The tone was pretty good-all of a sudden, you could hear the bass guitar, without a lot of buzz or distortion. And, as the popularity of electric music continued to expand, the 50-watt power section and pair of heavy-duty 12″ speakers set the standard for bass. Each channel had volume, treble, and bass controls, as well as individual voicing and preamp designs for optimum sound with bass or guitar/microphone.
(While some of the Fender piggyback amps had tilt-back legs and fasteners to attach the head, no self-respecting rock player of the era set his speaker bottom on its side!) The Bassman’s all-tube amplifier design included dual channels, one marked BASS and the other NORMAL-implying, one assumes, that playing bass was somehow abnormal. This amp featured the relatively new (at the time) piggyback design, with separate amp head and speaker bottom, which provided flexibility as well as an illusion of size. In 1964, if you were serious about your music, your amp of choice was a “blackface” Fender Bassman (so called because of the black paint on its front panel). At this time, Leo and company had some 15 years of amp-building experience under their belts, and they were building what proved to be perhaps the most durable-and desirable-amplifiers ever made. featured amps manufactured in California by Fender. While many of the English groups were using strange gear made by Vox, most music stores in the U.S. Suddenly, everybody was learning to play guitar, bass, or drums, and combos were forming in every town across the nation. Let’s take a look at some of the more memorable designs they came up with during that turbulent decade.Īs the mid-’60s neared, a phenomenon called the “British Invasion” occurred. Finally, in the early 1960s, engineers began to turn their attention to the problem of amplifying this “new” instrument. Even the early Fender bass amps, including the ’59 Bassman 4×10, had open-back enclosures that produced little more than a muddy approximation of the instrument’s true sound. For a decade, bassists had to make do with guitar (or accordion) amps ill-suited to reproducing low-frequency sounds. Starr’s 4th Ludwig drumkit with 5th drop T logo drumheadġ962 Epiphone Casino ES-230TD (studio only)Īlthough the bass guitar was introduced in 1951, bass amplifiers lagged far behind. Both have 6G6-B circuit.ġ964 Rickenbacker 4001S bass (studio only)
#1967 bandmaster pro
(1965) to Abbey Road (1970) so that is not too bad 🙂ġ961 Pro Reverb and 1963 Bandmaster. Speakers their sound dominated Beatle recordings from Rubber Soul So, although the Utah speakers were not the best Most creative years, rather than the iconic Vox which dominated theirĮarly years. So, the 1964 Bassman isĪctually the “real” amp used by The Beatles in the latter years and
Harrison documentaries and it was even on stage during the Concert for Is all through the Lennon Imagine films and documentaries and also the You will always see it there (even in the Apple offices at times), it If you look at any Beatles documentary from 1967 It even became George’s main amp when they didĪntholody and Real Love/Free As A Bird (you will see it in the Lennon solo albums when George was there and then George used it as This amp was then used on a few of the early John George Harrison shared it (sometimes playing their guitars through theĪmp at the same time) and from early 1967 George Harrison took it overĪs his main amp. Main bass amp from 1965 to mid 1967 (he did use a Vox during this timeīut not as much as the Bassman). The amp was first used by Paul McCartney as his What a lot of people do not know is that the 1964 6G6-Bīassman with Utah Speakers was actually the most recorded amplifier
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