Fender amps are as well known as Marshall when it comes to guitar amps. Fender is one of the most representative brands of the American sound, and has greatly influenced many subsequent manufacturers, such as Mesa/Boogie. Unlike other amp-only brands, it goes without saying that Fender is also a top-level manufacturer of electric guitars and basses, and can be said to be a reliable top brand. Fender has a long history of making amplifiers for more than half a century since the 1940s, and it would not be an exaggeration to say that the history of Fender itself is the history of amplifiers.
When it comes to rock, it's Marshall! When we think of Marshall, we think rock! This may be a bit of a wild expression, but I don't think there are many people who would disagree with this. So what do you think of Fender?
This is a difficult question to answer... Fender amps are widely loved by players in a variety of fields, including rock, country/blues, jazz, and Hawaiian. From the Ventures to Michel Gunn. This versatility and wide range is the appeal of Fender amps.
However, there are so many different types of Fender amps that many people may not know which one to choose. In this article, we will try to find the perfect Fender amp for you by explaining the history of Fender in an easy-to-understand way.
Historical Background of Fender Amplifiers
Leo Fender, the well-known founder of Fender, was born in 1909. It has been almost 100 years. It was when Edison, the king of inventors, was still making storage batteries and other products. In Japan, it was 1909. It was also the year that Hirobumi Ito, the creator of the old 1,000-yen bill, was shot to death by a bullet.
In 1938, Leo, who was already highly skilled in repairing and manufacturing radios and other equipment, opened his own store in California. It was called "Fender's Radio Service. This was the beginning of Fender's history. At that time, Leo rented PA equipment that he had built himself, and built, sold, and repaired lap steel and other instruments.
Eventually, Leo and his friend Clayton Kaufman (aka Doc), a musician and engineer, began building amplifiers for rasstiel guitars. This was completed in late 1945, shortly after the Second World War. The model was named K&F, combining their initials. This is the model that can be considered the origin of the Fender amplifier. It was more than three years before the world's first solid-body electric guitar appeared. A year later, in 1947, Leo parted company with Kaufman and went to work on a new model on his own. The first amps to bear the Fender logo were called Model 26s, and this marked the beginning of the history of Fender amplifiers and, indeed, of the world.
Rumors about Fender Amplifiers
There are many common stories when it comes to Fender amps. The Twin Rivera is the best," "Paul Rivera's design is the best," "The Twin with the red knob has a fat sound," "Vibro King is the best," and so on. Well, I think these are all words that simply describe the attractive aspects of each period. However, if they are all correct, what is the best? I am not sure what is the best. So here is an easy-to-understand discussion of the historical relationship between each of the models under discussion.
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Sound Characteristics of Each Period
We hope that the above has given you a general idea of the history of Fender amps. So how did the sound evolve over time? Let's put aside the detailed characteristics of each model for the moment and follow the trends of the sound of each era.
First of all, the 50's, known for the tweed amp, was the period when the world's first solid-body electric guitars and rock music were introduced. It can be said to be the genesis of various elements related to electric guitars. Conversely, the history of electric guitars was short and primitive, and most of them had simple functions. Therefore, the sound is simple and straightforward, and is full of the real-time tones of pioneering rock, R&B, and country music.
The biggest change in the 1960s was the appearance of reverb. As the music scene expanded, larger outputs became the norm, and the tone shifted from the primitive distorted sounds of the past to something with a little more room to breathe. This became the standard for the American sound, later referred to as the "Fender sound," and can be clearly seen in West Coast rock and blues rock.
From the late 60's to the 70's, with the rise of hard rock, the scale of concerts expanded and the demand for louder sound increased. In addition, PA equipment was not yet fully developed, and what was demanded of amplifiers was clear, well-defined sound. Fender amps of this era, symbolized by the Silverface, maintained the American tone of the past, but shifted to a sharper and sharper sound.
The 1980s was a time of many changes: the rapid development of PA and studio equipment made it possible to create a wide variety of sounds, and music genres became more diverse. Rock music became industrial big business, and new wave, punk, and heavy metal demanded more diverse and extreme sounds. The first Fender amp with a clean/drive switch was introduced, and models with many new features were created one after another. Many of the sounds that are now known as "industrial rock," the result of studio work, were recorded with equipment from this era.
After the 80's, when "newness" ruled the world, the scene began to seek purity rather than novelty. As if in rebellion against the technological excesses of the past, there was a renewed demand for simplicity without excess. It was also during this period that the good old days were reevaluated, and Fender began producing vintage reissue models. Custom amp stores were also started, and models with simple, hand-wired, pure tones were produced.
In the 2000s, digital technology has evolved dramatically, and while vintage models are still highly valued, digital modeling of them has become mainstream, and it can be said that everything fascinating from both eras coexist in a chaotic situation. Unlike the 50's to 80's, when technological problems of each era required evolution and transformation in order to be "usable," the present day is supported by "usable technology" and all the elements of each era can coexist.
Thus, the sound of each era is truly influenced by the scene and technology of that era. It is interesting to listen to records from each era and think about them.
Vintage amps and boutique amps
In the midst of this trend, Fender's old amps, especially tweed amps from the 50's, are nowadays highly regarded as vintage amps, and have become the object of admiration for many people. What is the charm of these tweed amps?
Of course, there are countless tweed amplifiers of different models and eras, so it is difficult to generalize, but one common element is the "simple circuitry. Tweed amps do not have gain circuits or multiple channel switching like later generations of amps, and their simple volume and tone circuits allow them to produce pure tones with little signal loss or spoilage. This is similar to the way that connecting a lot of effect pedals results in a richer tone, but also results in more signal loss from the instrument. The model for this is the boutique amps that have recently become popular, which attempt to bring out the pure tone by eliminating unnecessary functions and simplifying the circuitry as much as possible. In this way, Fender's old amps have had a great influence not only on vintage models, but also on the modern scene today.
What is a "twin reverb" anyway?
If you are looking for a Fender amp, you probably know that the first thing to do is to get a Twin Reverb. However, if you go to a music store and say, "Twin Reverb, please! but you are not sure which twin reverb you are looking for? But, for example, have you ever been at a music store and asked, "Which twin reverb? Why are there so many different twin reverbs? And you may be tired of looking for a Fender amp there. But don't worry. The Twin Reverb is the flagship model of Fender amps, and there is basically only one of each era. It is like the Nissan Skyline. There are variations of each generation, but the Skyline is still the Skyline. Regardless of the details, it is not scary if you know the historical flow. So, please take a look at the history of Twin Reverb, which is very clear at a glance.
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Fender Amplifier Model Chart
We found out about the various changes in each era of Fender. We also found out the history of the Twin Reverb. But there are so many other models, like the Delariva and the Bassman, that it's hard to know what's best for you! In that case, it's easy. Let's not get caught up in the names, but remember the patterns. The various models are basically just combinations of output (power), speaker size, and number of speakers. It is easy to understand if you think of it like Marshall's 50W and 100W.
Broadly speaking, Fender tube amps have only four patterns in terms of output. These are: a very small one of about 10W or less, a small one of around 25W, a medium one of around 50W, and a large one in the 100W class. This is combined with the size of each speaker to determine the model. There are about four types of speakers: 15" (extra large), 12" (large), 10" (medium), and smaller (small). For example, Twin is a model with large power and two large speakers; Deluxe Reverb is small power and one large speaker; Vibrolux Reverb is medium power and two small speakers; the only difference between Pro Reverb and Super Reverb is the speaker. The difference between the Pro Reverb and the Super Reverb is only in the speakers, with the Pro Reverb having medium power and two large speakers, and the Super Reverb having four medium speakers. Below is a comparison chart of typical models. Choose the size you prefer.
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From the above table, you can see the relationship between the output section of each model and its speakers. Then, what are the differences in sound depending on the speaker?
There are three main types of differences in sound depending on the speaker: 1) size, 2) number of speakers, and 3) brand.
First, let's look at the size difference. In general, the larger the size (diameter) of a speaker, the better the low-frequency reproduction. This is why bass speakers and subwoofers are huge. Conversely, the smaller the speaker, the better the reproduction of high frequencies, such as an audio horn driver.
Next, let's look at the number of units. The number of allowable inputs in a speaker section is the sum of the allowable inputs of each speaker, so the more speakers there are, the greater the allowable inputs. The greater the number of speakers, the greater the allowable input. For a given input, the greater the allowable input, the less the load on each speaker, resulting in a wider range of sound with better audio reproduction. Conversely, the greater the burden, the lower the reproducibility (from an audio standpoint), resulting in a fat sound more in the middle. To use an analogy, imagine carrying a large, heavy load. If a large number of people are carrying it, it will sound "roomy," and if a small number of people are carrying it, it will sound "full force. The sound of speakers is like that.
Finally, there are differences between brands, which in a way reflect the times. The most famous brands of speakers used in Fender amps are Jensen, Oxfored, and EMINENCE. Jensen speakers were common in the 1950s and are characterized by a dry, bouncy sound due to their light cone paper and light magnet. Because the cone itself is thin, it tends to distort depending on the attack of the instrument, and the Jensen excels in the "crisp attack with light distortion and clean sustain" sound seen in country and other music. The Oxford, on the other hand, is a speaker used mainly in the 1960s and has a sweet, persistent sound that is an excellent match for reverb. It is ideal for extended blues solos and the like. The EMINENCE speaker is still used by many American brands and is the flattest of the three, known for its wide range and straightforward sound. The EMINENCE is the flattest of the three and is known for its wide range and straightforward sound. The silver face's sparkling tone is probably due in large part to the EMINENCE speaker. The JBL speaker is a highly regarded audio speaker with a wide range of overtones and a gentle, delicate sound, especially favored by jazz enthusiasts.
Now that you know the characteristics of these speakers, it should be easier to imagine the sound of each amplifier. For example, a Jensen 25W model with one 12" speaker, or an EMINENCE 50W model with four 10" speakers. Can you picture the sound of each?
Petit knowledge
The amp is the star rather than the guitarist! The mystery of the position of the knobs on a tweed amp.
When you are using (or trying out) a tweed amp, such as a bass man, as is the case with reissue models, have you ever wondered "Why are the knobs on the backward-facing side? Have you ever wondered why the knobs are facing backward, making them difficult to operate? Twin Reverb, for example, has knobs on the front, but why do Tweed Amplifiers have knobs on the top, and why are they facing backward? Certainly, this makes it hard to see from the front, and it is not easy to operate. Why then?
The answer is "because in those days, people played standing behind the amps. In the 1950s, when tweed amplifiers were the mainstream, bands were often still "backing bands," and it was the singer who stood out on stage. In addition, because PA systems were not well developed, amps were usually placed in front of the guitarist in order to bring the sound of the guitar amp out to the audience. Therefore, the knobs were placed in this position for easy operation from the back. This is probably the same reason why many models have an open back. It was not uncommon for only the singer and amps to be on stage, with the backing band playing behind the curtain.
In the 1960s, as rock music became popular, guitarists began to stand out on stage, and as the style of playing became mainstream, amplifiers switched to models with knobs on all sides.
Custom Shop and Custom Amplifier Shop
The term "custom store" is often seen in catalogs today. But there are actually two types of "custom shop. One is the "Custom Shop" amp, which is well-known for Master Builder guitars, and the other is the "Custom Amp Shop" amp, which is more specialized in designing and building amps. The former "custom store" uses woodworking techniques developed through world-class guitar making to modify the enclosure of existing amplifiers, such as the beautiful hardwood exterior of the Blues Jr, The circuit is the same as the regular model, but the enclosure alone makes such a difference in the sound. The same is true of the original-looking Two Tone, which combines two different speakers (10" and 12") with the regular Blues Jr. to create a unique tone.
On the other hand, the Custom Amp Shop, known for the famous Vibro King and Tone Master, is a handmade project completely independent from the regular line, designing and building their own amplifiers, and developing many new models as the top line of Fender amplifiers. The Custom Amp Shop is a handmade project that is completely independent of the regular line.
Hidden gems
Super Champ ('82-'85)
A hit small amp designed by Paul Rivera. This model was the size of the previous Champ, with a 10" speaker, 2 channel switching between clean and drive, and a reverb function. The use of 6C10s in the preamplifier section and other creative circuitry made it possible to achieve a unique tube tone that no other model could match, even at low output, and many musicians still use it today for recording and other purposes.
Prosonic ('95-'01)
Fender's first model with Class A/AB switching and tube/diode rectification circuit switching. The fat and pure sound pressure of the Class A model was so heavy that it was hard to believe it was a 2x10". Designed by a custom amp store, it was originally planned to be produced from the custom amp store line. Although it had an outstanding tonal character, it was discontinued without much recognition compared to other models.