9/16/2023 0 Comments 1977 fender musicmaster ampGradually the news spread that the Musicmaster Bass, while doing little for bass amplification, could flat scorch with a guitar, a situation which was something of a mirror of Fender’s initial bass amp offering, the Bassman. Somewhere along the line, however, a guitarist was hard up for something to power his six string, and a guitar got plugged into one of these things. Created as a practice amplifier for bedroom work, the amp really doesn’t do much at all for bass, with many bassists feeling that above 4 on the volume knob there really just isn’t much to it. One particular piece of equipment that illustrates this point well is Fender’s Musicmaster Bass amplifier. As is often the case, those low-dollar pieces of past years that got passed over so readily have become items of value to players these days. In the 70s Fender produced a line of budget music gear under the “Musicmaster” name. You are looking at a 1977 Fender Musicmaster Silverface Combo Amp. Up for Sale is a 1977 Fender Musicmaster Bass / Guitar Amp! *all returned items must be in the same condition they were at the time of sale. If after 14 days you are not completely satisfied with your purchase, please return it for a full refund.Peace be with you. All of our items have a 14 day return policy. Some of the changes from the AA568 were reverted in October, 1969, yielding the AA1069 circuit, but many of the changes remained in place.At top 40 guitars our customers satisfaction is our first concern. Unfortunately, the tube chart inside the amp head cannot be reliably used to differentiate the AB763 from the later circuits, as Fender continued using the older tube charts for a while after changing the circuit configuration. The circuit and cosmetic changes didn't happen at the same time some 1967 and early 1968 Bandmasters still possessed the blackface AB763 circuitry. It is referred to at times as the " silverface" circuit, referring to the brushed aluminum control plate used from 1968 to 1974. The AA568 version (introduced May, 1968) was met with popular dislike by Fender's customers. Later "silverface" amps retrofitted to this circuitry are described as having been "blackfaced," a reference to the black faceplate used on these amps during much of this era. Some 1964 blackface Showmen were still covered in blonde Tolex rather than the usual black. The complex brownface "harmonic vibrato", however, was replaced by a simpler electro-optic oscillator. The AA763 (July 1963) and improved AB763 (March 1964) ("blackface") circuit is arguably considered the "best" circuit version produced for this amp by collectors and aficionados. The new model was covered in Tolex rather than "tweed " still a combo in brown Tolex for 1960, and then a blonde-covered head-and-cab piggyback 1961-63. The 6G7 and revised 7-A circuit used the long-tail pair phase inverter introduced with the 1957 Bassman, used a solid-state rather than a tube rectifier, and also included a vibrato that is heralded as Fender's best by many enthusiasts. "Blonde" aficionados feel this circuit has superior tonal characteristics when overdriven, to the AB763 circuit. The circuit was used from 1960 until July 1963 when the "AB763" circuit was introduced. The 6G(n) ("brownface") circuit was used in several Fender amplifiers, including the Bandmaster. Phase inverter changed to cathodyne (concertina) type. Negative feedback and filter choke added, and the output section given fixed (grid) rather than cathode bias. the 6SC7, to nine-pin mini-tubes of the 12A(n)7 family, as well as the introduction of the floating-paraphase inverter. The D-series circuits represented Fender's shift from octal preamp tubes, e.g. Like the other larger Fender amps, the Bandmaster used cathode-biased 6L6G output tubes, a 6SC7 paraphase inverter, and two more 6SC7s in the preamp with a 5U4 rectifier. The first Bandmaster was in all respects almost identical to the Fender Pro, a dual-6L6 26-watt amp with a 1x15 speaker, with one difference: separate treble and bass controls, where the Pro like all other Fender amps to that time only had a single "Tone" knob. Transition models had this period features with smooth blonde tolex covering/sparkle gold grille
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