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Fender amplifier

Fender amplifiers are a renowned line of electric guitar amplifiers manufactured by Fender Musical Instruments Corporation, celebrated for their clean, articulate tones, durability, and pivotal role in shaping rock, blues, and country music since the mid-20th century.^[1] Originating in the post-World War II era, the company's amps evolved from simple wooden-enclosed "Woodie" models introduced in 1946—such as the Princeton (6 watts), Deluxe (14 watts), and Professional (25 watts)—which featured hardwood cabinets, field-coil speakers, and basic tube circuitry designed for reliability in live settings.^[2] These early designs laid the foundation for iconic series like the tweed-covered amps of the late 1940s to 1950s, including the Twin and Bassman, which introduced higher wattage outputs and became staples for professional musicians due to their headroom and dynamic response.^[3] By the late 1950s, Fender amps transitioned to the brownface and blonde eras (1959–1963), incorporating innovations like onboard reverb in the 1963 Vibroverb and photocell-based vibrato effects, enhancing tonal versatility for genres emerging in the rock 'n' roll boom.^[1] The blackface period (1963–1967), marked by black tolex covering and silver control panels, produced legendary models such as the Twin Reverb and Deluxe Reverb, prized for their pristine clean sounds and ability to overdrive smoothly, influencing artists from surf rock pioneers to Jimi Hendrix.^[3] Following CBS's acquisition of Fender in 1965, the silverface era (1967–1981) added features like master volume controls and aluminum trim, while early solid-state experiments, including the Zodiac series (1969–1971), were short-lived due to tonal shortcomings compared to tube designs.^[1] In the modern era, post-1985 under new ownership, Fender has revived classic circuits through reissues and '57 Custom series while expanding into digital modeling amps like the Mustang line and hybrid models such as the Hot Rod Deluxe, blending vintage warmth with contemporary portability and effects integration.^[3] These amplifiers remain culturally significant, powering performances across decades and genres, with vintage examples highly sought after in the collector market for their historical and sonic legacy.^[1]

Historical Development

Founding and Pre-Tweed Era (K&F and Woodie)

In 1945, Leo Fender partnered with Clayton "Doc" Kauffman to establish K&F Manufacturing Corporation in Fullerton, California, initially focusing on public address systems before producing the company's first guitar amplifiers and Hawaiian-style lap steel guitars later that year.^[2]^[1] These early K&F amplifiers were simple tube designs aimed at amplifying steel guitars for Western swing and Hawaiian music ensembles, featuring basic circuitry without standardized model names.^[4] Following Kauffman's departure in early 1946 due to health issues, Fender reorganized the business as Fender Electric Instrument Company, continuing production under his sole direction and shifting emphasis toward more refined instrument amplification.^[2]^[1] The inaugural production amplifiers from Fender emerged in spring 1946, marking the debut of the "Woodie" series characterized by their uncovered hardwood cabinets constructed from repurposed lumber originally intended for steel guitar bodies, such as blonde maple or walnut.^[2] These cabinets provided a resonant enclosure but were prone to wear, often finished with colored grille cloth—red, blue, or yellow-gold—and metal grille strips for protection.^[2] The lineup included three core models tailored primarily for Hawaiian steel guitars: the Princeton, a compact 6-watt single-ended design with three tubes and an 8-inch Jensen field-coil speaker, offering two instrument inputs but no tone controls; the Deluxe (also known as Model 26), a 14-watt five-tube amplifier with a 10-inch Jensen speaker, three inputs (two for instruments, one for microphone), and basic volume and tone controls for instrument and mic channels; and the Professional, a 25-watt six-tube model with a 15-inch Jensen speaker, similarly equipped with instrument/mic volume and tone adjustments, often built as special orders for professional musicians.^[2]^[4] Early innovations emphasized simplicity and portability, with point-to-point wiring (later incorporating small circuit boards in 1947 for the Deluxe) and a focus on clean, reliable tone for steel guitarists in small ensembles, reflecting the post-World War II demand for affordable amplification in country and Western music scenes.^[2]^[1] Woodie production spanned from 1946 to 1948, with the Princeton and Deluxe seeing broader availability through 1948, while the Professional was largely limited to 1946–1947 custom builds, resulting in fewer surviving examples.^[2] These amplifiers laid the groundwork for Fender's enduring circuit architectures, influencing subsequent designs with their straightforward Class A/B topologies and emphasis on headroom for string instruments. By late 1947, Fender began transitioning away from wooden cabinets toward more durable metal enclosures covered in tweed fabric, driven by the need for roadworthy construction amid growing demand from touring musicians and the limitations of wood in humid or rough environments.^[2]^[1] This shift, completed by 1948, introduced the Tweed era's standardized TV-front chassis, enhancing longevity without sacrificing the warm tonal foundation established in the Woodies.^[2]

Tweed Era (1948-1960)

The Tweed era marked a pivotal phase in Fender's amplifier development, beginning in 1948 when the company transitioned from wooden cabinets to metal ones covered in a durable, textured fabric originally sourced from airplane seating material, providing both aesthetic appeal and protection for the enclosures.^[5] This covering, often referred to as "tweed" due to its woven pattern resembling the woolen cloth, was first applied to models like the Champion 600 and 800, evolving from earlier wooden "woodie" precursors that laid the groundwork for Fender's combo amp designs.^[6] The era's amplifiers gained renown for their raw, dynamic tones, emphasizing reliability and high-gain capabilities that suited the emerging rock 'n' roll scene of the post-war years. Key models during this period included the entry-level Champ, introduced in 1948 as a 5-watt amplifier ideal for beginners and practice, featuring a simple circuit that delivered warm, articulate cleans breaking into natural overdrive.^[6] The Princeton, a 12-watt offering from the early 1950s, provided a versatile mid-sized option with a single 10-inch speaker, balancing portability and volume for small performances.^[7] Larger combos like the Deluxe, rated at 18 watts and launched in its iconic 5E3 configuration in 1955, became staples for working musicians due to their robust output from two 6V6 power tubes.^[8] The Twin, debuting in 1952 at 25 watts and scaling up to 40 watts by the late 1950s, offered pristine high-fidelity cleans through dual speakers, while the Bassman, also introduced in 1952 as a 40-watt model originally designed for the Precision Bass, was quickly adapted by guitarists for its powerful, punchy response with four 10-inch speakers.^[9]^[10] Circuitry in Tweed amps prioritized simplicity and tube-driven warmth, exemplified by the Champ's 5F1 design—a minimalist two-tube setup with a 12AX7 preamp and 6V6 power tube that produced immediate, touch-sensitive breakup without complex tone-shaping.^[6] The Deluxe's 5E3 circuit advanced this further, incorporating a long-tailed phase inverter (cathodyne splitter) that enabled smoother overdrive and harmonic richness, allowing the amp to transition from clean tones to saturated distortion under high gain, all without negative feedback for enhanced responsiveness.^[8]^[11] Production evolved across the decade, starting with narrow-panel designs in the late 1940s featuring TV-front aesthetics for a compact look, shifting to wider control panels around 1953 for improved accessibility, and culminating in narrow-panel layouts from 1955 onward that refined the visual style while accommodating circuit updates.^[5] Innovations like vibrato—Fender's optical tremolo effect—appeared in mid-1950s models such as the Vibrolux, a 10- to 12-watt amp introduced in 1956 that added pulsating modulation to the Tweed palette, enhancing expressive capabilities for genres like surf and blues.^[7] By 1960, the Tweed era concluded as Fender phased out the covering and associated circuits in favor of updated cosmetics and electronics, though its foundational tones continued to influence reissues and modern designs.^[5]^[10]

Brownface Era (1959-1963)

The Brownface era marked a transitional phase in Fender amplifier design, introducing synthetic Tolex coverings and control panels that shifted from the preceding Tweed textures while foreshadowing the cleaner aesthetics of later models. Beginning in 1959, Fender adopted a light pinkish-brown Tolex for cabinet covering paired with brown control panels, evolving by 1961 to a darker brown Tolex; late 1960 saw the introduction of blonde (off-white) Tolex panels on select models like piggyback configurations and the Twin, creating a distinctive two-tone appearance that persisted until 1963.^[5]^[1] Key models from this period included the Brown Twin, a high-output combo delivering approximately 85 watts through a pair of 12-inch speakers and utilizing an early circuit design emphasizing robust stage volume with integrated tremolo. The Showman, introduced as a 40-watt head with four 6L6 power tubes and solid-state rectification, featured a single-channel layout blending preamp warmth with tight low-end response, often paired with 15-inch speakers for professional applications. The Blonde Bassman, with its AB165-derived circuit in a 50-watt configuration, offered dual channels optimized for bass and guitar inputs, providing enhanced midrange punch suitable for ensemble settings.^[12]^[13] Circuit advancements during this era focused on refining preamp and power sections for improved reliability and tonal balance. The AA series circuits incorporated shorter reverb tanks in models like the Vibroverb, allowing for more compact integration while maintaining spring reverb's ambient depth without excessive decay. Subsequent AB series designs introduced long-tail phase inverters, which boosted headroom and clarity by better balancing drive signals to the output tubes, reducing early breakup compared to Tweed-era cathodyne inverters.^[14]^[15] Production was limited due to the era's rapid evolution, with only a few thousand units manufactured as Fender transitioned materials and designs; serial numbers typically began with an "A" prefix, such as A1001 upward for combos from 1960 onward. Tonally, these amplifiers achieved a balanced warmth, blending the gritty overdrive foundation inherited from Tweed models with emerging clean headroom that supported dynamic playing without excessive compression.^[16]^[17] By 1963, the Brownface design was replaced by the Blackface series, primarily to reduce manufacturing costs through simpler black control panels and to align with modernized aesthetics that appealed to a broader market.^[1]

Blackface Era (1963-1968)

The Blackface era marked a significant evolution in Fender amplifier design, beginning in mid-1963 with the introduction of black control panels featuring white lettering, black tolex covering, and silver-threaded grille cloth, which succeeded the cosmetic style of the preceding Brownface period.^[18] This aesthetic shift coincided with circuit standardization that emphasized reliability and tonal clarity, aligning with the rising popularity of rock 'n' roll and electric guitar in studios and live performances.^[19] Production ramped up during this time, with Fender outputting thousands of units annually from its Fullerton, California factory to meet growing demand, reflecting the company's peak pre-CBS efficiency before the 1965 acquisition by Columbia Broadcasting System.^[20] Key models from this era included the Deluxe Reverb, a 22-watt combo amplifier utilizing the AB763 circuit, which incorporated tube-driven spring reverb and vibrato (tremolo) effects for versatile clean tones suitable for both recording and stage use.^[20] The Twin Reverb, delivering 85 watts through the AA763 circuit with similar reverb and vibrato features, became a staple for louder applications, powering two 12-inch speakers with headroom that defined the era's pristine sound.^[21] Complementing these was the Princeton Reverb, a compact 12-watt model also based on the AB763 circuit, equipped with a 10-inch speaker and the same built-in effects, ideal for practice and smaller gigs.^[22] Circuit refinements, such as the ABC763 variant for enhanced vibrato response, along with ultralinear output transformers in select configurations, contributed to improved efficiency and dynamic range across these amps.^[23] These amplifiers gained widespread acclaim for their crystal-clear clean tones, characterized by a scooped midrange and sparkling highs, enhanced by the lush, dripping spring reverb and pulsating tremolo that added depth without distortion at moderate volumes.^[18] Artists like Jimi Hendrix prominently featured Blackface models, such as the Twin Reverb, in live settings and recordings during the mid-1960s, capturing their ability to handle overdrive while maintaining articulation in high-gain contexts.^[19] The era's high production volumes—exemplified by over 10,000 Twins alone between 1963 and 1968—solidified their role in professional environments, from Woodstock performances to studio sessions. By 1967, influenced by CBS's corporate oversight, Fender began transitioning to the Silverface era, gradually phasing out the black aesthetics and introducing cosmetic updates while retaining core circuits through 1968, marking the end of this golden period for pure Blackface designs.^[18]

Silverface Era (1967-1981)

The Silverface era of Fender amplifiers, spanning 1967 to 1981, marked a period of cosmetic and circuit refinements under CBS ownership, building on the Blackface circuits as a baseline while introducing changes aimed at modernization and cost efficiency. These amplifiers retained vacuum tube designs for most of the period but saw incremental updates that emphasized cleaner, louder performance suitable for the evolving rock and studio scenes of the late 1960s and 1970s. Production emphasized scalability to meet growing demand, though this came at the expense of some handcrafted quality hallmarks from earlier eras.^[3] Cosmetic updates defined the era's visual identity, beginning in mid-1967 with the introduction of silver aluminum control panels replacing the blackface variants, paired with black tolex covering and a new blue-and-silver grille cloth. Early models from 1967 to 1969 featured an aluminum "drip edge" trim around the speaker grille for a streamlined look, while 1968 saw the adoption of foil labels for logos and branding to enhance durability and aesthetics. By the 1970s, refinements included black line separations on the silver panels for improved readability of controls, particularly on models like the Twin Reverb, signaling transitional designs that retained some Blackface layout elements. These changes reflected CBS's push for a more contemporary appearance without altering core functionality.^[3]^[24] Key models during this era included the Silverface Twin Reverb, a continuation of the Blackface design delivering 85 watts initially and upgraded to 100 watts from 1968 to 1976 for greater headroom in live settings. The Vibroverb, at 40 watts with a single 15-inch speaker, offered versatile reverb and tremolo effects ideal for combo use, while the Concert provided 60 watts through a 2x10 configuration, emphasizing balanced tone for stage and recording applications. These amplifiers maintained Fender's reputation for clean, dynamic sound while incorporating era-specific enhancements like improved vibrato circuits.^[25]^[24] Circuit evolutions focused on reliability and performance. In the 1970s, silver-mylar capacitors were integrated into signal paths, contributing to a brighter, more articulate tone by reducing warmth and enhancing high-frequency clarity. Late-1970s models, such as higher-wattage Twins, adopted ultralinear transformers for increased efficiency and reduced distortion. Under CBS, production shifted toward automation to boost output volumes, but this led to quality inconsistencies, including variable component tolerances and occasional assembly issues that affected reliability toward the era's end.^[24]^[26] Tonal characteristics shifted toward edgier highs and greater headroom, diverging from the Blackface era's warmer midrange by prioritizing cleaner overdrive thresholds suitable for effects pedals and larger venues. This made Silverface amps popular in progressive rock and fusion contexts, though some players noted a loss of organic compression. As the last major run of vacuum tube Fender amplifiers before solid-state models dominated in the 1980s, the Silverface legacy endures for its transitional role, offering restorable classics that blend vintage appeal with modern usability at accessible prices for collectors and performers.^[3]^[24]

Solid-State and Hybrid Innovations

Early Solid-State Models (1960s-1970s)

Fender's entry into solid-state amplification began in 1966, motivated by the desire to offer more portable and cost-effective alternatives to traditional tube designs while maintaining compatibility with existing speaker cabinets. The company's first solid-state offering was the Bassman head, a 100-watt model that marked the shift to transistor technology for professional applications. This was quickly followed in 1967 by a broader lineup of solid-state amplifiers bearing familiar names from the tube era, including the Dual Showman, Twin Reverb, and Bassman, introduced at the NAMM show to capitalize on brand recognition.^[1]^[27] Key models in the late 1960s and 1970s included the 100-watt Dual Showman solid-state head, designed as a piggyback system with two channels (normal and vibrato) and compatibility with 2x15-inch JBL speakers for high-volume performance. The Twin Reverb solid-state combo, rated at around 85 watts with a 2x12-inch speaker configuration, aimed to replicate the clean headroom of its tube counterpart but with transistor circuitry. Lower-power options for practice and beginners emerged in the Zodiac series around 1969, featuring compact combos with 10- to 20-watt outputs and simple controls, often covered in faux alligator skin for a distinctive aesthetic. These models ran parallel to contemporary silverface tube amplifiers, providing budget-conscious options without sacrificing Fender's visual styling.^[1]^[28]^[29] Design features emphasized silicon transistors throughout the preamp and power sections, eliminating tubes entirely for reduced heat and maintenance, while incorporating built-in vibrato and reverb in higher-end models like the Super Reverb. Some units, such as the 1969 Super Showman, innovated with cascading channels, fuzz, and delay effects, attempting early tube tone emulation through discrete circuitry. However, the absence of tube warmth resulted in a brighter, more clinical sound profile compared to tube amps.^[1]^[27] The primary advantages of these early solid-state models were their lighter weight—often half that of equivalent tube amps—lower power consumption, and affordability, making them appealing for touring musicians and students seeking reliability without the fragility of vacuum tubes. Disadvantages included a harsher, less dynamic tone with brittle overdrive characteristics, as well as early reliability issues stemming from immature transistor technology and quality control problems during the CBS era.^[1]^[30] Production of pure solid-state models spanned from 1966 to around 1980, with manufacturing initially at Fender's facilities and later at the CBS-owned Gulbransen factory in Illinois, coexisting alongside tube lines until consumer preference for tube warmth led to their gradual phase-out in favor of emerging hybrid designs in the 1980s.^[1]^[31] In the 1980s, Fender explored hybrid designs blending solid-state and tube elements, such as the Performer series, which used solid-state preamps with tube power sections for improved reliability and tone emulation. These bridged the gap to later innovations.^[1]

Prosonic Series (1990s)

The Fender Prosonic series represented an effort by Fender to create a versatile all-tube amplifier that combined classic Fender clean tones with high-gain capabilities suitable for modern playing styles. Designed by Bruce Zinky, formerly of the Fender Custom Shop, the Prosonic was initially conceived as a Custom Shop project before entering standard production.^[32]^[33] Introduced in 1996, the lineup included combo amplifiers such as the 2x10 and 2x12 configurations, as well as a separate head unit, all rated at 60 watts RMS.^[32]^[34] At its core, the Prosonic featured a two-channel design with programmable switching, allowing seamless transitions between a sparkling clean channel reminiscent of Blackface-era Fender amps and a drive channel offering cascading gain stages for warm, crunchy overdrive up to high-gain distortion. Key innovations included a pull-boost function on the volume controls—borrowing from Randall Smith's Mesa/Boogie designs—to enhance overdrive versatility, an effects loop for integrating pedals, and built-in reverb for ambient depth. The power section utilized two 5881 (6L6-style) tubes in fixed bias, paired with a switchable rectifier system that offered solid-state rectification for 60 watts in Class AB mode (providing reliable, sag-free performance), tube rectification (5AR4/GZ34) for 50 watts in Class AB or 30 watts in Class A mode (introducing classic compression and breakup).^[33]^[32] This rectifier flexibility aimed to blend the punchy headroom of solid-state power delivery with the organic response of tube amplification, targeting players seeking tube-like tones without full sag limitations.^[33] Produced from 1996 to 2002 at Fender's Corona, California facility, the Prosonic series achieved limited commercial success primarily due to its premium pricing, which positioned it as a boutique-style offering in a market dominated by more affordable alternatives. Despite praise for its dynamic range—from pristine cleans to expressive high-gain leads—the amp's complexity and cost led to relatively low production numbers, making surviving units sought-after among collectors today.^[33]^[34]

Modern Developments and Reissues

21st Century Reissues and Modeling Amps (2000s-2025)

In the 21st century, Fender continued its tradition of reissuing classic tube amplifiers to meet demand for vintage-inspired tones, while simultaneously advancing digital modeling technology to offer versatile, portable options for modern players. The 2003 '65 Reissue series revived iconic Blackface-era designs, such as the Deluxe Reverb and Twin Reverb, featuring all-tube circuitry, Jensen speakers, and period-correct aesthetics to deliver the clean headroom and spring reverb associated with 1960s Fender amps.^[35] These reissues emphasized authenticity, with hand-wired components and vintage-style transformers, appealing to collectors and performers seeking reliable recreations of historical models.^[36] By 2013, Fender expanded its Custom series with the '68 Custom Vibro Champ Reverb, a 5-watt combo that incorporated a 10-inch Celestion G10 Creamback speaker, tube-driven tremolo, and digital hall reverb for enhanced portability without sacrificing the warm, chimey tone of late-1960s designs.^[37] The lineup grew in 2021 with the '68 Custom Pro Reverb, a single-channel 40-watt model featuring a lightweight Celestion Neo Creamback 12-inch speaker, added midrange control, and vintage-style vibrato, streamlining the original dual-channel layout for focused, high-headroom performance suitable for studio and stage use.^[38] Later that year, Fender introduced the single-channel Pro Reverb reissue, a 40-watt tube amp with simplified controls, spring reverb, and tremolo, prioritizing the pristine cleans and dynamic response of the Blackface era in a compact, gig-ready format.^[39] Parallel to these analog reissues, Fender pioneered hybrid and fully digital modeling amplifiers, beginning with the 2001 Cyber-Twin, a 2x65-watt stereo combo that combined tube preamp stages with digital signal processing for over 200 amp voicings, 28 effects, and motorized knobs for real-time parameter control, marking an early fusion of traditional warmth and programmable versatility.^[40] Building on this, the 2014 Champion series introduced affordable solid-state modeling with onboard effects like reverb, delay, chorus, and tremolo, available in models such as the Champion 20, which featured an 8-inch speaker and 12 amp voicings for practice and small performances.^[41] The Mustang series represented a significant leap in digital innovation, launching in 2015 with app-controlled functionality via the Fender Fuse software, enabling wireless preset management and tone customization across 24 amp models and 12 effects in compact combos like the Mustang I.^[42] The Mustang v.2 update that year refined the interface with improved signal processing and expanded presets, enhancing usability for beginners and pros alike. In 2017, the Mustang GT series elevated connectivity with Bluetooth integration and the dedicated Fender Tone app, allowing real-time adjustments, looper functionality, and access to community-shared tones in models like the GT 40, which included dual 6.5-inch speakers and Wi-Fi for firmware updates.^[43] By 2023, Fender integrated advanced digital modeling in the Tone Master Pro, a multi-effects workstation with over 100 amp and effects models, 6,000 impulse responses, and touchscreen control, incorporating sophisticated algorithms for precise tone emulation without explicit AI branding but enabling expansive sonic experimentation.^[44] Updates to the lineup in 2024 focused on the Mustang ecosystem, adding refined presets and enhanced app features for seamless integration with mobile devices.^[45] In 2025, Fender released the Blues Junior 30th Anniversary Amplifier, celebrating the model's legacy with updated features, alongside the LTX50 and LTX100 modeling amps, which offer expanded connectivity including Bluetooth and app control for versatile practice and performance.^[46]^[47] These developments reflected broader production trends toward portability and digital integration, with Mustang and Champion models incorporating USB audio interfaces for direct recording and lightweight designs under 20 pounds for easy transport.^[48] Post-2020, digital modeling amps saw increased adoption, driven by the pandemic's boost in home music-making; Fender reported overall instrument and amp sales exceeding $700 million in 2020.^[49] Tonal advancements in the Mustang GT series included multi-amp modeling with over 40 voicings derived from classic Fender circuits, plus 47 effects, allowing users to stack emulations like a '59 Bassman clean with modern delay for hybrid sounds unattainable in single analog amps.^[50] This emphasis on versatility positioned Fender's 21st-century offerings as bridges between vintage reissues and forward-looking digital tools.

Technical Aspects

Circuit Designs and Components

Fender amplifiers predominantly utilized vacuum tube technology in their early designs, evolving from single-ended Class A configurations in low-wattage models to push-pull Class AB setups for higher power outputs.^[51] Single-ended Class A operation, common in early small amplifiers, provided warm, compressed tones but limited efficiency and power, typically around 5-10 watts.^[52] In contrast, push-pull Class AB designs, adopted in larger models, improved efficiency and output by pairing tubes to handle positive and negative signal swings, reducing distortion while increasing headroom.^[53] Core vacuum tube components included 12AX7 preamp tubes for high gain and low noise in the initial signal stages, paired with 6V6 or 6L6 power tubes for output sections.^[54] The 6V6 tubes, beam tetrodes rated for lower power (around 15-20 watts in push-pull), delivered chimey cleans suitable for combo amps, while 6L6 tubes, handling up to 30-50 watts, provided greater dynamics and sustain in professional models.^[54] Early rectifier tubes, such as the 5Y3 or 5U4, converted AC to DC for powering the high-voltage stages.^[55] Key circuit elements formed the foundation for Fender's signature overdrive and tonal response. The long-tailed phase inverter, a differential amplifier using a shared cathode resistor, split the signal for push-pull operation, contributing to smooth overdrive by balancing gain and introducing even-order harmonics.^[15] This circuit's high input impedance and stability made it ideal for driving power tubes without excessive loading. The cathode follower, employed post-tone stack, acted as an impedance matcher with unity gain, buffering the signal to preserve frequency response and prevent tone loss from high-impedance sources.^[56] Notable passive components enhanced the amplifiers' distinctive sound. In Tweed-era models, Jensen Alnico speakers, such as the P10R, delivered warm mids and smooth compression due to their lightweight magnets, compressing dynamically under overdrive.^[57] Blackface amplifiers often featured Oxford ceramic speakers, like the 12T6, offering brighter highs and tighter bass with higher efficiency for clean headroom.^[58] Spring reverb tanks from Accutronics, typically 2- or 3-spring units with input impedances around 8 ohms, produced the iconic "dwell" and splash effects via electro-mechanical vibration, integrated via tube-driven recovery circuits.^[59] Transitioning to solid-state innovations in the 1970s, Fender incorporated transistor-based designs for reliability and lower cost. Transistor biasing in power sections used voltage dividers or diodes to set quiescent current, minimizing crossover distortion in Class AB operation.^[60] Op-amp preamps, often in inverting configurations, provided clean gain with low noise; the voltage gain A_v = -\frac{R_f}{R_i}, where R_f is the feedback resistor and R_i the input resistor, allowed precise control over tonal shaping.^[61] These elements enabled effects like simulated spring reverb without tubes, though they altered the organic breakup compared to valve circuits.^[62] Power output in Class AB stages followed the approximate formula for RMS power into a load: P = \frac{V^2}{2 R_{\text{load}}}, where V is the peak voltage swing and R_{\text{load}} the speaker impedance, highlighting efficiency gains over Class A by reducing idle dissipation.^[63] This evolution balanced tonal purity with practical performance across Fender's lineup.

Power Outputs and Tone Circuits

Fender amplifiers have employed a wide range of power outputs to suit various applications, from low-wattage practice amps to high-powered stage rigs. The classic Champ series, for instance, typically delivers around 5 watts, ideal for home use and characterized by its simple, responsive overdrive at low volumes. In contrast, larger models like the Twin Reverb deliver approximately 85 watts for the classic Blackface model, with later versions reaching up to 100 watts or more, enabling projection in large venues while maintaining headroom for clean tones. This scaling ensures compatibility with speaker loads, such as 8-ohm configurations, where efficiency is optimized through transformer matching to minimize distortion and maximize power transfer—typically achieving around 50% efficiency in tube-based designs. Tone circuits in Fender amps emphasize straightforward yet effective shaping, with the signature three-band EQ providing independent bass, treble, and midrange controls. This Fender 3-band EQ uses passive filters to adjust frequency response, allowing players to sculpt tones from bright and chimey to warm and scooped without complex active circuitry. For treble, a high-pass filter typically rolls off below 500 Hz with a gentle slope, preserving clarity while attenuating muddiness; the response can be approximated as H(s) = \frac{s}{s + \omega_c}, where \omega_c is the cutoff frequency. Bass controls employ low-pass filtering for added low-end punch, essential in models adapted for bass guitar. Vibrato effects in Fender amplifiers are implemented via oscillator-based tremolo circuits, modulating amplitude at rates of 6-8 Hz to create the pulsating "Fender swim." The depth of this modulation is governed by \Delta V = V_{carrier} \cdot (1 + m \cdot \sin(\omega t)), where V_{carrier} is the signal voltage, m is the modulation index (often 0.3-0.5 for subtle effect), and \omega corresponds to the LFO frequency. Early Blackface-era combos integrated tube-driven reverb and vibrato tanks, using 12AX7 tubes for signal mixing, while Silverface models shifted to solid-state opto-couplers for more consistent tremolo without tube sag. These combos remain a hallmark, blending artificial reverb springs with vibrato for ambient depth. Overdrive characteristics evolved with the introduction of master volume controls in the 1970s, allowing preamp distortion without cranking the power section, thus preserving speaker safety in high-wattage amps. Modern iterations incorporate pull-shift knobs on models like the '68 Custom Deluxe Reverb, enabling footswitchable boosts for lead tones while maintaining the classic circuit path. For bass adaptations, the Bassman 5F6-A layout modifies power outputs to around 40 watts with cathode-biased 6L6 tubes, emphasizing low-frequency response through tailored tone stacks that enhance string definition.

Cultural Impact

Notable Users and Iconic Recordings

Fender amplifiers gained prominence through their adoption by pioneering musicians across genres, beginning with early adopters in the 1950s. Western swing guitarist Bill Carson, a key collaborator with Leo Fender, tested prototype amplifiers during club performances, contributing to the development of Tweed-era models that delivered the warm, dynamic tones essential for Western swing ensembles.^[64] Similarly, rock and roll icon Buddy Holly relied on Tweed Fender amplifiers, including the TV Front Pro and Bassman models, to achieve his signature crisp, twangy sound on hits recorded at Norman Petty Studios.^[65] In the rock era, Jimi Hendrix elevated the Fender Twin Reverb's status with its use in studio recordings, notably providing the clean yet overdriven foundation for the 1967 track "Purple Haze" from Are You Experienced, where the amp's reverb and headroom captured his innovative fuzz and octave effects.^[66] Eric Clapton reportedly incorporated the Fender Deluxe Reverb during Cream's 1967 sessions for Disraeli Gears, yielding the bluesy, sustained tones that defined the supergroup's psychedelic rock sound.^[67] Modern artists continue to draw on Fender's legacy, with John Mayer employing the Hot Rod series, such as the Blues Junior, in live settings to replicate his smooth, overdriven blues tones influenced by vintage Fender circuits.^[68] Iconic recordings further highlight these associations, including Hendrix's "Purple Haze," which showcased the Twin Reverb's versatility in blending clarity with distortion. At the 1969 Woodstock Festival, multiple performers utilized Fender amplifier stacks, including Bassman models for bass rigs, contributing to the event's raw, high-volume sound amid challenging outdoor conditions.^[69]

Legacy in Guitar Music

Fender amplifiers have profoundly shaped the sonic landscapes of rock, blues, and country music through their distinctive tonal characteristics. The Tweed-era models, such as the 5E3 Deluxe, introduced warm overdrive tones that became foundational for blues, enabling expressive, gritty sounds that amplified the genre's emotional depth during the 1950s and beyond.^[70] In rock, the Blackface series, exemplified by the Twin Reverb, delivered pristine cleans and headroom that defined the clean, shimmering guitar tones of 1960s rock and roll, influencing countless recordings and live performances.^[71] For country, the compact Princeton models offered portability and balanced tones ideal for small venues and pedal steel integrations, contributing to the genre's twangy, articulate sound in the mid-20th century.^[72] The design innovations of Fender amplifiers have permeated the broader industry, inspiring widespread cloning and adaptation in boutique manufacturing. Circuits from classics like the Tweed 5E3 have been directly replicated or modified by builders such as Matchless, whose Spitfire model adapts the design for enhanced versatility, and Dr. Z, which draws on Fender architectures to create original high-end amps without exact copies.^[73] Fender's pioneering integration of spring reverb in the 1960s, first in the 1961 Vibroverb, established it as a standard feature across guitar amplifiers, influencing production lines from vintage reissues to contemporary designs.^[71] The 1965 sale to CBS for $13 million shifted Fender toward mass production, which temporarily diluted quality but spurred innovations in scale; however, the 1985 revival under FMIC restored artisanal focus, solidifying Fender's market leadership.^[74] In the modern era, Fender's legacy endures through digital emulations and sustainable practices. Plugins like AmpliTube's Fender Collection accurately model iconic amps such as the '65 Twin Reverb, allowing musicians to access these tones in software environments and extending Fender's influence to home recording and virtual setups.^[75] Leo Fender's 1992 induction into the Rock & Roll Hall of Fame as a non-performer underscores the amps' role in revolutionizing electric guitar sound.^[76]

References

[1]
A brief history of Fender amps - Guitar.com
Jul 11, 2022 · Fenders first solid-state amps started appearing in 1966. It wasn't just solid-state amps that Fender built, but reverb units and PA systems as ...
[2]
The Woodies: A History of Fender's First Amps
All Fender amps trace their lineage to three “woodie” models of 1946—the original Princeton, Deluxe (also called “Model 26”) and Professional. The amps appeared ...
[3]
The Evolution of Fender Amps | Reverb News
Starting from A$1,616.10Mar 6, 2014 · Through the '50s and into the post-'64 CBS era and beyond, the look of Fender amps evolved as new circuits and models were introduced and ...<|control11|><|separator|>
[4]
FENDER Guitar Amplifier Models
### Summary of K&F Amplifiers and Fender Transition
[5]
Tweed, Tolex, Two-Tone: A Guide to Amp Coverings - Fender
Tweed. The small original “woodie” Fender amps of spring 1946 had finished hardwood cabinets before Fender adopted its first fabric-covered cabinet design ...Missing: transition | Show results with:transition
[6]
Indispensable. Undeniable. The Legacy of the Champ - Fender
Like most Fender amps of the time, the Champion 600's TV-front designed changed to a new tweed-covered “wide-panel” style in 1953; earlier versions still said ...
[7]
The History of Fender's Ivy League Combo: The Princeton - InSync
4.9 24K · Free deliveryJan 24, 2023 · We explore Fender's most iconic 1x10-inch combo amp: the Princeton! Let's look at the history of this amazing mainstay of the Fender catalog ...Time for Tweed · Diminish the Distortion · The Princeton Hits Its PeakMissing: 12W 1950s
[8]
Fender 'Tweed' Deluxe: history of the definitive tweed amp
Mar 12, 2021 · Appearing in 1955, Fender's 'narrow panel' tweed amp range featured the now legendary 5E3 model. As per all previous versions, it runs on a ...
[9]
Pristine Cleans. Aggressive Overdrive. The Fender Twin Story.
Like most other Fender amps, the Twin exchanged its tweed covering for Tolex in 1960, but only after it seemingly “disappeared” for a few months starting in ...
[10]
Going Low: The History of the Fender Bassman Amplifier
The tweed era ended with the 1950s, however, and model 5F6-A was discontinued in 1960 when most Fender amps changed from tweed to a textured vinyl covering ...
[11]
Fender 5E3 Deluxe - Vintage Guitar® magazine
The Deluxe name first appeared on Fender's Model 26 “woodie” amps of 1946-'48, but we usually think of the line as beginning with the TV-front tweed amp that ...
[12]
The Fender Showman - Vintage Guitar® magazine
Around the time of the transition from brownface to blackface designs, Fender created a mammoth cab with two 15″ JBL D130F speakers, a rig that by 1963 would be ...
[13]
BF/SF Bassman | fenderguru.com
The Bassman sounds “browner” than the AB763-amps, particularly the AB165 model, and it has more preamp distortion and mids when the volume is turned up. The ...
[14]
How the Fender AB763 Blackface Deluxe Reverb Amp Works
Its long tail pair (LTP) phase inverter can drive the 6V6 power tubes to full distortion at high volume settings so it offers up plenty of power tube distortion ...
[15]
The Long-Tail Pair - Aiken Amps
The long-tail pair phase inverter is generally the best choice for a push-pull guitar amplifier. It provides the very good gain and balance, as well as extra ...Missing: AB | Show results with:AB
[16]
Fender Amp, Amplifier Serial Numbers - Superior Music
1953-1970 - (look for a 2 letter code stamped on the tube chart inside the back of the amp)- the first letter is the year, and the second letter is the month.
[17]
Please describe the Fender "Brownface" sound to me?
Oct 18, 2007 · I had a brown Princeton--more headroom, less overdrive and and less compression than a Tweed, more midrange, a little warmer and less sparkle ...Fender Brownface vs Blackface tone? | The Gear PageClassic Fender Clean Tone Amps with more Midrange focusMore results from www.thegearpage.net
[18]
A Guide to Black Panel Fender Amps | Reverb News
Starting from CA$1,911.82Jul 27, 2019 · In this guide, we'll learn a bit about each of the amps in the Blackface lineup, including performance attributes, key tech specs, and famous users.
[19]
Fender Super Reverbs from 1963 and '68 - Vintage Guitar® magazine
Among the many distinct eras of vintage-amp production, Fender's so-called “blackface” models are legendary. Made from late 1963 until '67, they're loved ...
[20]
https://mojotone.com/blogs/fender-field-guide/fender-blackface-deluxe-reverb
[21]
BF/SF Twin Reverb - fenderguru.com
Having two pairs of 6L6, the popular and traditional two-channel AB763 circuit design, a diode rectifier and enormous transformers (power & output), it offers ...
[22]
BF/SF Princeton Reverb - fenderguru.com
The Princeton Reverb is the smallest blackface/silverface Fender amp with both tremolo and reverb. With a 10 inch speaker run by a 12-15W dual 6V6 amp.<|control11|><|separator|>
[23]
AB763 Blackface Amp Model Differences - Rob Robinette's
The basic AB763 circuit has two channels, both with a Hi and Low input, two or three preamp gain stages, a high output long tail pair (LTP) phase inverter ...
[24]
Silverface Amps - 1967-1981 – VintageFenderAmpRepair.com
Oct 14, 2017 · These are the 70W and 135W model silverface amps. They have “ultralinear” transformers & more drastic circuit changes.Missing: cosmetic evolutions key
[25]
A Guide to Vintage Fender Amps | Reverb
Generally, vintage BP Fender amps are renowned for their smooth breakup, musical compression, prominent mid-scoop, and incredible build quality.
[26]
Silverface Fender Twin Reverb: Dud or Dynamo? - Premier Guitar
Oct 15, 2013 · Some silverface Twin Reverbs feature a master volume control with a push/pull switch for extra gain.Missing: evolutions solid- mylar brighter
[27]
Fender Solid-State Super/Reverb, Pro/Reverb, Twin/Reverb Amplifiers
Fender 1968 guitar and bass catalog. Page 41. Image of the Fender Solid-State Super/Reverb, Solid-State Pro/Reverb, Solid-State Twin/Reverb Amplifiers.
[28]
Fender Solid-State Super/Reverb, Pro/Reverb, Twin/Reverb Amplifiers - 1968 Fender catalog - page 40 >> Vintage Guitar and Bass
### Summary of Fender Solid-State Amplifiers (1968 Catalog, Page 40)
[29]
Fender Solid State Super Reverb Amplifier >> Vintage Guitar and Bass
### Fender Solid State Super Reverb Summary
[30]
Guitar 101: What Is a Solid-State Amplifier? Pros and Cons of Solid ...
Sep 2, 2022 · What Are the Disadvantages Of Solid-State Amplifiers? · Solid-state amps are not versatile. Tubes produce distortion when they operate. · Solid- ...Missing: early | Show results with:early
[31]
Fender Rivera-era guitar amps date and quantity info
Early in the year, the solid-state amps are introduced; they are all made at the CBS-owned Gulbransen organ factory in Hoopeston, Illinois. Sourcing of Fender ...
[32]
Fender Prosonic
### Fender Prosonic Summary
[33]
Fender Prosonic Review - RetroVille Guitars, UK
### Fender Prosonic Amplifier Summary
[34]
Fender Prosonic Amp 2-Channel 60-Watt Guitar Amp Head 1996
Originally designed by Bruce Zinky for the Fender Custom Shop, the Prosonic Amp found its way onto the standard Corona, CA production line from 1996 - 2001.<|control11|><|separator|>
[35]
65 Princeton® Reverb - Fender
In stock $4.99 deliveryFeatures · 12 watts · 10" Jensen® C10R speaker · Single channel and dual inputs · Long-spring Fender reverb and tube tremolo ("vibrato") · Classic Fender look ...
[36]
https://www.fender.com/products/65-twin-reverb
[37]
Fender '68 Deluxe reissue modded by Paul Rivera
In the 70's-80's Paul Rivera became known for extensively modding amps with sophisticated features like turning single channel amps into two channel amps ...
[38]
Why the Fender Bassman 4x10 is considered a holy grail amp
Jun 1, 2023 · In 1990, the 4x10 Bassman became the first tweed model reissued by Fender ... The reissue tweed Bassman was arguably more popular during the '90s ...
[39]
From Stage to Studio: The Fender Hot Rod IV Series
The Fender Hot Rod IV series features updated models with lighter cabinets, new speakers, and control enhancements, including Celestion A-Type and Jensen ...
[40]
Fender Blues Junior IV Guitar Amp
In stock $4.99 deliveryOne of the most-beloved small combo amps in the world, the Blues Junior IV features modified preamp circuitry, smooth reverb and classic looks.<|control11|><|separator|>
[41]
Hot Rod Deluxe™ IV
### Hot Rod Deluxe™ IV Specs Summary
[42]
What tubes are in my amp? - Fender Support
Tube types vary by amp model. For example, the 57 Twin uses 2-5U4GB/2-6L6GC/4-12AX7GA, while the 59 Bassman LTD uses 2-6L6GE/3-12AX7/1-5AR4.
[43]
'65 Twin Reverb® – Fender
$$4.99 delivery 30-day returnsFeatures · 85 watts · Dual 12" Jensen® C-12K speakers · Dual channels (normal, vibrato) · Fender reverb and tremolo ("vibrato") · Tilt-back legs · Classic Fender look ...Missing: Silverface output
[44]
68 Custom Vibro Champ® Reverb - Fender
$$4.99 delivery 30-day returnsThe '68 Custom Vibro Champ Reverb has 5 watts, hall reverb, 10" speaker, tube-driven tremolo, and controls for volume, treble, bass, reverb, speed, and ...Missing: reissues 2000s- 2003 2013 2021
[45]
First Look: Fender '68 Custom Pro Reverb - Premier Guitar
May 14, 2021 · Fender's modern take on the classic amp adds a midrange control, ditches the "normal" channel, and substitutes the two speakers of yore with a single Celestion ...
[46]
Fender '68 Custom Pro Reverb 1x12-inch 40-watt Tube Combo Amp
In stock Rating 4.0 (33) Loaded with a 12AX7 preamp section, 6L6 power tubes, and built-in spring reverb and tremolo, you've got every classic Fender amp tone at your fingertips.
[47]
Effects…in an Amplifier! - Premier Guitar
Oct 13, 2008 · In 2001, Fender introduced their modeling guitar amplifier called the Cyber Twin. This hybrid chassis (containing both tube and solid-state ...Missing: 2014 | Show results with:2014
[48]
FENDER CHAMPION20 Champion 20 Guitar Amplifier
- Single 8" Fender Specially Designed Speaker. - Onboard Effects include Reverb, Delay, Chorus and Tremolo with FX Level Control Dial. - Controls Channel 1: ...
[49]
New Mustang GT 2.0 Amplifier Features | Fender Guitars
Now, Fender has unveiled an update to the Mustang GT's firmware that includes new icons, simplified menus, an advanced needle-style tuner mode and updated ...Missing: 2015 controlled, 2015, Fuel 2024 AI 2023
[50]
Fender Launches Mustang GT Series & Tone App - Premier Guitar
May 5, 2017 · The new app allows users to manage presets, as well as make changes and play in real-time through the connected Mustang GT amplifiers. Players ...
[51]
FENDER CONTINUES LEGACY OF BOUNDLESS SONIC ...
Oct 3, 2023 · This highly anticipated amp modeling workstation will allow players to harness endless tonal possibilities, all contained in a powerfully ...
[52]
Fender Press Releases & Products Updates | Fender Newsroom
Jul 1, 2024 · Fender Musical Instruments Corporation unveils new product innovations for summer 2024 across electrics, acoustics and accessories.
[53]
Contemporary Digital Guitar Amplifiers - Fender
$$4.99 delivery 30-day returnsDiscover Fender's Contemporary Digital Guitar Amplifiers, blending cutting-edge tech with legendary Fender tones for versatile sound options.
[54]
Fender sales boom as guitar playing surges during the pandemic
Nov 21, 2020 · Fender guitar sales have grown 17% during the pandemic and are expected to top $700 million this year as housebound consumers look for new ...Missing: amps | Show results with:amps
[55]
Guitar Amps Market Size | Global Analysis [2033]
The adoption of digital modeling amplifiers has surged, with a 25% increase in sales in 2024. These amps utilize digital signal processing (DSP) to emulate ...Missing: 2020 | Show results with:2020
[56]
Fender Mustang GT 40 40-Watt 2x6.5" Modeling Guitar Combo
Free delivery 30-day returnsPacked with 21 classic amp models—everything from the renowned '59 Bassman to modern metal—and 46 different effects, the Mustang GT 40 can easily recreate ...
[57]
Class A vs Class AB - Amps - Harmony Central
Oct 30, 2015 · Class A amps are better known as "Single Ended" and use a single power tube. The highest wattage they can produce is half of what a power tube is rated for ...
[58]
https://mojotone.com/blogs/fender-field-guide/fender-blackface-bassman
[59]
Class AB Amplifier Design and Class AB Biasing
A Class AB amplifier can be made from a standard Class B push–pull stage by biasing both switching transistors into slight conduction, even when no input signal ...Missing: Fender evolution
[60]
Your Complete Guitar Amp Tube Guide - Equipboard
Aug 26, 2025 · Fender amps usually combine 12AX7 preamp tubes with 6L6 or 6V6 power tubes. This produces sparkling cleans with excellent headroom, scooped mids ...
[61]
[PDF] Choosing and Using Vacuum Tubes - fmicassets.com
This guide includes replacement tubes for hundreds of amplifiers, covers tube types, and includes an introduction to vacuum tubes.
[62]
A Crash Course on Fender Amplifiers - Tape Op
Medium-to-large narrow panel amps (Pro, Bandmaster, Super, Bassman, etc.) make use of a cathode follower after the tone stack. As a result, the tone controls ...
[63]
P10R - Jensen Loudspeakers
The P10R is very important in the history of Jensen speakers. Its shimmering, yet throaty and vibrant tone is one of the signatures of the Tweed era.
[64]
https://reverb.com/news/interview-western-swing-pioneer-bill-carson-on-the-early-days-of-fender
[65]
Accutronics Reverb - Tube Amp Doctor
Accutronics reverb tanks are built into legendary amps like Fender®, Vox®, and Peavey®, delivering the lush reverb tone guitarists worldwide love. Models like ...
[66]
[PDF] Solid-state Guitar Amplifiers
This book covers solid-state guitar amplifiers, including integrated circuits, tubes vs transistors, and a basic intro to power amplifiers.
[67]
Inverting Operational Amplifier - The Inverting Op-amp
The equation for the output voltage Vout also shows that the circuit is linear in nature for a fixed amplifier gain as Vout = Vin x Gain. This property can be ...
[68]
Solid-State Smackdown: Six Vintage Transistor Amps - Premier Guitar
Jul 11, 2019 · But this '70s creation had a solid-state preamp circuit. In later models, the 12AX7 phase inverter tube was also replaced with solid-state ...Missing: op- | Show results with:op-
[69]
calculating output wattage of class AB amp - All About Circuits Forum
Aug 14, 2022 · It's simply V^2/R where R is the load and V is the RMS output voltage OR V^2/(2R) where R is the load and V is the peak output voltage.Class AB Amplifier Outputclass ab amplifier, 30 watts rms outputMore results from forum.allaboutcircuits.comMissing: guitar | Show results with:guitar
[70]
Interview: The Man Leo Fender Trusted to Test the | Reverb News
Oct 3, 2019 · I interviewed Bill Carson (1926–2007) when I was researching my first book about Fender in 1992. Bill was a Western swing guitarist who ...Missing: Tweed | Show results with:Tweed
[71]
Buddy Holly | Equipboard
$$4.90 deliveryBuddy Holly owned a Fender TV Front Pro amplifier, similar to the one owned by Norman Petty of Norman Petty Studio. According to Mike & Mike's Guitar Bar, both ...
[72]
Jimi Hendrix Amp Settings - Guitar Chalk
Jan 15, 2025 · A Tele should sound perfect on Purple Haze because that is what Jimi used to record that song, as well as Fire and Foxy Lady. His lone Strat was ...
[73]
Fender Deluxe Reverb 1966 Black EX CREAM ERIC CLAPTON ...
Out of stockA 1966 Fender Deluxe Reverb extensively throughout the recording sessions that produced Creams now famed blues jazz fusion psychedelic masterpiece.
[74]
John Mayer's Guitars, Gear & Pedalboard - Equipboard
$$4.90 deliveryJohn Mayer uses the Fender Hot Rod Series Blues Junior 15W 1x12 Tube Guitar Combo Amp during his live performances. more. Find it on: Sweetwater ...
[75]
Basses and Amps of Woodstock. 50th Anniversary Thread
Aug 15, 2019 · Most of the basses were Fender but there were some other interesting basses. Also saw a few Sun Coliseums among the Ampegs and Bassmans.
[76]
How Amplification Changed The Blues - Blues Guitar Insider
Amplification made guitars lead instruments, creating a new, edgier tone, and the blues would never be the same.
[77]
Fender Amp Eras: A Complete Guide from Tweed to Modern
Feb 10, 2025 · In 1961, Fender introduced the Vibroverb - their first amplifier to feature on-board reverb. This innovation would become a standard feature on ...
[78]
https://acousticyard.com/blogs/musicians-blog/fender-guitars-rock-blues-country
[79]
5 Classic Amp Circuits and Their Modern Boutique | Reverb News
Nov 5, 2018 · Amps from highly regarded boutique makers such as Matchless and Divided by 13 have adapted the 5E3 circuit to their Spitfire (with a different ...Missing: influence | Show results with:influence
[80]
Fender and the CBS Takeover | Reverb News
Mar 6, 2014 · It was in 1965 that management of Fender transferred to the CBS corporation who had purchased the company from Leo Fender for 13 million dollars.
[81]
1965-1985 | The Fender Stratocaster During the CBS Era | GC Riffs
Jul 18, 2024 · By 1984, CBS was looking to sell Fender and divest itself of all its music gear holdings. Layoffs began in earnest, and in February 1985, CBS ...
[82]
How guitar brands are working towards sustainable tone
Mar 4, 2024 · We grind down leftover plastics and reuse the material. We also recycle copper and other metals at a local recycling facility.” Raising ...