Found out that there were no other changes, other than the knobs, grille cloth and the input transformer (changing the input transformer will convert the voltage correct? Or have I got that wrong?) in any case I plan to get some of period correct cream barrel knobs and maybe even replace the frills with an aged gold sparkle to get it looking like it should.
I pulled the trigger for $1200, I figure it's a decent deal given it's Australia, there can't be many tuxedo Bassmans in Australia, and the minor mods don't worry me so long as it sounds right. I'm pretty excited about this amp, have heard they are tone machines! I look forward to restoring it back to its vintage appearance.
Bassmans with presence knob
-
nrs24985
- PAT. # 2.972.923
- Posts: 234
- Joined: Tue Jul 27, 2010 3:53 am
-
GuitarA
- PAT PEND
- Posts: 1
- Joined: Wed Sep 27, 2023 8:00 am
Re: Bassmans with presence knob
I had a black Bassman head and black 2x12 cab in the late 60's. It had a Presence knob and most people I know never heard of it. I used it with an ES 330 and man, it was a great sounding amp. I sold it and the 330 - Will never do THAT again! On WIKI: "In late 1960, Fender introduced a completely redesigned model 6G6 Bassman Amp, using the "piggy-back" design, in which the amplifier chassis is housed in a small cabinet, attached by metal clips to a larger separate speaker enclosure.
The early models were called "Brownface" because of the dark brown color used on the control panel. The 6G6 model was covered in rough Blonde colored Tolex material with Oxblood colored grill cloth. It had a single GZ34 rectifier, two 5881/6L6GC power tubes and four 12AX7 preamp tubes. The output was 50 watts at 8 ohm into a single 12 inch speaker, with a "Tone Ring" baffle in the speaker cabinet. In early 1961, model 6G6-A was introduced with a solid state rectifier replacing the GZ34, and two 12 inch speakers with a conventional baffle in a slightly larger cabinet (wired in parallel) with a 4 ohm output. In 1962, model 6G6-B was introduced, which incorporated circuit changes but used the same speaker configuration. In 1963 smooth Blonde Tolex covering was used instead of the early rough texture cover, and a light tan grill cloth. In late 1963, Fender changed the cosmetics to what is commonly known as the "blackface" scheme. This amp still had the presence knob and same circuit (designated 6G6-B) as the smooth Blonde Tolex Bassman, but the faceplace was now black, the Tolex was black, and the grillcloth had moved to a silver cloth with black thread. The logo had also transitioned from the flat cast tin Fender with the brown paint in the tail, to a plastic logo with faux chrome and more 3-D shape." 60s Bassman
The early models were called "Brownface" because of the dark brown color used on the control panel. The 6G6 model was covered in rough Blonde colored Tolex material with Oxblood colored grill cloth. It had a single GZ34 rectifier, two 5881/6L6GC power tubes and four 12AX7 preamp tubes. The output was 50 watts at 8 ohm into a single 12 inch speaker, with a "Tone Ring" baffle in the speaker cabinet. In early 1961, model 6G6-A was introduced with a solid state rectifier replacing the GZ34, and two 12 inch speakers with a conventional baffle in a slightly larger cabinet (wired in parallel) with a 4 ohm output. In 1962, model 6G6-B was introduced, which incorporated circuit changes but used the same speaker configuration. In 1963 smooth Blonde Tolex covering was used instead of the early rough texture cover, and a light tan grill cloth. In late 1963, Fender changed the cosmetics to what is commonly known as the "blackface" scheme. This amp still had the presence knob and same circuit (designated 6G6-B) as the smooth Blonde Tolex Bassman, but the faceplace was now black, the Tolex was black, and the grillcloth had moved to a silver cloth with black thread. The logo had also transitioned from the flat cast tin Fender with the brown paint in the tail, to a plastic logo with faux chrome and more 3-D shape." 60s Bassman