Speaking of guitar amplifiers, it is a well -known fender amplifier alongside Marshall. It is a representative brand of American sound, which has since been greatly influenced by many manufacturers such as MESA/Boogie. Unlike other unmunry brands, it can be said that it is a reliable top brand, not to mention that it is the top level in manufacturing such as electric guitars and basses. It has a long history of making amplifiers for more than half a century since the 1940s, and it is no exaggeration to say that the history of the fender itself is an amplifier history.
Speaking of rock, Marshall! Speaking of Marshall, rock! Although it is a somewhat violent expression, I think that there are few people who disagree with this. So what is the fender?
This answer is difficult ... Fender amplifiers are widely loved by players in various fields such as rock, country/blues, jazz, and Hawaiians. From ventures to Michelgans. These variety and the size of the frontage are the charm of fender amplifiers.
However, there are many people who say that there are so many types of fender amplifiers to know which one to choose. So, this time, let's look for a fender amplifier that is perfect for you while unraveling the history of the fender in an easy -to -understand manner.
Background of the era of fender amplifier
Leo Fender, a familiar founder of the fender, was born in 1909. It's almost 100 years. When the invention king Edison was still making storage batteries. Meiji 42 in Japan. It was this year that Hirofumi Ito, the former 1000 -yen bill, fell into a bullet.
In 1938, Leo, who had already had high skills in repairing and producing radio and other self -taught, opened his own store in California. The name is "Fender's Radio Service". This is the beginning of the history of Fender. At that time, I rented PA equipment that I made myself, manufactured, sold and repaired instruments such as rapsteel.
Eventually, Leo begins making an amplifier for his friend's musicians and engineers, Clayton Kaufman (commonly known as Doc). This was completed in the late 1945 game shortly after the second war. This model was named K & F with the initials of the two. This is a model that can be said to be the origin of the fender amplifier. It was more than three years ago than the world's first solid body elikita appeared. One year later, in 1947, Leo, who broke up with Kaufman, worked for further new models. The first amplifier bearing the fender logo was called Model 26s, which was the beginning of the Fender Amplifier, and the world's history.
Rumors of the streets related to fender amplifiers
Speaking of fender amplifiers, it's a good story. "Limited to tweed", "It's okay if there is a twin reverb", "Silver panel is cool", "Paul Rivera design is" "The sound of red knobs is thick", "Vibroquing is the best" etc. Indeed, I think these are all words that simply talk about the attractive aspects of each era. But what is the best if they all have the right opinion? I don't know ... So, let's take a look here in an easy -to -understand manner what kind of historical relationships are the topical models.
Characteristics of rough sounds of each age
You can see the flow of the history of fender amplifiers above. So how did the sound change? For the time being, the detailed features of each model are settled, and here we will follow the flow of sound trends in each era.
First of all, in this era, the world's first Solid Body Electric Guitar and Rock Music appeared in the 1950s, known for the tweed amplifier. It can be said to be the creator of various elements related to electric guitar. Conversely, it can be said that the history is shallow and primitive, and most of them have simple functions. Therefore, the sound is simple and straight, full of real -time tones such as the lock of the early days, the roots of the R & B, and the country.
The biggest change in the 1960s was the appearance of Riverb. With the expansion of the music scene, the larger output will be the mainstream, and will change from a primitive sound to a tone with a little extra time. This will later be the standard of American sound, which is also called the "fender sound," and will be noticeable in sounds such as waist coast locks and blue slocks.
In the late 1960s and 1970s, the rise of hard rock has increased the scale of concerts, and the volume is required to be more loud. In addition, it was a time when the PA equipment was not so good, and what was asked for the amplifier was clear and well -passed. The fender amplifier of this era, symbolized by the Sylver face, has shifted to a sharper and sharp sound, while keeping the American tone until then.
And in the 1980s, many changes came. With the rapid development of PA and studio equipment, various sound makeup will be possible, and music genres will be diverse. Until then, rock music has become an industrial big business, and it has become more and more diverse and radical than New Wave, Punk, Heavy Metal. In the fender amplifier, the first clean/drive switching model appeared, and models with many new functions have been created one after another. Nowadays, many of the gifts of studio work called "industrial rock" are recorded in the equipment of this era.
After the 1980s, when "newness" was dominating everything, the scenes would become more pure than new. As if it were an excessive technology, as if it were rebounded by then, an extra simple thing has been requested again. It was at this time that good old things were reviewed, and the production of the vintage reissue model began in the fender. In addition, a custom amplifier shop has started to create a model with a simple and pure tone of hand wired.
And in the 2000s, digital technology has evolved dramatically, and while vintage models are evaluated, these digital modeling have become the mainstream, and although they are chaotic, all the attractive and old -fashioned era coexist. It can be said. Due to the technical problems of each era, unlike the 1950s and 1980s, which had to be evolved and transformed in order to be "usable", it was supported by "technology that can be used everything", and in each era. It can be said that all elements can coexist.
In this way, the sounds of each era can be said to be clearly affected by scenes and technology of the era. It would be interesting to think while listening to records of each era.
Vintage amplifier and boutique amplifier
In this trend, fender's old amplifiers, especially tweed amplifiers in the 1950s, have been highly evaluated as vintage amplifiers, have become a longing for many people, and are already synonymous with vintage. It can be said. What is the charm of these tweed amplifiers?
Of course, it is difficult because there are countless models and age even if it is a tweed amplifier, but the common element is "simple circuit". There is no gain circuit or multiple channels switching like later generations, and it is a simple circuit with only its volume and tone, so you can get pure tones with less signal loss and spoil. 。 If you connect a lot of effectors, the tone will enrich, but the signal from the instrument is similar to the increase in loss, so the so -called tweed amplifier will be straight like a nuance. It is. This is a boutique amplifier, which is a trend recently, and is trying to extract pure tones by omitting unnecessary functions and making the circuit as simple as possible. In this way, fender old amplifiers can be said to have a huge impact on modern modern scenes as well as vintage models.
What is "Twin Riverb" in the first place?
"Fender amplifier is a twin reverb." However, for example, if you say, "Please give me a twin rever!", Is there any problem with the answer, "Which twin reverb?" "Why do you just have so many twin reverses!" But it's okay. Twin Riverb is a flagship model of a fender amplifier, and basically there are only one type of each era. Same as Nissan Skyline. Skyline is a Skyline, despite all the variations of successive generations. Regardless of the details, you are not afraid if you know the flow of history. So please see the history of the twin reverses that are obvious at a glance.
Fender amplifier model Hayami
It turns out that it changes in various ways in each era of fenders. I understand the history of twin reverses. But there are many other Derariva baseman and I don't know what's good! In such a case, it is easy. Let's remember in the pattern without being bound by the name. Even if you say that there are various models, it is basically only a combination of each output (power), speaker size and number. I think it is easy to understand if you apply it to 50W and 100W such as Marshall.
The main fender tube amplifier has only four patterns in output. This is a very small size of about 10W or less, a small size of around 25W, a medium size of about 50W, a large 100W class. The model is determined by the combination of the large and small and small of each speaker. There are about four types of speakers: 15 inches (oversized), 12 inches (large), 10 inches (medium), and less (small). For example, TWIN is a model with two large speakers with large power. Deluxe Reverb has a small power and one large speaker. VIBROLUX REVERB is a SUPER REVERB if two small speakers and two small speakers, Pro Reverb and Super Reverb are only speakers. The following is a comparison table below. Let's choose your favorite size.
From the table above, you can see the relationship between the output part of each model and the speaker. So what is the difference in sound depending on the speaker?
There are three types of sound differences by speakers, mainly 1. differences in size, 2. Differences in numbers, and 3. Brands.
First, the difference in size. In general, the larger the size (diameter), the better the reproducibility of the low frequency range. That's why the bass speakers and subwoofers are huge. Conversely, the smaller the number, the better the high -frequency reproducibility, and the horn driver for audio corresponds to that.
Next, about the number. The number of allowable inputs in the speaker part is the total of the tolerance input of each speaker, so the larger the number of speakers, the greater the tolerance input. If the tolerable input is large for a certain input, the burden on each speaker will be reduced, so you can get a wide range of range with high audio reproducibility. Conversely, as the burden increases (only in the audio), reproducibility is reduced, making it a fat sound than the middle. If you compare it, is it an image of carrying a big heavy luggage? If you carry it in a large number of people, it will be a "spare feeling", and if you carry it in a small number, it will be "full of power". The sound of the speaker is like that.
And finally, the difference between the brands is that this reflects some of the times. The brands that have been used in fender amplifiers are mainly JENSEN, OXFORED, and Eminence, and JENSEN is a common speaker in the 1950s, and is characterized by a light corn paper and a light magnet. It is a target. The cone itself is thin, so it tends to be distorted depending on the attack of the instrument, and JENSEN is good at sounds such as "the attack is lightly distorted, and sustain is clean." OXFORD, on the other hand, is a speaker that has been used mainly in the 1960s, and has a sticky and sweet sound and has excellent compatibility with Riverb. It will be perfect for stretchy bluesolo. And Eminence is still used in many American brands and is known for its most flat and straightforward sounds. Fender amplifiers stand out in models from the 70's or later. The glittering tone of Sylver Face may be largely due to this Eminence speaker. Another exception is a model equipped with a JBL that fenders sold as options at the time. JBL is a highly evaluated speaker for audio, and is especially preferred by jazz lovers, especially with a gentle and delicate sound, including overtones.
I think that the sound of each amplifier is easier to imagine when we understand the characteristics of these speakers. For example, a 25W model equipped with one 12 -inch JENSEN, a 50W model equipped with four eminence 10 inches. Can you imagine each sound?
The amplifier is the main role than a guitarist! ? The mystery of the knob of the tweed amplifier.
As with the Reissu Model, you use a tweed amplifier such as a baseman (or try it), and have you ever thought, "Why the knob is on the back? It's hard to operate." Why is the twin reverb etc. on the front, but why is the tweed amplifier on the upper part and backward? Certainly, this is hard to see from the front, not good operability. So why?
The answer is, "I was playing behind the amplifier at the time." In the 1950s, when tweed amplifiers were the mainstream, the band was still a "back band", and the singer was the only one that stands out on the stage. Also, because the PA system was not enriched, it was customary that the amplifier was placed before the guitarist to put the sound of the guitar amplifier in the audience. Therefore, a knob is installed in this position so that it is easy to operate from behind. The same reason is that there are many open -back models. It seems that only singers and amplifiers were performed on the stage, and back bands were playing behind the curtain.
In the 1960s, with the spread of rock music, the guitarist became noticeable on the stage, and as the style of standing in front of the amplifier became the mainstream, the amplifier also switched to a model with a knob. increase.
Custom shop and custom amplifier shop
The notation of "custom shops" that is often seen in catalogs. Did you know that there are actually two types of this? It is a "custom shop" amplifier that is familiar with master builder guitars and an "custom amplifier shop" amplifier that designs/builds an amplifier. The former "Custom Shop" uses the woodworking technology cultivated by making the world's top -level guitars to modify the enclosure of existing amplifiers. Woody Jr., which finished the BLUES Jr.'s exterior with beautiful hardwood, is an annual event, and the circuit makes the sound so different with the enclosure alone, despite the normal model. The same is true for Two Tone, which has an original look, combines two different speakers with 10 -inch and 12 -inches with regular Blues Jr.
On the other hand, the "custom amplifier shop" familiar to the famous VIBRO KING and Tone Master, etc. is a completely independent handmade project from a normal line. We are developing many new models.
Hidden famous machines
Super Champ ('82 -'85)
A small amplifier hit famous for Paul Rivera design. A model that is equipped with a 10 -inch speaker in the size of the champ and equipped with a two -channel switching of clean/drive. There are many musicians who still love recording because they can get a unique tube tone that is not found in other models in the output.
PROSONIC ('95 ~ '01)
A model that enables the first CLASS A/AB switching of the fender and switching the rectifying circuit of the vacuum tube/diode. The speaker is a powerful model that mounts 2 shots of selation 10 "inches and reproduces from the conventional fender sound to the tone of the British boutique amplifier by two gain control. The pure sound pressure is 2x10 at the fat at the time of Class A. I had a sense of weight that I couldn't imagine. It is designed by a custom amplifier shop, and it was initially planned to be produced from the custom amplifier line line. Although he had a outstanding tone character, production was completed without higher awareness than other models.