The amps are known for their characteristically clean tone.The Twin has seen a number of revisions since its introduction, both internal and external, with its designs sometimes varying greatly from one year to the next.The main focus of this article will be speakers found in Fender amps, but before we get into that topic let’s go over a few other areas first.
We finally decided to continue the path that team Linda Ronstadt had started, enhancing this amp to our needs.
First we implemented the bright cap mod due to the bright speaker.
The entire line of Fender amplifiers from 1955 to 1959 (later for smaller models and Bassman) was uniform in this look—tweed or "airline linen" covering with a maroon with gold stripe woven saran grill cloth.
The 1×12 Deluxe-Amp, the 1×15 Pro-Amp and the 3×10 Bandmaster are exceptional in dynamics and tone.
Our research efforts are now in their fourth year (will it ever end? Part 1 and Part 2 of this series can be found in the March 1997 and November 1997 issues of TCG, respectively.
Again, I would like to thank everyone who responded to our request for data as outlined in Parts 1 and 2.This easily tamed the upper shrill notes allowing us to use the treble pot beyond 9 (all reissue amp owners with new Jensen C67n, read and learn).This mod is for those who wants more power, clean headroom and attack.The original Fender amps were tube-powered and the company also started producing solid-state models in the late 1960s.Most of the amps were finished in a "gray crinkle" finish.After the preceding looks of the early 50's (TV front from 1950 to 51/2; wide panel '52–54), Leo Fender changed the cabinet design again, this time opting for no extra wood on the front of the amp, except for the narrow top and bottom panels that hold the baffle board to the cabinet.