![]() 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. Outside dimensions that work for me are 22-23' wide, 11 1/2-12' deep, minimum height for a 2 x 12 is 32', for a 2 x 10 is about 27-28'. 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. And a rolling dolly is included.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). kansas city musical instruments - by owner. But if you are looking to capture some of that Super Reverb magic in a less expensive package, this 1965 Bandmaster offers a range of possibilities that is easier on your back. this posting 1,000 favorite this post Oct 17 Fender Bandmaster VM. Granted a 2x12 and 4x10 are different beasts with a 2x12 being both more efficient, with a fuller midrange punch but slightly less sparkle. The good news is that Bandmasters don't have the allure of the Supers, and the prices are generally lower than Supers of similar years. Fender did their own share of "badge engineering" and through the years repurposed various amp layouts in several formats. ![]() Almost, that is: The Bandmaster does not have reverb, and it also has a solid state rectifier is place of a tube rectifier. So yes, this Bandmaster is essentially the 40-watt 2-6L6 Super Reverb with a 2x12 cabinet. And if you recognize the schematic "AB763" you'll recall that this is the same as the Blackface Super Reverb. But keep in mind that Fender/CBS kept the AB763 schematic unchanged until 1968. Technically it is "CBS" as CBS acquired Fender in 1965. All electrolytic capacitors have been replaced for quiet and reliable operation. This 1965 Fender Bandmaster head and cabinet i s in very good condition, and all knobs and switches are fully functional and scratch-free. Fender Twins were already a beast, a 3x10 not much better, and the Super Reverb was about the most anyone could deal with in one box. In 1963 it became the familiar 2x12 "piggyback" with separate head and the typical Fender "normal" and "vibrato" channels with high and low sensitivity inputs. We are not sure if Fender invented the piggyback concept, but as amplifiers became bigger and heavier it started to make sense to split the amp from the speakers. By 1960 the Bandmaster had morphed to a guitar-specific 2-channel amplifier in a 3x10 combo. A 1953 Bandmaster in today's dollars is $2400, solidly in the boutique category for a low wattage 1x15 combo.īut the Bandmaster name sounded good, and it stuck. This thing is all original Blue Fender labeled Utah speakers, 2-prong power cable and. And Fender products in the 50's and 60's were pricy and not considered amatuer or "everyman" products (that's why there was Harmony, Valco, Silvertone, etc.). Killer Blackface 1965 Fender Bandmaster head with matching 2×12 cab. Given the cost of good musical equipment, it was not uncommon for players of that era to share amps. For many years amps did multiple tasks, and early Fender Bandmaster amplifiers had both instrument and microphone inputs. The name Bandmaster really meant "plug the whole band in". Fender Bandmaster Head + Cabinet 2x12 1965 - Head/Cab guitar ampsFender Bandmaster Head + Cabinet Year 1965 Good co. ![]() The name Fender Bandmaster goes back a long way.all the way to 1953. ![]()
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