At the end of the long day, as John was packing everything into the truck, G.E. The collection turned out to be a total of 60 pieces-roughly 30 guitars and 30 amps.an astonishing wealth of great vintage gear. When John arrived at G.E.'s, he was invited down to the basement, and they spent the next 8 hours deep-diving through the whole thing: amps then guitars-all the while jibber-jabbering about gear, life, food and rock'n'roll war stories. asked John to come out east to see, in person, the portion of his collection he was no longer using. After checking out the store's bona fides, he decided to touch base with John Majdalani, Cream City Music store co-owner and head vintage buyer.įortunately, John and G.E. While looking for an established, knowledgeable and trusted buyer, he ran across our shop and liked what he saw. had been thinking about selling some of the gear he'd collected during his long career. has been THE rock-steady guitar sound behind SNL, Hall & Oates, David Bowie, Bob Dylan, MoonAlice and many more. If you have ever watched the Saturday Night Live band back some of the greatest names in music, then you probably saw G.E. original or period-correct speakers: Jensen P10Q dated 220024 several small holes for caster mounting on amp bottom Controls: Bass, Treble, Volume | Bass, Treble, Volume, Speed, Intensity It is fully functional and sounds absolutely fantastic. This amp will make the perfect centerpiece to any vintage amp collection. On top of that, you get one of the most incredible tremolo/vibrato sounds you have ever heard. While the Jensen P10Qs lend the amp some of that early breakup of the tweed era. Sonically, all of that big, Brownface bottom end is there. These early Browns have their volume and tone controls in reverse order from all of the Fender amps that followed. The 5G7 one of the elusive "Center Volume" Brownface amps. Even the original dogbone handle remains intact. The addition of metal corners on the bottom of the amp and a few extraneous small holes are the only cosmetic modifications. Produced for only a few months, the 5G7 Bandmaster combo is one of the rarest and most desirable Fender amplifiers.Ĭosmetically, the amp the amp shows signs of its 60 years of use, but it remains in relatively nice shape. This extremely rare amp is in nice shape and features largely original circuitry. He wants to learn and I think a full rebuild/cleanup makes the most sense.A vintage 1960 Fender Brownface 3x10 Bandmaster-one of the signature amps of our vintage collection recently purchased from G.E. With white lettering and they look original? Solder blobed onto the eyelet board - the eyelet board is warped.Īny suggestions for replacements for the paper coupling caps, they are blue The soldering job from the factory does not look very good with too much Is there a modern recommended 5% carbon comp resistor for these old amps? Many of the resistors haveīeen replaced with carbon comps from Radio Shack that just do not look right. The electrolytics with a kit and those look fine now. He got this amp fairly cheap and it has been worked on a lot. Backed off the tone nuts and reseated them, now Tone controls also did not work in the Normal channel and I noticed that theĦ800 ohm at the bottom of the tone stack was grounded through the case of Noticed that the 1 M grid leak resistor was grounded to the Wiring, carbon comp resistor values, voltages around the pins and everything The first stage grid of that channel caused bursts of oscillation. He said that the Normal channel was not right and I found that just tapping Put a dummy 4 ohm load on it and drove the input with a function generator. selector here:įorgot to provide links in post #5, Twin Reverb schematic: It is interesting that several Orange amps have a selector switch for that cap probably to match the amp to the speaker cabinet and what the player wants - deeper response vs. 005 uF is best for lead with a 64 Hz -3dB point. I think that they would sound better with a lower cutoff. Having thought about it more, it was probably done to limit speaker excursion given that these were usually open back cabinets, and to allow them to play louder before OT saturation comes into play. So, we calculate the -3dB point for the 300 Hz example, then at 150 it would be 9dB down, and at 75 Hz 15 dB down. It would be a first order 6 dB/oct slope until the other RC networks come into play but those are probably much lower.
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