#TWEED BANDMASTER 5E7 PLUS#

The 'Tweed' voice was even more mid-forward (or less sucked.) than the 'Brown'. The 'Brown' stack was different, used tapped pots in some locations, and had more forward mids. The way to boost treble in a passive circuit is to cut everything else. Of course the tone stack is lossy, it's passive. And both the Princeton and Deluxe run the 6V6 output tubes at 420V B+ the difference between the 12W Princeton and the 22W Deluxe was that the smaller power transformer in the Princeton would sag under load, even though the idle voltages were the same. Champ and Princeton, by the way, shared the same power transformer. Princeton had a simpler phase splitter design. The Champ-Amp had the same preamp, but being a single-ended 6V6 amp, lacks a phase splitter stage. But if you take a black Deluxe-Amp (non-reverb model), change the outputs from 6V6s to 6L6s, and change the power and output transformers to reflect the needs of a more powerful output section, and add 'Bright' switches, you've got a Bandmaster-Amp. There may be small differences in the feedback loop around the power amp stage. And of course the transformers and speakers.

#TWEED BANDMASTER 5E7 PLUS#

From Deluxe to Dual Showman, the circuits were identical up to the output tubes, plus or minus a few features - Bright Switch, 'Mid' control, reverb, those are the only real differences. This applies across the whole 'Blackface' Fender line from Champ-Amp to Dual Showman-Amp. And yes, the fixed value is rather low and 'scooped'. The two-knob stack IS the three-knob stack, with a fixed value for the 'Mid'. The only difference between the two-knob and three-knob stacks was replacing one resistor with a pot. Many manufacturers replace the 'MID' control with a fixed value resistor.įor AB763-type circuits, the tone stacks were identical, with a few notable exceptions - the bass channel of the Bassman was unique. Also, don't be fooled into thinking that because there is no 'MID' control that the 3 pot circuit isn't being emulated in one form or another. There is also considerable loss to the circuit. The two (2) pot stack is usually refered to as a 'Brown face' stack because there is little or no change over these 'black face' tone circuits and those of the older tweed amps preceding them. It's very well documented that the difference between the 2 pot stack and the 3 pot stack (MID control) is generally considered to be a lack of mid range response, scooped if you will. First, not all of the pre CBS amps share the same tone stack and a quick look at any of the schematics will show that as well. Lumping all 'Black face' era pre CBS Fender amps into the same bucket is just wrong. This is a light weight and tone heavy combo! Sells with Studio Slips double-padded soft case (look these up).Bob Leonard wrote on Fri, 13 March 2009 14:17 Includes 3x10 Alnico Eminence Legend drivers. NOS RCA 5U4GB, Philips 6L6WGBs, Amperex Bugle Boy (Holland) + RCA 12AX7s, and Westinghouse 12AY7 for best tone and reliability.Ĭabinet constructed by Mathercabs. Amp features two inputs - Bright + Normal. Original filter values used, but grounding scheme helps overcome excessive, ripple-induced hum :). Weber PT/Choke + Hammond 35W OT for improved bass response and headroom without sacrificing touch response or dynamics.

Low noise metal film components used in noise-sensitive areas carbon film, where tone is most important. G10 epoxy circuit board - no 'tweed disease' possible Elevated, DC-referenced heaters to prevent the amp from gobbling 12AX7sĤ.

Revised grounding scheme for an incredibly low noise floorĢ. This iteration overcomes 4 inherent weaknesses of the original 5E7 topology without compromising tone or touch sensitivity.

Tweed bandmaster 5e7