![]() Box Strike Plate Vs Door Jamb Reinforcement.get-rid-of-cat-urine-smell-out-of-carpet.replacing-current-copper-pipes-with-pex-tubing-and.Whirlpool Electric Dryer Wont Heat #Wed5300sq0.Tags: fender, bandmaster, control panel, control panel with, panel with, Fender produced, white labels, Band-Master Fender, Band-Master Fender produced, control panel with white, control panel with white labels, Fender Band-Master, grill cloth The new Band-Master included a modernized gain voice and, like other amps in the Fender Vintage Modified reissue series, additional built-in digital effects. The reissue included the Band-Master VM Head (model 2220200000) and the Band-Master VM 212 Speaker Enclosure (model 2221200000). The Band-Master was also a favorite of Joe Walsh, who bought Townshend's for him as a gift, and Neil Young, who both of them sought to emulate.įender unveiled a Band-Master reissue in 2009 as part of its Vintage Modified Amps series. Pete Townshend played most of the guitar parts on The Who's classic album Who's Next using a Gretch 6120 Chet Atkins Hollowbody guitar through a 1959 Fender Band-Master. ![]() The Reverb model looked like a silverface Band-Master with a larger head, which was necessary to accommodate a built-in reverb unit and additional associated knobs, inputs and outputs. It was covered in black Tolex and had a blue sparkle grill cloth that initially came with an aluminum frame.įender produced the Band-Master Reverb from 1968 to 1980. It had a forward-facing silver control panel with blue labels and black skirted knobs. It was covered with namesake black Tolex and silver grill cloth.įender produced the 50-Watt, 2x12 cabinet silverface Bandmaster from 1968 to 1975. The classic blackface Band-Master had a black control panel with white labels and black skirted, chrome centered knobs. Its biting, percussive tone when overdriven made it especially popular among blues musicians. Introduced in 1964, the blackface Band-Master was a 40-Watt amp with two 12-inch speakers with a new circuit design. Its namesake Tolex covering material was rough blond, and the speaker cones were covered with an oxblood or beige grill cloth. The head had a brown control panel with white labels and cream-colored barrel knobs. This flavor of Band-Master was a 40-watt amp with a 2x12 cabinet and a piggy-back head. The brown Band-Master had a 3x10 cabinet and built-in tremolo, and was the last Band-Master model released before Fender switched to a piggy-back design.įender produced the blond Band-Master from 1961 to 1963. It was covered in rough brown Tolex and oxblood tweed, and featured a brown control panel with white labels and notched brown knobs. It had a top-facing chrome control panel with black chicken head knobs and white labels.įender produced the 30-watt, brown Band-Master only in 1960. The tweed version of the Bandmaster came in wide panel and narrow panel varieties, and was popular among country musicians. Fender's tweed amps are named from the diagonal-pattern tweed material used to cover various amps produced between 19. The tweed Bandmasters were 26-Watt combo amps with three 10-inch speakers. ![]() Fender reintroduced the Band-Master in 2009. Due to the length of production, Fender released many variations on the Band-Master, most of which are popular among vintage collectors. The Fender Band-Master is a tube-based guitar amplifier originally produced from 1953 to 1974. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.The Fender Band-Master is a favorite of Rock, Blues and Country musicians. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price).
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