 1961-1964 were the 6G6-A and 6G6-B circuits. From what I've read, the early Marshall's were based on the 1959 5f6 4x10' tweed combo.
There is a whole "lore" as to which Bassman Circuit is the best. But it is a lot more than that. Bassman had "oversized" Transformers to handle the lower notes, unlike Marshalls, they used Beam Pentode tubes - the "mighty" 6L6GC, and they are really simple designs. To me it is the combination of the large output transformer and the 6L6 output tubes run at a point that lasted forever. (Leo wasn't into designing "on the edge" amps.) If you don't want to pay for a "classic amp," and if you are pretty good with a soldering iron and tools, you can get a full kit of either the tweed "4 - 10" Bassman, or the classic "blackface" Bassman head from a couple of different vendors. It is a great amp to build.
Every Fender Bassman head clip I've ever seen here or on YT sounds like Malcolm Young. Is that all these amps do? I've tried to get into the lore of these amps, but I'm scratching my head. I actually owned a BF one 25 years ago and sold it. I guess if AC/DC is your idea of great guitar tone, then a BF/SF, white, brown, whatever Bassman is for you. The tweed ones I get, but I think any reverb loaded BF amp from 1963 forward is a better sounding and more versatile amp, unless you want to sound like AC/DC.
That kicked ass!!!
No, I definitely did not mean that, but I was not there in London in the 1960s to witness this, so it's possible I was misinformed. I thought the original 6G6 heads were from 1961 to 1962, and the later 6G6-A & 6G6-B heads were from 1962 to 1964. If the 5F6 was limited to 4x10 combos, then that's news to me.
I had a '65 Super Reverb as my first real amp. I know, not the same circuit, but it's not THAT far off. I had old Magic Music Machines in San Francisco put a Master Volume in it. It sounded gorgeous. I sold it in '79 to buy my first Marshall. A MK II MV 50 Watt. I often think about that Super. I think the trick with the Super is Midrange knob. Unlike Marshalls, you can crank it up 10. Bass and treble on 4-5, and Bright switch on. I was in heaven. Stupid me, I thought owning a Marshall was everything.
Now here's something that won't make sense. When I plug into a Peavey Classic 50, I'm reminded of that tone. And I LOVE it!
And my main amp these days is DSL 50 with choke added.
I think at my age, I just want to plug into something I like, and don't care if people scoff at it.
The “original tweed” was a 1x15. The narrow panel most people mean when they refer to a “tweed bassman” was the final tweed iteration (reissues notwithstanding), not the original.
I’m pretty sure it was, though they might have custom-built 1x15’s or otherwise.
The BF Bandmaster has two gain stages in each channel. The tremolo sucks gain out of the Vib channel. The Normal channel in the BF/SF Bandmaster is the same circuit as the Normal channel in the AA864 and AA65 Bassman amps. The Bandmaster’s smaller OT will saturate earlier than the larger OT in the Bassman amps...and therefore will ‘sing’ a bit more readily, but the gain is not there in the preamp to make it act anything like the Normal channel in the AB165 type of circuit that has 3 gain stages that are NOT drained by reverb and tremolo as in the reverb amps. None of the Fender reverb amps have the gain of these particular Bassman amps. AB165 Bassman and the Bassman amps that use that basic circuit are unlike any other Fender amp of those times....it has a hotter preamp as noted earlier.
You should just get a vintage Bassman like the one you played in the clip.
They are $500 - $700 around here and will most times rock with the best of them.
No point in going nuts chasing anything else just get the amp and keep on rocking.
Less discussion and more playing, or as Elvis says "A little less conversation, a little more action"