Professional Documents
Culture Documents
Voyageur Press
DEDICATION
To Daniel Falla
Acknowledgments
My thanks to Brock Kline, who let me use his Super Reverb reissue amp for some of the
modifications in this book. Thanks as well to Robyn Orsini, Jason Farrell, and Jake Hill at Fender
Musical Instruments Corporation for all oftheir kind assistance.
First published in 2011 by Voyageur Press, an imprint of MBI Publishing Company, 400 FirstAvenue
North, Suite 300, Minneapolis, MN 55401 USA
Copyright 2011 by Jeffrey Falla
Photography copyright 2010 by Aurora Johnson except where noted.
All rights reserved. With the exception of quoting brief passages for the purposes of review, no part
of this publication may be reprod uced without prior written permission from the Publisher.
The information in this book is true and complete to the best of our knowledge. All recommendations
are made without any guarantee on the part of the author or Publisher, who also disclaims any
liability incurred in connection with the use of this data or specific details.
This publication has not been prepared, approved, or licensed by Fender Musical
Instruments Corporation.
FENDER , BAND-MASTER, BASSMAN , CHAMp, TWIN REVERB , SUPER REVERB ,
BANDMASTER'", TWIN AMP '", DELUXE'", HOT ROD DELUXE'", SUPER-SONIC'", STRAT,
STRATOCASTER, TELECASTER, TELE, and the distinctive headstock designs commonly found
on the STRAT and TELE guitars are trademarks of Fender Musical Instruments Corporation and are
used herein with express written permission. All rights reserved. FMIC is not affiliated in any way
with the author or publisher, nor does FMIC endorse the modifications to FMIC products discussed
herein.
Voyageur Press titles are also available at discounts in bulk quantity for industrial or salespromotional use. For details write to Special Sales Manager at MBI Publishing Company, 400 First
Avenue North, Suite 300, Minneapolis, MN 55401 USA.
To find out more about our books, visit us online atwww.voyageurpress.com.
ISBN 978-0-7603-3847-6
Digital edition: 978-1-61059-765-4
Softcover edition: 978-0-7603-3847-6
Library of Congress Cataloging-in-Publication Data
Falla, Jeffrey, 1958How to hot rod your Fender amp : modifying your amplifier to get magical tone / Jeffrey Falla.
p. cm.
Includes index.
ISBN 978-0-7603-3847-6 (sb: alk. paperl
1. Guitar amplifiers. I. Title. ML1015.G9F46 2011
787.87'192--d c22
2010028256
Printed in China
Disclaimer:Tube amplifiers contain very high voltage that can cause injury or death. These
voltages can be stored in an amplifier's capacitors after turning off the power. Do not open up an
amplifier, do not attemptto repair an amplifier, and do not attemptto modify an amplifier unless
you are absolutely certain of what you are doing. Many ofthe procedures detailed in this book are
meant for individuals with knowledge of electronics and proper safety procedures. The author and
the publisher accept no responsibility for any destruction of property or for any personal injury,
accident, or death.
On the title page: Fender's '57 Tweed Twin Reissue amp with a 1952 Fender Telecaster Reissue .
CONTfNTS
6
Chapter 1
Choosing an Amp
Chapter 2
16
Chapter 3
40
Chapter 4
Bias
52
Chapter 5
76
Chapter 6
92
Chapter 7
Reverb
120
Chapter 8
132
Chapter 9
Adding Gain
146
Chapter 10
162
Chapter 11
Switch Boxes
174
Resources
182
Index
182
chapter
CHOOSING AN AMP
The history of Fender is the story of a quest for clean
amp sound, culminating in four-tube 100-watt units,
such as the Twin. Most modifications to Fender amps
have represented attempts to restore the distortion
by going back in history-"blackfacing the silverface" is a case in point. In this book we'll not only
discuss these modifications, we'll go beyond them.
proves that high-quality artisanship and skillful manufacturing are alive and well in the United States.
The era of the blonde and brownface Fenders ran
from 1960 to 1963, when the amplifiers were covered
with blonde or brown tolex. These were innovative
and transitional amplifiers with the introduction of the
separate head and speaker cabinet models, the introduction of vibrato and reverb circuitry, silicon rectifiers,
and a fairly unique tone stack that would evolve into
the famous three-band equalizer that helped define the
Fender sound in the 1960s and early 1970s.
Blackface models typically date from 1963 to 1967,
with slight date variations according to model. The
The original tweed Deluxe is considered by many guitarists to be the amplifier with the
quintessential vintage sound. Steven Seagal Collection/Rick Gould
Opposite: Fender's classic tweed Bassman was created as a bass amp but quickly became the favorite of guitarists as
well. The amp has been reincarnated as the '59 Bassman Reissue, show here in the LTD "lacquered tweed" edition.
Fender Musical Instruments Corporation
'--
The blonde tolex Fender amps mark the transition from tweed to blackface. Shown here is a 1962 Tremolux head and
matching cabinet. Oliver Lieber Collection/Rick Gould
Fender's great blackface reissue amps-such as these Twin Reverbs-look like the originals, but the mass-produced
circuit boards make them more difficult to hot rod. Fender Musical Instruments Corporation
to modify due to their printed circuit boards and substandard jacks and potentiometers, which are attached
directly to printed circuit boards. Some intermediate
to advanced modifications involve changing potentiometers, for instance, and while the procedure proves
fairly straightforward on a silver, it can be a nightmare
on a reissue. Yet, the reissues can be hot rodded, and
to that end, I've included a number of modifications
for not only the blackface reissues but also the tweed
Bassman reissue.
Other less desirable choices for modifying include
newer tube amps, such as the Hot Rod Deluxe and
Deville. In addition to printed circuit boards with
'--
The Hot Rod Deluxe-such as this Texas Red special with extension cabinet-and its big sibling, the Hot Rod Deville, can
be re-voiced without much trouble. Fender Musical Instruments Corporation
10
11 -
'--
Stevie RayVaughan "plays" his #1 Stratocaster at the Keystone Berkeley on August 19, 1983. Behind him is his
famous hot-rodded '64 blackface Vibroverb amp, getting an equal sonic workout. Clayton Call1RedfernslGetty Images
12
13
'--
Neil Young performs with his legendary 1953 Gibson Les Paul "Old Black" on stage at Trent FM Arena on June 23,
2009 in Nottingham, England. Steve Thorne/ Redferns/ Getty Images
14
Neil Young's Old Black and his Martin acoustic rest in front of his lineup of vintage Fender tweed Twin amplifiers and
his tweed Deluxe (left) on stage at Munich's Olympiahalle on June 17,2009. Sitting on top of the Deluxe is the device
known as the "Whizzer;' a servo-actuated mechanism designed for Young. The Whizzer allows him to automatically
control the settings of the amp's tone and volume controls while playing . Stefan M. Prager/Redferns/Getty Images
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chapter
Electrical Currents
In the most basic term, current refers to the flow of
electrons. Voltage is the force that causes the electrons
to flow, and resistance is opposition to the flow of electrons. A common analogy for the relationship between
these concepts involves a water faucet. When the valve
is turned off, no water flows, but instead is stored
in the pipe, much like voltage stored in a battery.
Turning the valve slightly causes water to flow in a
trickle; turn the valve farther and water gushes. By
analogy, then, the flow of water represents the flow
of electrons or current. The pressure behind the valve
causing the water to flow represents voltage. The
valve itself presents opposition to the water flow in the
paradigmatic manner that a variable resistor opposes
the electron flow.
This analogy brings up another definition of voltage: As a force, voltage represents a difference in
potential that causes current to flow. In our analogy,
the water pressure in the pipe is greater than the air
pressure outside the faucet. This difference in potential
causes the water to flow from a high-pressure area to a
low-pressure area. The difference in potential regarding voltage is between a negative charge or potential
and a positive charge or potential. Electrons flow from
negative to positive.
As for measurement, current, signified by the letter I, is measured in amperes or amps, abbreviated
17 -
18
removing the resistor from the circuit because electricity always takes the path of least resistance. Therefore,
when placing the meter leads on each side of an incircuit resistor, the meter will only read the value of
the resistor if it is lower than the resistance of the
associated circuit, that is, the path from the meter lead
away from the resistor, through the circuit, and back
in to the other lead. Yet, measuring resistance doesn't
always mean measuring resistors. For instance, the
resistance setting is used to test for open circuits (such
as testing if a fuse is blown) or testing for a complete
circuit (such as testing the center conductor of a guitar
cable by placing a meter lead at the jack center points
at each end of the cable).
To test for closed or open circuits, or overall resistance of a portion of a circuit, place a meter lead at one
end of the component or to whatever you'll be reading
through and the other meter lead to the other side of
the component or circuit. Move the range setting to a
higher or lower scale to get an accurate reading, unless
you are measuring for a completed circuit or an open
circuit, in which case use a low range. Don't let your
fingers touch the metal tips of the meter leads because
the resistance of your body can affect readings of high
resistance. Measuring resistance also means measuring continuity, which means connectivity as in a closed
or open circuit.
When measuring DC voltage, place the negative
lead (black in color) on a ground, usually the chassis. You might use an alligator clip to attach it to the
ground terminal of the power cord (usually the green
wire from the power cord attached to the chassis). Set
the voltage to a higher level than the voltage you expect
to measure, turn on the power to the amplifier and let
it reach operating conditions, and carefully place the
positive (red) lead to the point you want to measure.
When measuring an unknown voltage without an
auto-ranging meter, place the meter on the highest
range, measure the voltage, and if the reading is too
low, lower the range and measure again. For example,
suppose you are measuring an unknown DC voltage,
and after placing the meter range on the 1,000-volt,
you read 20 volts. You can now lower the range to the
200-volt range to get a more accurate reading of the
20 volts.
If you are unsure of whether you are measuring AC
or DC voltage, place the meter on AC at the highest
range; if nothing shows up (or a low voltage), set the
meter to DC. If you read nothing here, lower the range.
If you still read nothing, then go back to the AC setting
and measure the voltage as low AC.
Be aware that the voltage inside a guitar amplifier
can be lethal. Practice extreme care when measuring voltage. If you have any misgivings, follow your
instincts and don't measure live circuits. Furthermore,
be aware that when you turn off the power to an
myriad of inexpensive electronic project kits are available online at such places as electronkits.com, canakit.
com, and qkits.com. Another source for practice circuits could be broken radios, tape decks, televisions,
or any number of consumer electronics goods that we
humans throw in the trash hourly. With a broken piece
of electronics you can also practice desoldering, which
is as important to learn as soldering. One major difference between learning soldering skills and learning
guitar techniques is that learning to solder generally
takes less time.
For a proper solder joint, the surfaces that will
be soldered (be they wire or component lead) need
to be free of oxidation. A few swipes with a piece of
sandpaper will clean a tarnished surface. Make sure the
soldering iron is hot. Usually about five minutes proves
sufficient. Once the iron is hot, wipe the tip clean with
a damp sponge or rag. This cleaning process should be
performed periodically while soldering. Each time you
clean the tip make sure to "tin" it by melting a small
amount of solder on the tip and coating it.
Next, set the joint to be soldered by mechanically connecting the wires or leads. With the iron in
one hand and solder in the other, hold the iron to the
joint and melt the solder onto the joint. Essentially,
you want to avoid melting the solder on the tip of the
iron and having it drop onto the joint. Rather, the trick
involves heating the joint and allowing the solder to
flow over it by melting the solder on the area of the
joint right next to the iron. Do this somewhat quickly
but not so quickly that the solder doesn't flow evenly.
Such poor technique can result in a cold solder joint
that won't conduct electricity properly. The knack of
soldering involves balancing the contact time on the
joint with adequate solder coverage. By the way, a cold
solder joint can occur for a variety of reasons, the most
common being moving the component lead or wire
before the solder hardens (which normally takes only
a second or two) and not allowing the solder to completely flow over the joint. In either case the solution
is easy: Simply reheat the joint. A cold solder joint
might not be easy to immediately identify. Typically,
it appears grainy and often
slightly pitted, while a
decent solder joint has a
smooth surface.
The counterpart to soldering is de soldering. As
the name implies, de soldering means removing solder from a joint so that a component or wire can be
removed. In most cases removing a wire or lead from
silverface or blackface amps, which use tag boards
rather than circuit boards, simply involves heating the
joint while pulling out the wire or lead, usually with a
pair of needle-nose pliers. Because tag board uses eyelets rather than traces and pads found on contemporary
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To use a trigger-operated desoldering tool, push down the plunger until it locks and hold the tip of the tool next to the joint
to be desoldered. Next, heat the joint with a solder iron. As soon as the solder melts, press the trigger or button. The tool's
plunger connects to a spring-loaded piston that draws the molten solder in through the tip when released.
20
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Miscellaneous Tools
Other useful tools for guitar amplifier modification and
repair include several sizes of needle-nose pliers, a small
wire cutter, a wire stripper, terminal crimper, and an
assortment of screw drivers, both Phillips and standard.
A 1I4-inch drive socket set or a set of nut drivers also
will prove essential, as will long-nosed tweezers, a metal
and nonmetal probe, as well as a nonmetal adjustment
tool (usually a long plastic stick-like instrument with a
standard screwdriver tip for adjusting trimmer pots).
You can make excellent jumper leads out of good quality wire by soldering alligator clips to each end.
Besides hand tools, you'll need some basic materials,
such as wire and heat-shrink tubing. Use good quality
wire rated at 600 volts. Insulation type can vary but
should be Teflon, PVC, or cloth-covered PVC. Wire
gauge can range from 18 to 22. Solid-core 20-gauge
wire works well in that it is easy to bend and will hold
its shape. Also, it's not too thick. Stranded wire works
fine as well but doesn't have the easy manipulation of
sold-core. While heat shrink tubing isn't a necessity,
it works far better than electrical tape. It must be slid
over the wire or lead before it is soldered into place.
Next, use a lighter or match to shrink the tubing to the
wire or lead.
Resistors
As the name implies, resistors "resist" the flow of current. As a result, resistors lower or drop voltage and in
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Four-Band Resistor Color Codes
Color
First Band
Second Band
Third Band
Fourth Band
(First Digit)
(Second Digit)
(Multiplier)
(Tolerance)
Black
Brown
10
1%
Red
100
2%
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1000
3%
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10000
4%
Green
100000
0.5%
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0.01%
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First Band
Second Band
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(Second Digit)
(Third Digit)
(Multiplier)
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10
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Red
100
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Orange
1000
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10000
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100000000
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White
1000000000
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Silver
0.01
10%
The upper table shows standard four-band resistor color codes; the bottom table shows the five-band resistor color codes
for precision resistors, such as those you'll find with many metal film types. The sample resistor represented for both
is 1 megohm with a 1 percent tolerance, which means that the actual value of the resistor may vary by 1 percent of the
indicated value.
22
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Total R = 50 + 50
E = I/R
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Ohm's law states that voltage equals current divided by resistance, or E=I/R.
23 -
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The basic potentiometer used in guitar amplifiers consists
of a circular carbon track upon which a metal wiper slides.
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25 -
Capacitors
Broadly speaking, capacitance IS the ability of an
electric circuit to store electricity. The higher the
capacitance, the higher the amount of electricity, in
volts, stored. To that end, a capacitor is an electronic
component used to store electricity. Capacitance is
measured in units called farads and given the symbol F.
One farad is large, and the values of individual capacitors are much smaller. In guitar amplifiers, capacitors
typically range in values of 100 microfarads down to
10 picofarads. The microfarad is abbreviated as uF,
with 1 uF being one-millionth of a farad or .0000001
farad (10-6 in scientific notation). A picofarad (pF), by
extension, is one-millionth of a microfarad, thus onetrillionth of a farad or .0000000000001 farad (10-12).
The nanofarad (nF), which is a billionth of a farad and
a thousandth of a microfarad, is also used to measure
capacitors, yet with Fender amps, you'll usually only
encounter the uF and pF measurements.
The capacitor's ability to store voltage makes it
well-suited for power supplies, not because capacitors
can store voltage like a battery, but because the voltage
26
OV
100 mVAC
Audio Signal
100mVac
Audio Signal
Capacitor
C1
100 mVAC
Audio Signal
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Graphic representation of the coupling capacitor Cl blocking the DC operating voltage while passing the AC audio signal.
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all the way positive, then swing all the way negative,
passing through the 0 midpoint, and, finally, swing
positive to the 0 midpoint where it began.
In its frequency-shaping ability, the capacitor's role
extends beyond that of coupling amplifier stage to that
of shaping tone via the tone controls: the bass, treble, and
midrange frequency bands in the arrangement of controls known as the equalizer, tone stack, or simply tone
controls. In this role of signal shaping, certain values of
capacitors are used in conjunction with variable resistors
(i.e., potentiometers or pots) to cut specific frequency
ranges. For high range, the typical treble capacitor value
for most Fender amps is 250 pF. For low range, the typical bass capacitor value is .1 uF, and for midrange, the
typical capacitor value is either .022 or .047 uFo While
these controls focus on three specific bands of frequency,
the distinction isn't strict, meaning that the controls
interact with each other in such a way that varying the
degree of one will influence the range of another.
As mentioned earlier, capacitors are manufactured with various materials, and as such, capacitors
are commonly identified by their type of dielectric.
Typical capacitors found in guitar amplifiers include
the following:
Ceramic capacitors: Also know as ceramic discs
due to their usual shape, ceramic capacitors consist of
a thin layer of ceramic material as a dielectric sandwiched between two silver plates or electrodes onto
which leads are connected. The unit is covered in a
moisture- and heat-resistant coating, often phenolic.
Ceramic discs are commonly used primarily because
of their low price and wide value and voltage range.
Fender amps from the 1960s up to today typically use
ceramic discs as treble capacitors and reverb input and
bypass capacitors. Fenders equipped with vibrato also
use ceramic discs in the oscillator circuit.
Silver mica capacitors: Compared to ceramic discs,
silver mica capacitors are more expensive but have far
better high-frequency response, high stability, and
more precise values. These characteristics make them
excellent choices for treble and reverb bypass capacitors, and, therefore, should replace the ceramic discs in
Fender amps. To construct silver mica capacitors, thin
layers of mica are coated in silver, stacked together,
and interconnected. The whole works are then encased
in plastic or, more commonly, coated with an epoxy
hard shell. Silver mica caps are only available in low
values (picofarad range).
Paper capacitors: Once the most common and
inexpensive capacitors available, paper capacitors are
made by sandwiching a long strip of waxed or oiled
paper between long strips of metal foil and wrapped
tightly into a cylinder. The cylinder is then coated in
wax, encased in cardboard, or enclosed in plastic,
while some newer variations are covered in a metal
case. Paper capacitors are more prone to dielectric
leakage than their synthetic film counterparts, meaning they don't hold a capacitive charge as steadily
as synthetic film types. This translates into imprecision at high frequencies. However, they function fine
within the frequency range of guitar amplifiers. In fact,
paper capacitors are highly regarded by many guitar
amp gurus, primarily because of their wide usage in
vintage-era amplifiers, such as the Fender tweeds.
Indeed, paper capacitors possess a warm sound that
can't be found with most modern capacitors.
Current production, high-end paper capacitors
tend to be expensive and while they are an unbeatable
choice for audiophile-grade hi-fi amps, they are less
than perfect for use in guitar amps because they are
too precise and well-defined tonally to be suitable for
harmonically rich guitar amp applications. Some vendors also sell NOS paper capacitors (NOS stands for
new-old stock, which is used to describe components
manufactured decades ago but never used), but I tend
to avoid these since paper capacitors dry out with age
whether they are used in amplifiers or left new on a
warehouse shelf. An even worse choice is used paper
capacitors, for obvious reasons.
A rule of thumb to follow is if you have a vintage
Fender, meaning any amp manufactured prior to the
late 1960s, do not replace the signal capacitors unless
they are bad. To determine if a capacitor is leaking DC
voltage, following the precautions stated in the introduction, turn the amp on, set a multimeter to its highest
DC voltage range, ground the negative lead, and measure for DC voltage on each side of the capacitor. One
side should read well over 100 volts while the other side
should read 0 volts. You should measure the 0 volt side
of the capacitor while gradually setting the meter's voltage rang lower to ensure that there is no DC voltage
coming through. Keep in mind that other things could
go wrong with a capacitor, but this type of DC leakage
is easy to test on your own.
Film capacitors: These come in a variety of dielectric types and are widely used in guitar amplifiers. The
blue-molded Mallory capacitors found in the blackface
is believed to be one of the best caps used by Fender,
while the brown-drop capacitors of the silverface
often receive the dubious distinction of being of the
worst. The distinction isn't entirely fair; however, the
brown-drops did tend to be leaky due to their inferior
construction in comparison to the blue caps. These
were part of the cost-cutting features introduced by
CBS, yet, it should be noted that Leo Fender never
actually sought out the highest quality parts and also
kept cost in mind. The success of Fender amps in some
way precipitated the mass-production of parts needed
to feed the ever-growing amp market. In general, leave
blue caps in the amp if they aren't bad, but replace
the brown-drops with either yellow Mallory 150M,
Illinois, Sozo, or SBE Orange Drop 716P capacitors.
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30
value. The letter K means that the value of the capacitor is within 10 percent of its stated value; the letter]
means the capacitor value is within 5 percent.
Deciphering the code is easy. For example, 103K600V
means that the first number of the value is 1, the second
number is 0, and the multiplier is 3, meaning three Os
follow the second number (the value is in picofarads).
Thus 103 equals 10,000 picofarads or .01 microfarad.
This value is within 10 percent accuracy, and the rating is 600 volts. Similarly, 104J400V means 100,000
picofarads or .1 microfarad, 5 percent tolerance, and
400-volt rating. 223K600V means 22,000 picofarads
or .022 microfarad, 10 percent tolerance, and 600-volt
rating. Remember, to convert picofarads to microfarads,
you move the decimal six places to the left.
Electrolytic capacitors: Electrolytic capacitors have
two primary uses in Fender amps: as filter capacitors
in the power supply and as cathode bypass capacitors.
Because amplifiers need a high DC voltage to function,
filter capacitors are needed to smooth out the ripple
present in the voltage after it has been rectified from
AC to DC. In this application, larger electrolytic capacitors charge up as the unfiltered DC rises and discharge
after it falls. By holding the charge long enough, the
capacitor smoothes out the ripple of the falling voltage
as indicated in the below illustration.
In the role of cathode bypass, an electrolytic capacitor has the effect of passing the AC signal around the
cathode. This keeps the cathode at a DC voltage potential and also provides a boost in gain of the amplified
signal. It should be noted that the capacitor doesn't
actually pass an AC voltage, but, again, through its
charging and discharging properties it creates the
effect of passing it.
---I
c:::>
c:::>
en
~
=
=.......,
These film capacitors, from left to right, are Orange Drop
SBE 716P, Mallory 150M, Sozo Mustard, and Xicon.
CI:>
~
- ..,
c:::>
c:::>
:3
-.::::::>
c:::>
=
=
en
CI:>
Electrolytic
Capacitor +
Charges and
Discharges
Transformer
Produces
ACVoltage
DCVoltage
---= ...._-- ..
The dashed lines indicate
the capacitor discharging voltage.
Because the discharge rate is
slower than the drop-off rate
of the DC ripple, the discharged
voltage fills in the "valleys" of
the ripple .
Diode
Diodes pass only the positive portion of the
AC signal in this circuit arrangement.
31 -
A variety of electrolytic capacitors, blue Spragues and an Illinois on the right, a small Sprague in the middle foreground,
and two "can" types on the left. The silver Sprague at the upper left has twist locks for the chassis mount, and the multisection capacitor with screw terminals uses a clamp-to-chassis mount. The Mallory on the middle left is a 1950s-era
multi-section, cardboard, and wax-coated electrolytic capacitor.
To drain power capacitors after shutting off an amplifier, attach a jumper lead from the plate of a tube to ground. Make
sure to remove the test lead when you are finished; if you turn the amplifier on with the test lead attached, you could
damage the amplifier.
32
---I
c:::>
c:::>
~
=
=,.......,
a:>
~
- -.
c:::>
c:::>
:3
-.::::::>
c:::>
=
=
a:>
~
Pi Section Filter
L1
IN
OUT
C1
C2
degree of opposition. This opposition is called "inductive reactance" and for our purposes can be thought of
as being similar to resistance. In guitar amps this property of inductive reactance becomes especially useful
in power supply circuits, specifically in filtering the
choppy DC (ripple) that has been rectified from AC.
Here we want the DC to flow but without the ripple
of the AC remnant. Thus, a component that opposes
the rise and fall of the AC ripple in the DC by tending
to keep the flow of current moving in a forward direct
movement proves useful. Such a component is called
an inductor or, more commonly, a choke coil, a coil,
or a choke.
As the term coil implies, an inductor consists of
a coil of wire tightly wrapped around a core, usually
made of iron but it can also be a powdered-iron slug,
a cardboard tube, or simply air. In guitar amps, coils
have an iron core and the whole works is covered in a
33 -
34
---I
c:::>
c:::>
~
=
=,.......,
a:>
~
- -.
c:::>
On the left is a replacement output transformer for a Deluxe Reverb, while the one on the right is for a Champ. The
physically larger an output transformer is, the higher the wattage it will deliver.
c:::>
:3
-.::::::>
c:::>
=
=
a:>
where X
= XC + XL.
35 -
Diodes
As previously mentioned, most Fender amplifiers made
before the 1970s, as well as most Fender reissues, have
tube rectifiers while those made after the early 1970s
tend to have solid-state diodes for rectifiers. Tube rectifiers are actually two diodes in one envelope that
together form a full-wave rectifier. Referring to the
diagram in the capacitor section, full-wave rectifier
means that each half of the AC signal gets sent through
a diode, resulting in a fuller DC voltage.
36
To
output
tubes'
plates
To
phase
inverter
tube's
plates
To
preamp
tubes'
plates
Current Flow )
T1
L1
fYY"'\
----
R3
R4
51
5VAC
R1
330+VAC
E
:;
0
c co
v
R2
C2T
......
330+VAC
>
V1
6.3 VAC for tube filaments (heaters)
To
output tubes'
screens and
reverb driver
transformer
To
output
tubes '
plates
To
phase
inverter
tube's
plates
To
preamp
tubes'
plates
Current Flow )
T1
01 02 03 0.. __
L1
fYY"'\
----
c ell
EE:
:;
......
0-
R3
R4
51
R1
0405 06 __ ..0
C2T
R2
T1 = Power transformer
V1 = Full-wave rectifier tube
01 through 06 = Silicon diodes in full-wave rectifier application; more diodes in
series provide higher current rating .
C1 through C6 = Electrolytic capacitors for filtering DC voltage.
L 1 = Choke coil for filtering DC voltage.
R1 and R2 = Bleeder resistors to discharge residual voltage for C1 and C2 when
power is turned off; also provides a degrees of voltage regulation.
R3 and R4 = Voltage dropping resistors; in conjunction with C3 - C6 and L 1,
comprise the "power rail" from which varying voltages are drawn.
51 = Standby switch
Schematic diagrams oftypical Fender power supply circuits, vacuum tube (above) and silicon diode (below).
Component descriptions are from both circuits.
38
to vacuum tubes. The A-Battery, as it was called, provided low voltage to the vacuum tubes' filaments. The
C-Battery, likewise, provided low voltage, below 10
volts, to be used to bias the control grids of the tubes.
The B-battery, where the term B+ originates, ranged
from 22.5 to 135 volts, and B-batteries were often connected in series to provide the high voltage necessary to
power the plates and screens of the tubes. The + indicates positive DC voltage.
Vacuum Tubes
A vacuum tube is a glass envelope of electronic elements that, in guitar amplifiers, modifies or amplifies
the small electronic signal of the guitar. Like a light
bulb, it contains a filament, which in guitar amps is
typically run at 6.3 volts AC and produces the orange
glow inside a tube. The filament heats the cathode,
which in turn releases electrons that are drawn to the
anode or plate because it has been made much more
positive than the cathode. Generally, the plate is fed
with hundreds of volts DC while the cathode is kept
at 0 to a few volts DC. The tube is also equipped with
a control grid on which the guitar signal is carried.
Acting like a valve (which tubes are known as in the
United Kingdom), the signal on the control grid influences the flow of electrons from cathode to plate.
A positive or negative swinging signal on the grid
increases or decreases the flow of electrons, which
respond to the small grid swings with much larger
corresponding swings (i.e., amplification) due to the
much higher potential between cathode and plate in
relation to the potential between cathode and grid
(which is in the range of a few millivolts).
Tubes with these three elements-control grid,
cathode, and anode or plate-are called triodes. In
guitar amps triodes are used for preamp and phase
inverters (the small tubes). Power tubes, on the other
hand, are either tetrodes or pentodes. As the name suggests, a tetrode has four elements and includes a screen
grid in addition to the control grid, cathode, and
plate, while the pentode has five with the addition of
a suppressor grid. These extra grids are used to focus
the flow of electrons since many of them bounce
off the plate. By focusing the electron flow, the efficiency of the tube increases and thus allows for higher gain
and amplification.
The power tubes used in most Fenders, the 6V6
and the 6L6 or 5881, are designated either as a pentode or beam tetrode, depending on the manufacturer.
The reason for this imprecise terminology involves
patent distinctions dating back to before World War
II. Specifically, the tube design designated "pentode,"
cot
C)
en
~
=
c:a...
.......,
CI:>
~
C)
=
c=;0
~
C)
-.::::::>
C)
=
CI:>
-=
en
39 -
Speaker Impedance
Perhaps the most important specification of a
speaker is its impedance. Most speakers used in
Fenders have 8-ohm impedance; even the multispeaker amps, such as the Bassman, Super Reverb,
and Twin, usually have 8-ohm speakers. Often
the speakers are wired in parallel (positive + to
positive + and negative - to negative -). producing
an impedance of 4 ohms in the dual-speaker amps
and 2 ohms in the quad-speaker amps . Sometimes,
though, a quad-speaker amp will have an 8-ohm
impedance that is matched by speakers wired in
series-parallel, two pairs in series with the pairs
in parallel.
It is important to match the output impedance
of an amplifier with the impedance of the speaker.
Gene rally, besides possible degradation of tone, a
mismatch in impedance causes stress on the output
tubes and transformer. Good practice requires any
replacement speaker to be of the same impedance
as the one replaced. Furthermore, keep in mind that
some amps use 12-inch diameter speakers while
others use lO-inch diameter and others still, such as
older Champs, use 8-inch .
The truth is, a tube rectifier doesn't directly
affect the sound, but it does have an indirect
effect in that when driven hard a rectifier tube will
"sag," meaning that the tube is slower to recover
its voltage than a solid-state diode, which is a
fast-recovery device . The sag, in turn , creates a
compressed sound, which can sound warm and
musical. The 5Y3 rectifier used in the tweed Deluxe,
Champ, and Princeton sags easily at high volumes,
while the 5AR4 used in most blackface amps takes
more pushing to sag. At lower to moderate volumes
a guitarist might not even notice an audible tone
difference between a rectifier tube and a silicon
diode rectifier circuit. Yet even at moderate volumes
subtle differences can be heard or felt in response
to various pick attacks .
41-.-
+
Two 8-ohm speakers in parallel yield 4-ohm output. Ensure that the positive (+) speaker lugs connect to the center
pin of the jack.
Four 8-ohm speakers in parallel yield 2-ohm output. Ensure that the positive (+) speaker lugs connect to the center
pin of the jack.
louder Speakers
Essentially, frequency response becomes influenced by the size and material construction of the
speaker cabinet as well as the dimensions of the room
in which the speaker is used. The stated frequency
response, therefore, isn't the best specification to go
by and should be considered primarily as reference.
Moreover, it needs to be taken in conjunction with
two other specifications: speaker efficiency, which
represents a speaker's accuracy in converting an electric signal into sound, and transient respon se, which
specifies the quickness of a speaker's reaction to a
signal without distorting it. It seems that interpreting
a speaker's specifications is almost a science in itself.
Yet, if you match the power rating of a good qua lity speaker, such as a Jensen, Eminence, or Weber to
your amp 's power rating, you'll be in good shape. To
become a connoisseur of speakers requires trying out
a variety of speakers in a variety of amps and allowing
your ears to be the judge.
Switches
Fender amps use two varieties of switches: toggle
switches for power, standby, and ground, and
slide switches for bright control. These switches are
usually of the single-pole, single-throw (SPST) type.
Other common types of switches include double -pole,
single-throw (DPST) and double-pole, double-throw
(DPDT). A SPST-type switch operates in a typical
on-off fashion . Specifically, when the toggle or slide
is moved from the off position to the on position, a
small slider pushes one set of contacts together. The
single set of contacts make contact in only one position. In a DPST switch, two separate sets of contacts
make contact in only one position. Physically, the
SPST switch has two outer terminals on which to
attach wires, whereas the DPST switch has four outer
terminals for four wires and is essentially two individual SPST switches with actuators that are linked
or "ganged" together so t hat one toggle or slide moves
both switch poles. The DPDT switch functions like a
DPST except that it has six terminals so that no matter which position the switch is in, a set of contacts is
actuated. An SPDT (single -pole, double-throw), which
has three terminals, by the same token, functions like
half of DPDT in that a DPDT essentially consists of
two ganged SPDT switches.
The DPDT toggle switch comes in handy for such
modifications as adding a gain stage. Roughly put,
t he output of a preamp stage can be connected to the
middle termin al of the switch so that in one position
it feeds the output while in the other position it feeds
the gain stage, which in turn feeds the output through
the other independent set of contacts. I wil l elaborate and further clarify this switching operation in
Chapter 10.
43 -
44
7025
820
a:
6V6GT
12AT7
a:l
>
~ +410V
1 50~ { : : ; : : . 4
.1
1Rnv
EXT.
SPKR.
.001
+230V
~III
+-......'..'K'-+-.....4'..0_-+ +90V
,
1M
+S85V
-.
I.
.1200
1;
TR3
~~
.1
'-"""" +180V
I ~~
1M
~
+340V
iii
+230V
.....J
lijl
27K
10K
6-
TR2
~
+
450
450
450
"'-!'--=:::--~"""":'::1r.:::""'~.~-~1
~ n""~
'*' ~1OV . ~.!
~ ~
I,-~<J
AC
SWITCH
~~-t!~~~~~L'~-Ju~
...
AC
GROUND:
1 AMP: SLO .
RECEPTACLE
FENDER
+230V
SWITCH
~~!:"":::::-+
BLD. FUSE
125A1A
1
STANDBY
TRjio'
a:
'"
T",
'"
TRI - 125C3A
'--
EXPORT MODEL
- 125P2 3B
-r
SWITCH
16
450
--
A schematic is a visual representation of an amplifier's operation while the layout shows the location of components
and wiring. Shown here are the schematic (top) and layout (bottom) for a 1963 Fender Deluxe.
speED
BASS
TREBLE
VOLUME
VIBRATO
BASS
TREBLE
VOLUME
NORMAL
12AT7
7025
7025
NOTE - All resistors 1/2 watt, 1-% tolerance if not specified. NOTE - All capacitors at least 400 volt rating if not specified.
45 -
Schematic Symbols
Ground
Ground
v 1'1.-__:
V
Input Jacks
Switch
Rotary Switch
~-I
Relay
Inductor
(Coil or Choke)
OutputTransformer
Resistor
Capacitor
Electrolytic
Capacitor
Power Transformer
Fuse
Potentiometer
Potentiometer
with only two
terminals connected
Speaker
-------
DualTriode
Tube
TetrodeTube
Pentode Tube
Shielded Cable
~I
Full-wave
Rectifier
Tube
46
Full-wave
Rectifier
Tube
DiodeTube
Diode
(Solid-State)
Zener Diode
47 -
+230VDC
+230VDC
100K
1f2 of
7025
(12Ax7)
68K
100K
250pf
1
Treble
250K-A
lOOK
2
Volume
1M-A
Input 2
1f2 of
68K
3
Input 1
1M
.047uf
25uf
1.5K
6.8K
25uf
820n
6.8K
--
To
220K - Mixer Resistor
+230
VAC
To
Pin 8 of Vibrato
Preamp Tube
F= 6.3VAC
Filament Voltage
48
To Phase
Inverter
220K
7025
( 12Ax7)
Bass
250K-A
.047uf
220K
To Cathode
of Vibrato
Channel
Triode 2
From
Vibrato
Channel
Preamp
Negative Feedback
from Speaker
820n
1
.001 uf
From
Preamp
C=~r---,-1""1---)~ ToOutputTube
3
22K
.1uf
v C\
82K
470n
+340VDC
100K
.1uf
7
47
12AT7
F= 6.3VAC
Filament
Voltage
49 -
6V6
3
/\
1.5K
From
Phase
Inverter
5
~
NFB
To Phase
Inverter
470
1W
0
N
N
-35VDC
To
SPKR
~
0
N
N
From
Phase
Inverter
/'\.
10K-L
Potentiometer ~+
+410
VDC
4
From
Power
Transformer
25uf
50v
+420
VDC
4701W
AC
Diode
10K
Output
Transformer
1.5K
6V6
10K-L
Potentiometer
470 n
From
Power -~
Transformer
,
,
IN4007
+ 25uf
I
I
I
I
I
I
I
I
I
I
I
I
+410
VDC
To Output
Transformer
F= 6.3VAC
Filament Voltage
50
- - To Output
Transformer
6V6
6V6
Push-Pull Output
Most common guitar amps use push-pull output, with
a pair of output tubes operating in opposite phase (180
degrees) of one another. Higher-powered amps of
about 100 watts or more, typically use four
output tubes .
drawn-see the discussion of rectifiers in the previous chapter) and where the plate voltage is drawn
from one side of the voltage-dropping resistor and
the screen voltage from the other side, the screen
grids will already be adequately less positive than
the plates. However, most Fenders use a choke in the
power rail and while at idle a 2- to 10-volt difference
exists between plates and screens; when the amp is
driven that voltage difference is negligible. Because
the screens and plates can be at the same positive voltage potential, screen-grid resistors become necessary,
which brings us to point two: Screen-grid resistors
also protect the screens from exceeding their power
dissipation ratings. Basically, when the input signal
on a power tube's control grid swings hard, the plate
can temporarily become more negative than the screen
grid. A screen resistor will limit the amount of current
going to the screen grid and, by extension, limits the
amount of power dissipation .
Fender amps typically come equipped with screen
resistors valued at 470 ohms with a I-watt or greater
power rating. While the 470-ohm value isn't necessarily arbitrary, the value isn't critical. Yet, if the value
is too high, the resistor will starve the screen grid,
resulting in a poor sounding amp. On the other hand,
a value that is too low should be avoided for the above
reasons. Fender manufactured a few tweed-era amplifiers that used a choke in the power supply but no
screen resistors on the power tubes. If you have such
an amp, it would be a good idea to install screen resistors (see screen resistor replacement discussed in the
following chapters for instruction). Installing screen
resistors will not decrease the value of the vintage amp
since the installation is nondestructive, meaning it can
be reversed. This is especially important if you are running an expensive set of vintage output tubes.
51 -
chapter
BIAS
While biasing an amp isn't technically considered a
modification, it is an easy and free method to improve
the sound of any tube amplifier. An amp that isn't properly biased will not sound at its peak. Furthermore,
by experimenting with bias settings, you can find the
tones that you prefer and not have to rely on whatever
bias point the factory set or the last tech who repaired
you amp believed to the optimal (or, in some cases,
good enough).
The term "bias" refers to setting a tube's operating
condition, or current, while it is idle or determining
its no-signal (quiescent) condition. Essentially for the
tube to operate properly, the control grid must be at
a negative potential (DC) in relation to the cathode.
This relationship allows the guitar signal, which is
an alternating current (AC), to rise positively and fall
negatively (swing) along a "zero" line (determined
by a negative bias voltage). If the control grid is not
at a more negative voltage (potential) than the cathode, when the guitar signal swings it will be cut off
as it reaches the cathode voltage. Basically, if the voltage on a tube's grid is set too low (more negative), the
tube will cut off and not conduct (pass or amplify) the
signal. On the other hand, if it is set too high (less negative), the tube will saturate and most likely burn out.
While bias voltage is necessary for all tubes to operate,
when speaking of bias, it is usually meant in terms of
53 -
if set too low. Higher or hotter bias (less negative voltage on the grids) makes the amp louder with a thicker
tone but also with the risk of saturation, which will
cause the plates to glow red and eventually melt if set
too high.
-==
C"C
..=
c:....:>
Our silverface Super Reverb project amp with the back panel removed.
54
On the Hot Rod models, remove six screws and lift the panel away.
=
=
cr.>
To remove output tubes, push the clamp open with one hand and gently rock the tube out.
55 -
-==
C"C
-=
c:....:>
56
=
=
cr.>
Warning
Never, ever run your amp without the speaker or
speakers attached. This can destroy the output
tubes-and even the output transformer-in a matter
of moments .
57 -
Using the power and output transformers as handles. pull the chassis straight back and out.
-==
C'C
-=
c:....:>
Once the chassis is removed. place it on your bench or on top of the cabinet.
58
With the chass is out of the cabinet, make sure that the tubes have adequate clearance. Here, the tubes are situated over
the edge ofthe cabinet. Cautious attention must be used when the chassis sits atop the cabinet.
=
=
cr.>
Removing the speaker junction board on multi -speaker combos should allow enough slack in the speaker cable to hook the
connector to the chassis. Neve r operate a tube amp without the speake r connected.
59 -
-=-
Output Impedance
Bandmaster
40
Bassman Combo
20
Bassman Head
80
Concert
20
Champ
40
Deluxe
80
Princeton
80
Pro
80
Pro Reverb
40
Showman Combo
40
Showman Head
80
Super Reverb
20
Twin
40
80
40
80
40
C"C
-=
c:....:>
60
Max. Plate
Dissipation
75% of Max
42 watts
31.5 watts
30 watts
22.5 watts
25 watts
19.0 watts
6V6
14 watts
10.5 watts
12 watts
9.0 watts
Bias Chart for 3U-Watt Maximum Plate Dissipation for 6L6GC and Sovtek 5881/6L6WXT
Plate
Dissipation
60%
410
415
420
425
430
435
440
445
450
455
460
465
470
475
480
45.0
44.0
43.3
42 .8
42.3
41.8
41.3
41 .0
40 .5
40.0
39 .5
39.0
38.7
38 .2
37.8
40 .0
65%
48.7
47.5
47.0
46.4
45.8
45.3
45.0
44.0
43.8
43.3
42.8
42.3
42.0
41.4
41.0
40.6
70%
52.5
51.2
50.6
50.0
49.4
48.8
48 .2
47.7
47.0
46.6
46.0
45.6
45 .0
44.6
44.2
43.7
75%
56.2
54.8
54.2
53.5
53.0
52 .3
51.7
51.0
50.5
50.0
49.4
49.0
48.3
47.8
47.3
46.8
=
<=
C.-:>
Milli volts DC measur ed across l-ohm cathode resistor from pin 8to ground
60 % = 18.0 watts
65 % = 19.5 watts
70 % = 21.0 watts
75 % = 22.5 watts
Bias Chart for 25-Watt Maximum Plate Dissipation for 5881/6L6 non-GC, KT66, and EL34/6CA7
Plate
Dissipation
410
415
420
425
430
435
440
445
450
455
460
465
470
475
480
60%
37.5
36.5
36.0
35.7
35.0
34.8
34.4
34.0
33.7
33.3
32.9
32.6
32.2
31.9
31.5
31.2
65%
40.6
39.6
39 .0
38.6
38.0
37.7
37.3
36.9
36.5
36.0
35.7
35.3
34.9
34.5
34.2
33.8
70%
43.7
42 .6
42 .0
41.6
41.0
40.6
40.0
39.7
39 .3
38.8
38.4
38.0
37.6
37.2
36 .8
36.4
75%
46.8
45.7
45.0
44.6
44.0
43.6
43.0
42.6
42 .0
41.6
41.2
40.7
40.3
39.8
39.4
39.0
Milli volts DC mea sured acros s l-ohm cathode res istor from pin 8 to ground
60 % = 15 .00 watts
65 % = 16 .25 watts
70 % = 17.50 watts
75 % = 18.75 watts
61 -
370
375
380
385
390
395
400
405
410
415
420
425
430
440
450
60%
23 .0
22.7
22.4
22.0
21 .8
21.5
21.2
21.0
20.7
20.4
20.2
20.0
19.7
19.5
19.0
18.6
65%
24.6
24.3
24.0
23.6
23.3
23.0
22.7
22.5
22.2
21.9
21.6
21.4
21.2
20.9
20.4
20.0
70%
26.8
26.4
26.0
25.7
25 .4
25.0
24.8
24.5
24.0
23.9
23.6
23 .3
23 .0
22.7
22.2
24.7
75%
28.7
28.3
28.0
27.6
27.2
26.9
26.5
26.2
26.6
25.6
25.3
25.0
24.7
24.4
23.8
23.3
th is ca n destroy the output tubes a nd the output t ra nsformer. Attach jumper wires fro m the tu be side of each
resistor and pin 3 of one of the power tu bes to the bias
board . Ground the multimeter negative lead to the
amp chassis . Set your mu lt i meter to read DC voltage .
You w ill be using bot h t he highest (at least 1,000 -volt)
and lowest (200 -millivolt) DC voltage ranges.
Set volume and reverb to 0 and turn on the amp. Let
it ru n for about 60 seconds in standby. After taking the
amp off of standby, wait about 30 seconds or so, and
then with the positive meter lead measure the plate voltage (at bias board jumper from pin 3 of one power tube)
on the 1,000-volt scale. Write down this figure.
Next, measure the voltage at each jumper end of
the I-ohm resistors. Voltage will be in millivolts so
set the meter range accordi ngly. Record these numbers
=-
C'C
-=
c:.....:>
62
=
=
cr.>
Remove excess resistor leads ("pigtails") once the resistors are soldered in place. After completion ensure proper wire
dressing by keeping the filament wires up and away from the other wires.
63 -
Using an alligator clip to attach the negative meter lead to chassis ground will keep your hand safely clear of high voltage.
Any of the lugs attached to the power supply mounting bolts provide excellent grounding points.
-==
C"C
-=
c:....:>
Using a bias board allows for safe, hands-free-fromchassis measuring of voltages. Attach one lead from the
board to the cathode resistor (the l-ohm resistor just
installed) at pin 8 and attach another lead from the board to
pin 3 for plate voltage.
64
=
=
cr.>
65 -
Outputtube bias can be roughly setto a ballpark range by adjusting the bias potto obtain the predetermined bias supply
voltage atthe junction ofthe cathode resistors of the outputtubes (as shown). For a blackface Super Reverb, the voltage
should be -52 VDC, while for a blackface Deluxe Reverb it is -35 VDC. Refer to the appropriate schematics.
-==
C'C
-=
c:....:>
After grounding the negative meter lead to the chassis, adjust the pot while measuring voltage, in millivolts, attest point
30. The factory setting is 60 millivolts.
66
67 -
(3)
~ (2)
--
--1
+ 50uf
lOOK
or
68K
lOOK
or
68K
(5 )
(4)
The wires and resistors in red should be removed or replaced to match the 1963 blackface circuit.
Numbers correspond to the steps for converting to bias control.
The wires and resistors in red should be removed or replaced to match the 1963 blackface circuit.
Numbers correspond to the steps for converting to bias control.
--1
+ 50uf
15K
( 5)
The wires and resistors in red should be removed or replaced to match the 1963 blackface circuit.
Numbers correspond to the steps for converting to bias control.
4701W
- --II
,,,
27K
(1 )
(1 )
220K
220K
+ 25uflI-- -
'
(3a)
First, refer to the diagrams and photographs to identify your silverface, then do the following:
1. Locate and remove lOOK resistors (and 10K resistors on pot, if so equipped).
2. Next, locate the resistor that is soldered to the balance potentiometer and unsolder the lead that
is soldered to the middle lug of the pot.
3. Unsolder the wire from the upper lug.
4. Remove the 3.3K resistor and electrolytic capacitor, if so equipped, attached to the left lug of the
pot. The other end of the capacitor is soldered to ground while that of the resistor is soldered to
the small bias power supply circuit board located in the left upper corner of the chassis; if your
amp has no resistor and capacitor at this location, remove, instead, the wire from the left lug of
the pot.
5. It's also a good idea to replace the electrolytic capacitor located on the bias power supply board.
A 47-uF capacitor rated at 100 volt works well here.
middle lug and (3) the wire from the top lug.
70
Referring to the diagram for the 1963 blackface bias circuit and the following photographs:
1. Install two 220K resistors (red-red-yellow-gold banded or red-red-black-orange-brown banded
for metal film resistors) in the positions indicated.
2. Solder wire that was originally on the upper lug to the middle lug of the potentiometer.
3. Solder the wire from the bias supply board to the lower lug of the pot; if you removed a 3.3K
resistor from between the bias supply board and the pot, (3a) install a wire (20-guage is fine) as
just indicated.
4. Finally, solder the loose lead from the resistor that is attached to the pot, to the upper lug of
the pot.
(2) Solder the wire that comes from the circuit board to
71 -
-==
C'C
-=
c:....:>
Afterfinish ing the bias modification, turn the amp on but leave it in standby. With your meter set to read DC voltage, ground
the black lead and place the red lead atthe junction of the newly installed 220-K-ohm resistors . While turning the bias pot
from one end to the other, the voltage should read between approximately -47VDC and -54VDC.
72
73 -
74
=
<=
C.-:>
75 -
chapter
Here's a typical tube layout in Fender silverface and blackface amps. From left to right, the tube functions are rectifier
(5U4 or 5AR4/GZ34), output (6L6/5881 or 6V6), output (same as previous), phase inverter (12AT7), vibrato (12AX7),
reverb recovery (12AX7/7025), reverb driver (12AT7), preamp vibrato channel (12AX7/7025), and preamp normal channel
(12AX7/7025). Most amps will have a tube layout chart with designated tube types attached to the inner cabinet.
Opposite: Using a current rather than reissue design, the Hot Rod Deluxe has been available in a variety of coverings and
colors. Fender Musical Instruments Corporation
77 -
Preamp Tubes
The standard issue preamp tube for Fender amps has
usually been the 7025 or the later 12AX7. While these
tubes are interchangeable and not much different, the
7025 is considered a lower noise version of the 12AX7.
The 7025, being no longer produced, is becoming rare
and expensive. Luckily, there are many varieties of
the 12AX7 in current production and many of them
are excellent tubes for guitar amp application. Some
manufacturers, such as Electro-Harmonix and JJ, make
gold-pin variety 12AX7 tubes that cost slightly more
than nongold pin versions. The idea behind this involves
making better contact with the tube socket. This is vital
in the first-stage preamp since this is the first tube that
the tiny guitar signal reaches, and adequate tone shaping
at this stage is vital. Yet, if the pins of your tube socket
aren't also gold plated, these tubes won't really matter.
78
c=
en
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=
=,.......,
en
en
CD
~.
Amplification Factor
12AX7
100
1.20 watts
1.2 milliamps
12AT7
60
2.50 watts
100.0 milliamps
12AY7
40
1.50watts
3.0 milliamps
12AU7
17
2.75 watts
10.5 milliamps
79 -
While the EF86 pentode will physically fit into the standard
dual-triode socket, extensive modification needs to be
performed to make it work in Fender amps.
80
Vox stopped using them was due to their susceptibility to vibration damage, especially considering that
the AC-30 is a medium-sized combo stuffed with
either a 1S-inch speaker or a pair of 12-inch speakers.
Because of its more complex construction (the pentode
has the added screen grid), shock and vibration can
rattle the tube innards, which, when amplified, become
extremely noisy. Also the tubes tend to be microphonic,
meaning that without proper shielding (but sometimes
even with proper shielding) the high gain of the tube
basically turns it into a small microphone that picks
up rattles and hums and sends them through the amp
along with the guitar signal. But having said all that, I
have made several 20-watt heads using the EF86 and
can report that it is a magnificent tube in the proper
application. The overdrive produced by this pentode is
nothing less than stellar. Back to the downside, however, modifying a 12AX7 preamp circuit to work with
the EF86 is not for the squeamish. While the tube will
fit easily into the 9-pin socket, all the pins need to be
rewired and virtually every associated component has
to be replaced. Nonetheless, I will provide step-by-step
instructions in Chapter 10 for those with more-thanbasic technical skills and for those who feel it's time
to boldly dig into their Fender chassis. To those in the
latter camp, though, no guarantees will be made.
81 -
Signal
Out
II
Signal In
>
....
.....
____ 1
II
C
.....
..........
~~
~ A
~
~~
B
..... ....
~~
A
~
II
II
---- J
Signal"
Out
Negative
Feedback
In
The "long-tailed pair" phase inverter so named for the resistor "tail" tying the dual triodes' cathodes
together. The meter lead in the photo indicates the junction of the two grid resistors (A, in the schematic),
the cathode resistor (B). and the "tail" resistor (e), which sets the bias for the phase inverter.
82
'-/
headroom obviously aren't things that are equally dispersed throughout the amp. Rather, there are differing
types of distortion associated with the input preamp,
reverb, and the phase inverter. By experimenting with
these tubes, you'll discover the interesting sonic qualities that your Fender is able to produce.
The last tube to discuss in this section is the 12AX7
vibrato tube. Essentially, this tube is not part of the
signal chain and has little sonic effect on the amp.
Instead, it functions in the tremolo circuit to either cut
the bias on and off in the smaller Fenders or to run a
phase-shifting oscillator in the larger Fenders that in
effect cuts the signal on and off prior to its entering the
phase inverter. Replacing this tube with other types
won't change your sound . It might, however, alter you
tremolo effect. One useful feature of this tube not really
intended by Fender is as an emergency place holder.
This means if your preamp tube becomes noisy or
microphonic, you can swap it with the 12AX7 vibrato
tube (providing that tube isn't noisy or microphonic).
Basically, it doesn't matter if this tube is replaced by a
noisy one since all it does is oscillate.
Output Tubes
The mainstay of Fender power has been the legendary
5881/6L6 output tube. While some tubes are marked
with both designations (for example, the Sovtek
5881/6L6WGC), the 5881 and the various 6L6 types
are slightly different. In fact, the 6L6GC has a 30-watt
maximum plate dissipation rating, while most 5881 as
well as 6L6WGB tubes are rated at 25 watts. However,
the Sovtek 5881 WXT is a 30-watt tube. This can definitely be confusing. Yet, keep in mind that most 6L6
tubes manufactured today are of the GC or WGC, STR,
and WXT variety and thus have the 30-watt rating. One
way through this is to treat tubes without a GC in the
suffix as if they have a 25-watt rating; they'll still sound
good biased a little cold.
Sonically, there are subtle textural differences,
mainly in the definition (some feel a little "punchier"
than others). For example, I've found the Sovtek
5881WXT, a standard in many amps, to be a little
lackluster when it comes to overdriven dynamics and
tonal harmonics. The Groove Tube 6L6GC has a similar crispness, but more dynamic harmonics, while the
Power Output
An amp's overall power outp ut is determined
primarily by the output transformer as well as the
amount of voltage .
83 -
84
Plate
(+420 to 460 VCD)
Filament
(6.3 VAC)
....:::::::= Signal
Pins 1 & 2 are not
connected inside tube.
The typical Fender power tube sockets have two unused pins, 1 and 6, which serve as binding posts for the output
tubes' screen and control grid resistors in blackface and silverface models. Screen-grid resistors are 470 ohms,
1 watt, while the control grid resistors, or "grid stoppers" as they are often called, measure 1.5 K-ohm, 1/2 watt.
Note that many ofthe early Fenders didn't use grid stoppers on the outputtubes. Also, in Hot Rods and reissues
with printed circuit (pc) boards, pins 1 and 6 have nothing connected to them.
c=
en
p
~
=
=,.......,
en
en
CD
~.
85 -
86
The Tung-Sol KT66s, in combination with a Sovtek 12AX7LPS as the first-stage preamp tube, gives this Hot Rod Deluxe a
bold, richly dynamic sound that rivals many vintage amps.
c=
en
p
~
=
=,.......,
en
en
CD
~.
87 -
88
The 6550, 6CA7, and EL34 can only be used in Fenders with
modifications to the tube sockets and bias circuitry.
When using EL34s or any tube that has pin 1 tied to the
tube shield, remove the wire and resistor (1.5-K-ohm,
brown-green-red banded) from pin 1 of the outputtube
sockets and leave them attached only to each other. Make
sure the exposed junction of the wire and resistor won't
come in contact with the chassis or other socket pins.
c=
en
p
~
=
=,.......,
en
en
CD
~.
To install EL34tubes in a Hot Rod model, replace R61 and R62 with 1-K-ohm, 5-watt resistors and R76
with a 1-watt resistor (22-K-ohm to 39-K-ohm)thatwill bring voltage to pin 5 on one of the outputtube
sockets in a range of about 33 mV to 38 mV while the bias potentiometer is turned .
89 -
90
Rectifier Tubes
While the choice of rectifier tube doesn't affect sound
directly, it does determine the voltage level that in turn
does affect sound. Note that not all Fender tube amps
have rectifier tubes. Newer amps such as the Hot Rod
models as well as some mid- to late silverface era amps
use solid-state diodes instead of tube rectifiers. The
easiest way to tell if your amp has a tube rectifier is to
check the first tube on the left as you look in the back
of the amp. If the tube is labeled 5AR4, GZ33, 5U4, or
These are 5Y3 NOS, 5U4 NOS, 5AR4/GZ34 JJ, and 5AR4
Sino rectifier tubes. Plate voltage can increase by 25 VDC
when going from a 5Y3 to a 5U4 and increase by another 25
VDC when going from a 5U4 to a 5AR4/GZ34.
c=
en
p
~
=
=,.......,
en
en
CD
~.
91 -
Silverface lore
93 -
This silverface shows the typical hodge-podge of replacement parts normally encountered.
expect to hear a great deal of a difference after clipping them from the sockets. However, removing them
does eliminate an impediment to fidelity in the overall
signal chain.
The suppressor capacitors were installed by Fender
to reduce the chance of parasitic oscillation caused
by a change in lead dressing. Legend has it that when
Fender changed from cloth-covered wire to plastic-covered wire around 1969, proper lead dressing (the way
the wires are arranged) became difficult since the plastic wires were not as rigid as their cloth counterparts.
Whether that's true or not, lead dressing did get messier with wires often jumbled together and randomly
placed. Moreover, wires no longer passed under the
board through holes drilled for that purpose; instead,
they passed over the board in a rather haphazard manner. Why is lead dressing important? Because wires
carrying high voltage emit slight electrical waves while
other wires, such as grid input wires, are extremely
sensitive; they must be kept at a distance or pass each
other at 90-degree angles. When this doesn't happen,
noise as well as oscillation can be induced.
Removing the suppressor capacitors will improve
the tone; however, if you do encounter oscillation,
which would sound like your amp has suddenly lost
half its power, simply replace the caps. You might
also try to redress the wiring by referring to a blackface chassis as a model. There are many photos of
94
95 -
96
97 -
Output Coupling
Ca acitors
Reverb Control
Isolation Resistor
Phase
Inverter
Bias
Resistor
Bias
Splitter
Resistors
Vibrato
Resistor
Capacitor
Network
Channel
Mixing
Resistor
to-Isolator
Reverb I
Resistor
Reverb
Recovery
Grid
Resistor
25
25
IJF
+
IJF
+
.001
~F
Phase
Inverter
Plate
Resistor
NFB
Coupling
Capacitor
Phase
Inverter
Cathode
Resistor
Phase
Inverter
Coupling
Capacitor
Vibrato
Plate
Resistor
Reverb
Recovery
Cathode
Resistor &
Capacitor
Reverb
RecovE
Plate
Resisto
Opto-Isolator
Resistors
Final
Preamp
Coupling
Capacitor
Vibrato
Cathodes
Resistors &
Capacitors
lixing
Vibrato Channel
Treble, Mid, & Bass
Capacitors
Reverb Driver
Grid Resistor
Normal
Channel
Coupling
Capacitor
Normal Channel
Treble, Mid, & Bass
Ca citor
~everb
Bypass
apacitor
Reverb Input
Coupling Capacitor
250pF
OpF
25
25
!-IF
!-IF
100K
Normal &
Vibrato
Channels
2nd Preamp
Cathode
Resistor &
Capacitor
100K
Vibrato Channel
Slope Resistor
Vibrato Channel
Preamp Plate
Resistors
Vibrato
Channel
1st Preamp
Cathode
Resistor &
Capacitor
Normal
Channel
1st Preamp
Cathode
Resistor &
Capacitor
Normal Channel
Slope Resistor
Normal Channel
Preamp Plate
Resistors
Vibrato Channel
Coupling Capacitor
Reverb Output
Coupling
Capacitor
100
For optimum reverb driver tube life, make sure its cathode
resistor is 2.2 K-ohms .
The electrolytic power capacitors in this amp have been replaced with Sprague Atom brand capacitors while the power
resistors are now high-quality metal oxide type.
101 -
102
Speakers
One distinct difference between the blackface and
silverface models is the type of speaker used. In
fact, changing an amplifier's speaker or speakers has
103 -
tapping the other lead to the other end of the battery, you
should hear clicks and pops coming from the speaker
if the voice coil and thus the speaker are functioning.
Don't hold the lead to the battery as even the small DC
voltage can overheat the coil over time. To replace the
speaker, simply reverse the removal procedures, making
sure not to let solder drip onto the speaker cone.
Currently there are some excellent guitar amp speakers
on the market. Jensen manufactures an Alnico series that
works extremely well in the Fender silverfaces. While a set
of four PI0R speakers sound amazing in a Super Reverb, it
will cost around $400. For half the price, a Super Reverb
could be equipped with Jensen's Vintage Ceramic speakers
(CI0R). These are fine speakers in their own right, having
a wider tonal range and more clarity at high volumes than
the Alnicos but not as warm and reactive at low volumes.
For a guitarist looking for a definitive vintage sound,
Alnico is the choice; however, for a guitarist who wants
versatility at a lower price tag as well as plenty of bite in
overdrive, ceramic is the way to go. Other excellent speakers to consider are the Eminence Legend series as well as
the various lines of Weber speakers.
The tube layout in the Hot Rod models is, starting from the left, the two power tubes, the phase inverter, the overdrive and
third-stage preamp tube, and the first- and second-stage preamp tube. The foam-like material around the two preamp
tubes serves as a shield against interference and should be kept on the tubes.
104
than a 6L6 and thus the negative bias voltage range differs as well. KT66s should be fine biased at 84 mV as
they will still be idling around 70 to 75 percent of maximum plate dissipation. In fact, I've run these tubes at 90
mY, which gives amazingly warm overdriven tone yet
at the cost of somewhat shortened tube life. In order to
get the bias to drop below 80 mY, the negative bias voltage supplying the KT66s would need to be increased,
but there's only about -53 VDC available from the
power supply. You may be able to get the bias down
a few millivolts by lowering the value of R76 from its
stock 1.5 K-ohms to 820 or 680 ohms but probably not
below 80 mv' Yet, it's really not worth the bother, since
KT66s sound best when biased slightly hot.
If you're more into sweet, warm distortion that
comes on early and gets richer with more volume, try
a pair of JJ or Electro-Harmonix 6V6s. Working bias
for these will be much lower than for either KT66s or
6L6s, between 42 to 46 mV measured at test point 30.
105 -
Gradually and carefully pull the board down and tiltthe top toward you. If you encounter resistance, stop until you find the
source, which will usually be a wire bundle.
106
Once the board is turned backwards there will be plenty of access to the solder point.
When removing components from a PCB, first remove the solder. A desoldering tool makes the job easier and helps
prevent damage to the circuit trace . First push down the plunger and place the tip next to the trace to be unsoldered. As
soon as the solder begins to melt, remove the soldering iron while pushing the button on the tool to release the plunger,
creating vacuum that draws in the solder. Remember to only hold the iron to trace long enough to melt the solder.
107 -
To improve the tone of Hot Rod models, replace the components indicated.
108
clip the resistor leads from the face of the board. You
can do this also, but if you plan on doing the total
overhaull'm suggesting, then pull the board and unsolder the resistor. After performing this mod, don't expect
the Hot Rod's reverb to suddenly sound like that of a
Deluxe Reverb or any other tube-driven reverb circuit.
However, you should notice a more easily controllable
reverb level with a clearly defined sound.
Now that the reverb circuit has been dealt with,
it's time to tackle the tone stack. As will be discussed
in Chapter 8, lowering the value of the slope resistor
boosts midrange tones by adding more low-end and
reducing the top-end; however, it also limits the effectiveness of the tone controls. Essentially, the slope
resistor sets the center of the frequency range over
which the tone controls operate. By slightly lowering
the slope resistor in the Hot Rod while also lowering the bass capacitor, the lows become more defined
and tightened.
109 -
The tone capacitors and resistor are in close quarters with the tone controls.
110
The mounting screws for the tube socket PCB are easily accessible. Use a medium-sized Phillips screwdriver. Make sure
to remove the tubes.
111 -
112
too long. The excess lead lengths that you cut from a
resistor or capacitor work well as pigtails. Once you've
found the capacitor or resistor you want to use, you could
wrap the pigtails around the leads, close to the component and flush with the circuit board, and solder the
leads in place.
On the other end of the overdrive circuit sits the master volume. If you look at a Hot Rod schematic, you'll
see that it is bypassed with Cll, a 390-pf ceramic capacitor. The purpose of this capacitor is to shunt some of the
higher frequencies to ground since the extra gain doesn't
really discriminate what it amplifies and, as a result, can
give you unwanted noise. Basically, this capacitor, in conjunction with the resistance of the master volume pot,
works as a filter to help tame unwieldy high-frequency
preamp distortion. The stock value of 390 pf might be
fine, but if you've made any changes to the tone stack (different value capacitors and/or slope resistor) you might
find that the overdrive has become a little thin. Be aware
that changing this capacitor will have only a subtle effect
and you might not find it worth the trouble to replace it.
Changing C23, as just discussed, will have a more noticeable effect. Yet if you want to hear for yourself, or if you
just want to experiment, try replacing CII with a 250-pf
cap or even a 47-pf. You can use a less expensive ceramic
disc as C11 doesn't pass any signal through the preamp
chain, but just shunts top edge frequencies to ground.
You might even go the other way slightly; that is, increase
the size of C11 to, say 500 pf, for a tamer overdrive. I'd
be reluctant about raising the value of the cap much more
than that, because you can really knee-cap the overdrive
with too much signal-to-ground filtering, making it
sound truly pathetic. Overall, the best way to tame the
overdrive is to use a 12AY7 or even a 12AU7 in place of
the 12AX7. The capacitor change can be thought of more
as fine tuning the tube's circuit.
With the tone stack modification and overdrive
revoicing, it's a good idea to lower the value of C24,
the phase inverter input coupling capacitor, from the
standard .022 uF value to .0047 uFo The lower value
will further tighten the lows and clarify the highs as
well as complement the revoiced overdrive channel.
Keep in mind that the change is subtle yet noticeable.
Also note that C24 is located on the tube socket PCB,
which must be removed to access it. To do so, first
remove the tubes. Next remove the nine mounting
screws from the bottom of the chassis.
Once the screws are removed, pull the circuit board up
and flip it to access enough room to desolder the capacitor and solder in the replacement. Be careful to avoid
burning the ribbon connector that runs from the socket
board to the main board. Once the replacement capacitor is installed and the extra lead lengths clipped, install
the circuit board by reversing the removal process.
Finally, replace coupling capacitors C2 (.047), ClO
(.047), and Cl8 (.022) with higher quality capacitors
of the same value. Again, Orange Drops rated at 600
VCD or Mallory 150Ms rated at 630 VDC are good
choices, as are Sozo capacitors. Next, replace plate
resistors R4, Rll, R16, and R22 with 100-K-ohm,
1/2-watt metal film resistors and, on the tube socket
board, R58 with a 100-K-ohm, 1/2-watt metal film
and R57 with 82-K-ohm, 1/2-watt metal film.
113 -
The location ofthe coupling capacitors and plate resistors on a typical Fender reissue are indicated here with the letters C
and R, respectively.
65 Princeton
Reverb
65 Deluxe Reverb
65 Super Reverb
65 Twin Reverb
59 Bassman
Preamp Coupling
C4.0220
C5.0470
C5.047
C12.0220
C2,C3.0220
C12.0220
C12.022
C18 .0470
C18.1000
C18.1
C19.1000
C3500pf
C14500pf
C14500pf
C13500pf
C13.0033
C17 .0033
C17 .0033
C16.0033
Phase Inverter
Input
C14.0220
C25.0010
C25 .001
C20.0010
C8.0220
Output Coupling
C27, C28 .1
Reverb Bypass
C5 lOpf
C1310pf
C1310pf
C1710pf
NA
n/a
C26.1000
C26.1
C21 .1000
C9 .1000
Treble
C19250pf*
C2, C7 250pf*
C2, C7 250pf*
C2, C7 250pf*
C5250pf*
Midrange
C23.0470*
C4,C9.0470*
C4, C9 .022*
C4, C9 .0470*
C7 .0220*
Bass
C24.1000*
C3, C8 .1000*
C3, C8 .1*
C3, C8 .1000*
C6.1000*
Slope Resistors
R46100K*
R17100K*
Plate and
Other Resistors
100KR5482K-1W
R5482K
100KR42100K-1W
R2882K
Reverb Coupling
NA
c:ct
"-
R55100K-1W
R4382K-1W
CI:I
t :::L
cal
..=:
~
114
Components located on the tone control board . Component designations as printed on PCB Capacitor values in microfarads unless otherwi se
designated. Resistor ratings are 1/2 watt unless otherwise noted.
After removing the knobs and pot and jack nuts, pull the tone control board down and away from the chassis.
After removing the mounting screws, flip the top of the main PCB down to expose the solder points. If you can't gain
enough access, refer to the next photo.
115 -
116
.
f
I
r -
-I
T
\
After the parts are laid out, mark their positions on the board as you remove them.
To boost midrange on the Deluxe Reverb reIssue, replace R9 for the normal channel and R21 for
the vibrato channel, both being a 6.8-K-ohm resistor
located below the bass potentiometers on the control
board. Using a lOoK-ohm resistor will emulate the tone
of a three-band blackface with the midrange control
turned all the way up. For an even greater mid-boost,
you could try a 15-K-ohm resistor, but I wouldn't go
too much higher than that, as the tone will get muddy.
You might consider leaving one channel stock and
modifying the other. Further, you might bring reverb
to both channels according to Chapter 7, and thus have
two differently voiced reverb channels. On a Princeton
Reverb reissue, the midrange resistor is R52, also a
6.8-K-ohm resistor, located between the volume and
treble potentiometers next to the ribbon connector
on the tone control board. Try the same values as with
the Deluxe Reverb. Before reinstalling the tone control board, make sure that with the replacement caps
the board will still fit. You might need to reposition the
caps, making sure that the leads don't come in contact
with anything else.
117 -
As mentioned earlier, the most radical modification you can perform on a reissue is to replace the
PCBs with an epoxy-based circuit board to replicate
the tag-board construction of the blackface and silverface models. As well as giving the reissue more
authentic circuitry, replacing the PCBs also simplifies
the component layout, making it easier to perform
other modifications, such as bringing reverb to both
channels or using the normal channel for an extra
gain stage. You need to weigh the benefits with the
risks, however. You can literally destroy your amplifier if you're not familiar with the complexities of
this modification.
Before ripping the guts out of your reissue, try
building a circuit board first. Epoxy-based board
material is sold by the inch and can be purchased
from Hoffman Amps as well as other vendors listed
in the appendix. Make sure to order eyelets or turrets. I highly recommend studying Doug Hoffman's
website regarding board building. Measure the size of
the original board to determine the length to order,
118
wiring for the tube sockets and definitely for the pots.
Shielded wire should be used for all jacks. If this seems
to be a complex operation, that's because it is. Techs
will usually charge anywhere from $450 to $600 (and
even higher), parts and labor included, to do this for
you. You might find it to be worth it. Then again, you
might be able to do this yourself for less than $100.
What lies in between is the Hoffman board kit sold
by most vendors for around $250. The nice thing
about these kits is that they include everything you
need and are really a great step for anyone with moderate technical experience. Check out the kits at the
Airtight Garage online, for example. The bottom line,
however, is that you do not need to blackface the reissue to make a great-sounding amp; it's just one option
to consider.
Populate the board with the components and tack them in with solder. The large Orange Drop capacitor on the right end of
this clone tweed Princeton board is used to make a variable gain control as described in Chapter 8.
This is a modified Bassman clone board. Note the extra cathode capacitor used to enable gain changes via a boost switch.
119 -
chapter
Instruments Corporation
121 -
'--
From
Preamp
100 K-ohm
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00
Reverb
Peda l
The schematic of a typical Fender blackface and early silverface reverb circuit.
122
The primary reverb components in a typical silverface or blackface amp include (1) driver tube; (2) recovery tube; (3) driver
tube cathode resistor and capacitor; (4) recovery tube triode plate resistor; (5) recovery tube triode cathode resistor and
capacitor; (6) lO-pF bypass capacitor; (7) 3.3-M-ohm mixing resistor; (8) and (9) 220-K-ohm and 470-K-ohm output resistors;
(10) 0.003-uF output coupling capacitor; (11) 500-pF input coupling capacitor; and (12) 1-M-ohm drivertube grid resistor.
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The primary reverb components in a typical blackface reissue amp include (1) driver tube; (2) recovery tube; (3) 220-K-ohm
output resistor; (4) recovery tube triode plate resistor; (5) 0.003-uF output coupling capacitor; (6) recovery tube triode
plate resistor; (7) 470-K-ohm output resistor; (8) lO-pF bypass capacitor; (9) 3.3-M-ohm mixing resistor; (10) 500-pF input
coupling capacitor; (11) 1-M-ohm driver tube grid resistor; and (12) driver tube cathode resistor and capacitor.
123 -
'--
124
II'
II.
125 -
'--
(1) Remove the wire running from points Xl to X2. (2) Unsolder the top lead of the lower capacitor at point Z and lift it up. (3)
Solder one lead of a 220-K-ohm resistor to the lead of the capacitor you just lifted and the other lead of the resistor to point
Z. (4) Solder one lead of another 220-K-ohm resistor to point Xl and solder a 4-inch wire to the other resistor lead, then
solder the other end ofthe wire to point Z. (5) (optional step) Solder a short jumper wire across the 220-K-ohm resistor that
connects to point Y.
The silverface board shown on the previous photograph now with completed mod for dual channel reverb.
126
resIstors to enable sonic clarity and channel separation. If after trying the direct approach you don't find
the amp's tone to your satisfaction, or if you'd rather
skip that approach altogether, the photographs on this
spread present two alternative methods, both using
mixing resistors. For both, first remove the chassis.
Review the instructions in Chapter 4.
The downside of the previous modification involves
the placement of the mixing resistors, one of which needs
to be squeezed between the vibrato channel's coupling
capacitor and the reverb input's coupling capacitor,
while the other more or less rests unsupported between
the normal channel's coupling capacitor and the channel bridging wire. Fortunately, the tag board layout
itself provides a solution, allowing for a cleaner, more
professional mixing resistor mounting. Simply move the
normal channel's treble capacitor closer to its slope resistor, and move the filter cap wire for the vibrato channel's
plate resistors to the same eyelet as the plate resistor. As
the upper photo on this page shows, the metal jumpers
between the slope resistor and coupling capacitor and
the filter cap wire and plate resistors can be removed and
the treble capacitor and the filter cap wire put in their
respective places, freeing up two mounting eyelets. Now
the mixing resistors can be placed between the freed
eyelets and the coupling capacitor of each channel.
To incorporate dual channel reverb in a Fender
blackface reissue, refer to chassis removal instructions in Chapter 6. Next, follow the directions in the
two photographs on this page and page 128.
When the channels are linked according to the preceding procedures, they will also be in phase. To explain
why this matters, first recall that the normal channel
of the typical Fender uses a single dual-triode preamp
Once the treble capacitor and filter cap wire have been relocated and the wire removed between points Xl and X2,
instructions are as follows: (1) Unsolder the lower lead of the upper capacitor (500 pF) and the wire from Z and solder them
into Zl . (2) Solder a 220-K-ohm resistor between Z and Z1. (3) Solder a 220-K-ohm resistor between Xl and X3. (4) Solder
one end of a 4-inch wire to X3 and the other end to Zl where the lead of 500-pF capacitor and wire from step 1 are located.
(5) (optional step) Solder a jumper wire across the 20-K-ohm resistor at Y.
127 -
'--
(1) Unsolder and lift the lead of C12 indicated at point X. (2) Solder one lead each of two 220-K-ohm 1/2-watt resistors to
point X, the hole from which C12's lead was just removed. If only one lead fits into the mounting hole, solder the other lead
to it. (3) Connectthe loose lead of C12 to a loose lead from one ofthe two 220-K-ohm resistors just installed. (4) Unsolder
and lift the lead of C5 indicated at point Y, then run a short wire from the lifted lead of C5 to the loose lead of the other
220-K-ohm resistor. (5) (optional step) Solder a wire across resistor R35 indicated at point Z.
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The Deluxe Reverb reissue board shown in the previous photograph now with completed mod for dual channel reverb.
128
the recovery triode being one, added to the three preamp stages make five. Even with the reverb circuit
taken into account, the vibrato channel still has an
odd number of stages, making it out of phase with
the even number staging of the normal channel.
Due to the phase difference, or cancellation, of the
two channels, operating both at once-that is, plugging a guitar into each channel input-will result in
Reverb Troubleshooting
While modifying the reverb is always an option, proper
functioning of the reverb is obviously more important.
Because reve rb involves the mechanical operation
of thin springs attached to small transduce rs using
small-diamete r wi res, the effects of vibration and rough
handling can take a toll on the reverb tank . Fortunately,
reverb tanks, even the Accutronics brand standard in
Fenders, are fairly inexpensive and readily available. A
broken spring is often the cause of a reverb tank's failure,
and even though reforming the end of a broken spring to
repair it proves an easy repair, spending less than $30 for
a new tank seems the better option .
If you have an amp with inoperative reverb, first
check the reverb drivertube and then the reverb recovery
tube . If you don't have a spare 12AT7, you can use the
12AX7 vibrato effecttube or normal channel preamp tube
to temporarily replace the driver tube . If the reverb now
works, then the driver is bad. If the reverb still doesn't
work, swap the recovery tube with the vibrato effect or
normal channel preamp tube. If the reverb still doesn't
work, check the reverb input and output cables . Unplug
both ends of each cable and check the continuity ofthe
cable from center pin to center pin with a multimeter. It
should read 0 or close to 0 ohms. Do the same with the
outer shell of the plug that connects the shield . It should
also read 0 ohms. Next place one meter lead on the
center pin and the other on the outer shell of the plug.
You should read infinity (infinite ohms). When plugging
129 -
'--
-,
220K
Existing wire
..... - -..
~,~1 1
/
So lde r wi re to
leads and run to
Unsolder leads of
220K + 470K resisto rs
from board
130
With both channels ofthis Super Reverb in phase, the Bassman channel bridging technique can be used.
131 -
chapter
Volume
----~
Input
Mid
From
Coupling
Capacitor
Treble
Bass
.02 uf
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On Circuit Board
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Treble
Volume
.01 uf
Bass
Mid
Volume
/------,
Treble
~====~r---~
To
2nd Preamp
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Coupling Cap
Coupling Cap
250pf
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.05uf
Out
100K
100K
toVolume
Control
.01 uf
Bass
250 KA
)<J----I
10K
IN.J1
(A) tweed-era tone control; (B) tweed-era bass, mid, and treble configuration; (C) brownface 6G series
bass and treble arrangement; and (D) blackface bass, mid, and treble design.
Opposite:The "LTD" in the '59 Bassman LTD Reissue stands for "lacquered tweed" rather than "limited edition." Fender
Musical Instruments Corporation
133 -
134
The classic blackface tone stack bears some resemblance to the 6G stack just discussed, specifically in
the role of the treble potentiometer. More important,
though, is the lack of an input coupling capacitor and
the addition of a midrange control. By omitting the
coupling cap, we see that the separation of frequencies becomes more distinct as individual capacitors
pass specific bands of frequency rather than the entire
spectrum being shaped by the single coupling capacitor. Depending on your tastes this could be good or
bad, or, more appropriately, just different. Overall, the
design of the blackface tone stack, with the distinct
separation into frequency bands, creates an interactive
tone control.
As with the 6G design, if all three controls are
set to full, the high frequencies pass unobstructed
through the 250-pF capacitor to the volume control.
The lows pass through the 0.1 capacitor and then
through the treble pot, onward to the volume control. The mids, on the other hand, pass through the
0.022-uF capacitor and split between the mid pot and
the combination of the bass and treble pots. The mid
pot setting determines how much of the mid band gets
cut by being shunted to ground and how much passes
on to the bass and treble pots. The process is more
complex than has just been described, but the idea is
to express the midrange scoop of the classic Fender
tone stack. Further, the mid potentiometer does more
than control midrange frequencies; it also affects the
bass and treble, causing them to somewhat shift along
with the mid setting. In fact, if you disconnect the mid
potentiometer from ground, the entire tone stack will
be inoperative and the amp will get a massive boost
in gain. I recommend giving it a try and maybe even
converting the bright switch into an on-off switch for
this feature, a technique we will examine in the next
chapter. Furthermore, if you turn the three controls
all the way down, the signal passes to ground and no
sound comes out of the amp.
The slope resistor, common to all these tone stacks
except the tweed-era single tone control, sets the center
of the frequency range over which the tone controls
operate. Lowering the value of the slope resistor has
the sonic effect of adding more low-end midrange and
bass while also reducing the top-end. For instance,
lowering the resistor value to 56 K-ohm puts you in
tweed Bassman and Marshall territory. I've seen values as low as 39 K-ohms; however, the effectiveness
of the tone controls begins to suffer with values that
low. Keep in mind also that changing the slope resistor doesn't actually boost mid and low frequencies .
Rather, it accentuates certain frequency bands since
the slope resistor sets the center point of the frequency
range. Bear in mind that this concept is actually more
complex than what I've indicated. Theory and practice don't always mesh, so, as usual, let your ears be
135 -
Slope resistor at A
in a tweed Bassman
"Hoffman board."
Tone capacitors of
vibrato channel on
blackface and silverface
amps: (A) treble, (B)
mid,and (C) bass. Tone
capacitors of normal
channel on blackface
and silverface amps:
(0) treble, (E) mid, and
(F) bass.
136
137 -
potentiometer. Solder one lead of a O.0047-uF capacitor (again, a Mallory, Illinois, or SOlO will work well)
to the left lug of the tone pot and the other lead to
the grounding point for the left lug of the volume pot.
Finally, solder one lead of a 500-pF silver mica capacitor to the right lug of the tone potentiometer and the
other lead to the center lug of the volume pot, making
sure that the wire attached to it remains so. Now, get
ready for some crunch.
138
noticeable mid-scoop, the resistance can be lowered by three-quarters. Changing the resistance is
accomplished by switching a resistor into a parallel
configuration with the 10-K-ohm midrange resistor.
For half-value use another 10-K-ohm 1/2-watt resistor
and for three-quarter-value use a 3.3-K-ohm 112watt resistor.
To install the mid-cut switch, first remove the wire
and capacitor from the bright switch. Next, solder one
lead of either a 10-K-ohm resistor (for half cut) or a
3.3-K-ohm resistor (for three-quarter cut) to one of
the switch terminals. Solder the unattached lead of the
resistor to the left lug (ground) of the volume control.
Run a short length of wire from the other terminal of
the bright switch to the middle lug of the bass potentiometer, making sure the resistor and capacitor already
attached to the lug remain attached to it. Be aware
that adding a mid-cut switch might introduce some
background noise as a portion of the midrange signal
takes an extra path through the switch. Keep wires as
short as possible or, better yet, use shielded cable. In
any case, if you encounter unwanted noise, the mod is
easily reversible.
139 -
140
The vibrato channel tone controls afterthe Bassman/Marshall mod. Besides the different value potentiometers, the only
difference from the original silver/blackface configuration is that the wire that once ran from the bass pot left lug to the
midrange pot center lug now runs from the bass pot left lug to the midrange pot right lug .
141 -
INPUT
>---11--.---------,
500pl
Volume
.OO22uf
lM-A
120K
Bass
Volume
120K
120K
......
Treble
Bass
.022uf
lM-A
c::::L
OUT
Treble
lM-A
OUT
CO
...c::
.022uf
~ .022ul
22K
.0047uf
IN
As shown in the schematic and chassis layout, our variation of the Baxandall tone stack is tuned for guitar frequencies.
,1
142
,#
'
1. Bridge the center lugs of the treble and bass potentiometers with a 120-K-ohm resistor.
2. Install a 0.022-uF capacitor between the left and
center lugs and a 0.0022 capacitor between the
right and center lugs of the bass potentiometer.
3. If the original resistor that ran from the left
lug of the original bass pot to ground is still
attached, remove it. In its place install a 22-K-ohm
resistor with one lead soldered to ground and the
other to the left lug of the bass pot.
4. On the treble potentiometer, solder one lead of a
0.0047-uF capacitor to the left lug and the other
lead to ground. You can use the same grounding
point as the 22 -K-ohm resistor or, alternately, you
could solder it to the left lug of the volume pot or
its grounding point on the chassis.
5. Locate the wire that originates at the right lug
of the volume pot, once attached to the original
treble pot, and solder it to the center lug of the
new treble pot. One lead of the 120-K-ohm resistor
should also be connected to that lug.
6. Solder one lead of a SOO-pF silver mica capacitor to
the right lug of the treble pot.
7. Back at the bass potentiometer, solder one lead of
a 120 -K-ohm resistor to the right lug where the
0.0022 cap also connects.
8. Solder together the open leads of the SOO-pf cap
and 120-K-ohm resistor just installed.
9. Locate the wire that attaches to the 0.022 coupling
capacitor you soldered to the circuit board in place
of the 2S0-pF treble cap. This wire was originally
connected to the right lug of the original treble pot.
Solder the open end of this wire to the lead junction
of the SOO-pf cap and 120-K-ohm resistor that you
just made.
10. Make sure all the component leads are soldered to the
pot lugs and ensure that they aren't shorted anywhere
and that they connect where they're supposed to.
11. After double-and triple-checking your work, install
the chassis into the amp cabinet and tryout your
Baxandall tone stack.
Dumble-Inspired Mod
This mod is called Dumble-inspired because it is derived
from a typical Dumble tone stack but without the usual
switches with positions such as "Rock" and "Jazz." I
will include a variation of this mod that uses a deep
switch for low-end tone augmentation. Historically a
fair amount of mystery has surrounded Dumble amplifier designs, encouraged somewhat by Howard Dumble
himself with his penchant for burying his preamp circuitry under layers of opaque epoxy (although it's not
impossible to figure out what lies under the epoxy, at
least in approximation; after all, these are guitar amps
and not high-tech missile defense systems).
143 -
144
c::::>
CI:)
...-
c--,
::00::-
s::
c::::>
c:::>..
-:
c--,
~.
c::::>
DPDT
Toggle Switch
To Center
Lug of Bass
Potentiometer
To Center
Lug of Volume
Potentiometer
When installing a deep switch, it often proves easierto solderthe components to the toggle switch
before it is attached to the chassis. Once it is attached, connect the components by short runs of wire,
if necessary, to the points indicated.
145 -
AODING GAIN
When technicians and musicians speak of modifying an
amplifier, they most often mean modifying an amplifier's gain. Indeed, the various techniques commonly
used for modifications, ranging from the basic to the
mind-numbingly complex, usually involve manipulating gain in some form or another. Almost always the
manipulation involves boosting preamp gain, which not
only makes the amp louder but also enables preamp tube
distortion. Through modification, preamp gain can be
increased to a level similar to that of a typical distortion
pedal. Without a means of switching this high degree
of gain in and out of the circuit, the modified amplifier's versatility would be drastically narrowed. Besides
a switch, another means of controlling the added gain is
to use a potentiometer to vary and control the amount
of gain produced in the preamp. Yet when adding only a
modest boost of gain, neither a pot nor a switch is necessary since the slight gain boost simply thickens tone and
adds a warm edge of distortion. Indeed, the questions to
consider when it comes to boosting gain is not only how
much gain to add but how much gain is too much gain.
For our purpose and at its most general, gain can
be defined as the ratio of an amplifier's (or amplifier stage's) output signal, measured in AC volts, to
its input signal, also measured in AC volts. In other
words, the degree to which an AC signal increases is a
function of gain. Each tube or, in the case of a dual triode, each triode, is limited in the amount of gain it can
deliver as defined by its amplification factor. Because
only a certain amount of gain can be produced by a
tube, a high-gain amplifier will employ several tube
stages. Even in a guitar amp, though, there could be
such a thing as too much gain. If you couple together
even more than several high-gain tubes stages, you
could end up with a buzzing, squealing, and loud amp.
Although such an amp might have its place in the
diverse world of music, most of the mods presented in
this chapter won't get us into the territory. Yet a couple
of them add an additional tube stage to the preamp,
which delivers a healthy dose of overdrive. While the
gain can be controlled with the amp's existing potentiometers, some guitarists might find the gain to be
excessive. However, it's worth detailing the technique
if only to demonstrate the high-gain capability of a
typical Fender amp.
147 -
II" I
......._
....__~/
-"
A silverface with the resistor cable replacing the reverb tank. To reverse the mod, simply unplug the resistor cable and
plug the reverb cables back in.
148
149 -
To liftthe vibrato effect, remove wire A from the intensity potentiometer. To liftthe tone stack, remove ground wire B from
the midrange potentiometer.
To lift the tone stack of the vibrato channel, disconnect the ground lead from the left lug of the midrange
potentiometer. To make this gain boost switchable,
remove the wire and capacitor from the bright switch
terminals and run a 4- to 5-inch wire from one terminal of the switch to the disconnected left lug of the
midrange pot. Next, run a short jumper wire from
the other terminal of the bright switch to the left
(grounded) lug of the volume pot.
To add both of the mods-vibrato disabling and
tone stack lifting-I suggest replacing the bright switch
with a DPST or DPDT miniature toggle switch, as
mentioned earlier. The hookup is the same as with the
bright switches, but make sure to use the proper terminals. Specifically, if the toggle has six terminals (as a
DPDT does), when viewing it from the back, connect
the wire you removed from the intensity pot to either
one of the center terminals and connect the new wire
running to the intensity pot to the terminal above that
one. Likewise, for the tone stack lift, connect the wire
you ran from the left lug of the mid pot to the other
center terminal of the switch and the jumper wire from
the left lug of the volume pot to the terminal above that
center terminal. Now, if you are using a DPST switch,
which has only four terminals, the hookup configuration should be the same; that is, the pair of wires for
the intensity pot should be attached with one above the
other and, similarly, the pair from the mid and volume
pots should be attached one above the other.
If adding either or both of these modifications to
a Deluxe Reverb or similar Fender without a bright
switch and you want the mod to be switchable, you can
remove the number 2 input jack on the front of the amp
or the external speaker jack on the back. To use a miniature toggle switch, add a washer on either side of the
empty jack hole since the switch mount is too small for
the existing hole. Otherwise, a standard-sized toggle
150
151 -
signal coming into the tone stack splits between the 250pF treble cap and the 100-K-ohm slope resistor. Once
past the slope resistor the signal splits again between
the O.l-uF bass cap and 0.022-uF midrange cap. This
mod takes the bass signal from the O.l-uF cap, passes
it through a resistor, a switch, and another resistor,
and then feeds it into the wiper of the volume control,
which, as the schematic shows, is on the other end of
the tone stack. Essentially, a large portion of the bass
signal bypasses the tone stack and volume pot, resulting
in a noticeable low-end boost. We will pick up on this
explanation again after detailing the
instructions for the mod.
The first step is to disconnect the
wire and cap from one of the bright
switches (whichever one you use least).
If you want the boost to be for the
vibrato channel, you don't have to disable the vibrato channel bright switch;
you can use the normal channel bright
switch, and vice versa (normal channel boost with vibrato channel bright
switch). Also be aware that besides disabling a bright switch, the tone controls
will have a noticeably reduced function.
In fact, the bass potentiometer will act
more like a level control for the boost
than as a bass control. Also note that this
is a bass-focused boost; treble will be
somewhat diminished.
Replace jumper wire A with a 1.5-K-ohm to 10-K-ohm, 1/2-watt resistor
Solder a 270-K-ohm resistor to the
as a means of reducing negative feedback and increasing gain. To keep
wiper (middle lug) of the volume pot
the external speaker jack functioning, instead of replacing the jumper,
and a 270-K-ohm resistor to the left lug
disconnect wire B and install the resistor between it and its original
of the treble pot (when viewing it with
connecting pointto the external speaker jack.
the lugs positioned upward). Make sure
Here, the switchable deep gain boost mod has been installed in the normal channel ofthis silverface.
152
For an added gain stage, remove connections from A and B, solder a 220-K-ohm resistor to B, solder the cable from
A to the resistor, and solder the cable from B to point A. For full gain potential, liftthe tone stack as detailed in the
accompanying text.
153 -
Adding an extra gain stage to a blackface reissue is essentially the same as adding one to an original blackface. Remove
the wires from A and B, solder a 220-K-ohm resistor to B, solder the wire from A to the resistor, and solder the wire
from B to point A. Lifting the tone stack on a reissue requires more work than lifting a blackface's tone stack. See the
accompanying text.
154
To lift the tone stack in a dual channel blackface reissue requires flipping the tone control pc board around. Unsolder one
lead of normal channel's midrange resistor (usually designated as R9) and remove the lead from its mounting hole.
155 -
For the next modification, locate the vibrato channel's number one input jack. The connection
between the jack's grounding ring, A, and its shorting blade, B, needs to be opened. The 68-K-ohm
resistor, C, for input jack number two also gets disconnected.
156
As detailed in the instructions, after removing the cable from pin 7 of Vl, the empty pin should be grounded to either the
reverb jack ground, orthe cathode resistor and capacitor ground. Here, the reverb jack ground is indicated atA.
157 -
158
To Ground
To Pin 2 ofV1
To Normal Input
-+- Jumper 2 to 5
0 4_ +- To
Pin 20fV2
From Normal
Volume Pot
This diagram shows the connections to the terminals atthe rear of a double-pole, double-throw switch.
159 -
160
161 -
chapter
10
Collection/Rick Gould
163 -
VIA
V212 AX7
VIB
V212 AX7
r------------r-----100K
Bright
100K
120pf
250pf
<t
"'"
0
4e
:c"
'"
0
'"
"
.1
"
...v..
220K
To Phase
Inverter
E
:J
<t
,,>0
0
.047
'"
<i
:2:
~
1.5K
25
<t
"
0
Bass
250K-A
Middle
10K-A
ToV2B
Cathode
R+C
Treble
250K-A
Volume
1M-A
1M
To Channel
Mixing Resistor
220K
.....c.
0
.047
L!)
r-...
--r
...
100K
To
V2B
Cathode
R+C
12AX7
164
Q1
1RF820
VIB
V212 AX7
VIA
V212 AX7
--100K
1
100K
Bright
l20pp
100
to
270
Ol-7
:0'"
Olo
f!::'"
N
250pf
Ol
'"
.0
<0
'"
Ol
.022
220K
f!::
To
Phase
Inverter
Ul<{
:g~
co~
Ol
E
:J '
.022
-:;:
OJ
g~
- --'
-0,
lOOK
-o~
'-<0
~N
1.5K
"0
"0
:;:
ToV2B
Cathode
R+C
Bass
1M-A
Middle
25K-L
Treble
250K-L
Volume
1M-A
Bright
1M
To
Channel
Mixing
Resistor
220K
N
N
N
N
1 RF820
56K
To
V2B
Cathode
R+C
12AX7
165 -
166
PARTS LIST
The list of parts needed for this modification includes
the following:
One l-M-ohm audio taper potentiometer, 3/8-inch
bushing, 1/4-inch shaft (such as Alpha brand)
One 250-K-ohm linear taper potentiometer (design
characteristics as above)
One 25-K-ohm linear taper potentiometer
(design characteristics as above). for three-band
channel only
One each of the following values of l/2-watt
resistor: 100 to 270 ohms, 10 K-ohms, 15 K-ohms,
56 K-ohms, and 100 K-ohms
Three 0.022-uF capacitors (see text)
One MOSFET, minimum 500-volt rating with
TO-220, TO-262, or similar package design;
suitable types include IRG820, IRF 830, MTP 3N50,
or BUZ 74
Shielded cable such as RG-174 type
20-gauge wire, solid or stranded core
Heat-shrink tubing
=
=
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co
Q!I
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167 -
168
Since we can't adequately duplicate that with a dualchannel Fender and still retain one channel as a Fender,
our modification won't install a purely Vox preamp;
rather, we will situate a Fender tweed single tone control after the EF86. Since the tweed tone also employs
treble cutting, this choice still puts us well into Vox
territory. Furthermore, unlike the usual two- or threeband Fender tone stack, the tweed tone control will not
drag down the signal from the EF86. Indeed, it functions as if it were made to accompany the EF86.
Since we will be using only one control for tone,
disable the bass potentiometer by removing the wire
that runs between the middle lug of the bass pot and
the left lug of the treble pot. Disable the rest of the
tone stack by removing the slope resistor, identified
as H in the photo on the top of page 172. Leave the
space open . Because the treble pot becomes the single
tone control, the potentiometer needs to be replaced
with one having a 1-M-ohm value with an audio taper.
To replace the pot (and assuming the wire from the
bass pot has been removed), remove the wire that runs
between the right lug of the treble pot and the treble
capacitor (C in the photo on page 172). This wire will
not be used again. Next, disconnect the wire from the
middle lug of the pot. Remove the knob and the mounting nut, pull the pot from the back of the chassis, and
install the new pot, attaching the mounting nut and
knob. Reconnect the wire to the middle lug. Install a
O.0047-uF capacitor between the left lug of the new
treble pot and the left lug (ground) of the volume pot.
Regarding the volume pot, remove the bright switch's
wire and capacitor from the middle and right lugs of
the pot as well as from the bright switch itself. Remove
the cable from the middle lug of the volume pot and
VoxChannel Modification
Calling this conversion a Vox-style modification might
be slightly misleading in that later Vox amps use the
standard ECC823112AX7 tube. Specifically, this conversion entails converting the Fender preamp to that
of an early Vox amp, which uses an EF86 pentode
preamp. While the EF86 has a richly colored tone
with beautiful harmonics, the tube tends to be microphonic and can become noisy due to vibration. This is
largely due to the pentode construction with its high
gain and extra elements. In fact, the unreliability of
the EF86, especially its susceptibility to vibration, led
Vox to replace the short-lived pentode application with
the standard triode configuration. Therefore, keep in
mind that if you go with this option, you might have to
cope with some background noise. Yet, I've used EF86
tubes in heads where I've found them to be much more
stable than their use in combos. For this reason, I originally intended the modification for silverface heads,
specifically the Showman, Bandmaster, and Bassman
models. The Vox channel preamp modification of a
Fender combo includes the same instructions, but you
might want to consider some type of tube dampening
for the EF86, such as the foam dampers used on Hot
Rod preamp tubes, essentially a rectangle of foam with
holes that fit over the preamp tubes. I advise against
homemade versions of these dampers unless you're
absolutely certain about the material, as tubes get hot
and you sure don't want to melt a bunch of foam rub ber to them. I hope I haven't scared you away from this
preamp conversion; please read on .
Because the EF86 has an extremely high-output
impedance, the use of a standard Fender tone stack
proves impractical, in that the signal will be weak on
the backside of the tone stack. A triode can be added
to amplify the signal, or a triode or MOSFET cathode
follower can be placed between the EF86 and the tone
stack, yet both of these remedies will move us away
from the single-tube Vox preamp we're emulating. In
fact, early Vox amps operating with EF86 preamps
don't use tone stacks at all. Instead, a single volume
control follows the preamp tube, while tone is shaped
between the phase inverter and the output tubes by a
treble-cutting potentiometer-capacitor combination.
=
=
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=
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Q!I
=
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=
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PARTS LIST
,
169 -
VIB
V212AX7
V212AX7
100K
100K
250pf
1
.047
~~~
220K
To Phase
Inverter
1.5K
6.8K
To V2B
Cathode
R+C
Bass
Treble
Volume
250K-A
250K-A
1M-A
Bright
6.8K
1M
68K
To Channel
Mixing Resistor
220K
~047
'+-
Q.
LO
N
N
N
.-
\51
1" ____ _
To
V2B
Cathode
R+C
12AX7
170
1.0047
1.2M
220K
Tone
1M-A
.01
6
9
,500pf
1M-A
Volume
1
.1
25+
220K
To Phase
Inverter
2.2K
Volume
1M-A
To Channel
Mixing
Resistor
220K
.1
.01
I
I
I
....L...
I
I
I
....L...
I
I
,,
\
___
\
~.J
EF86
171 -
solder it to the right lug. The wire from the trebleturned-tone pot should remain connected to this lug
as well. Install a 500-pF silver mica capacitor between
the left lug of the trebleltone pot and the middle lug of
the volume pot. Locate and disconnect the wire that
connects to the same mounting eyelet as the upper lead
of the coupling capacitor identified as B in the photo.
Reconnect this wire to the middle lug of the volume pot.
It probably won't reach and, in fact, should be replaced
with a shielded cable, with the shielding of the cable
grounded to the left lug of the volume pot. Note that
this is a long wire that connects to the channel mixing
resistor at the other end of the circuit board. Since this
will be the output wire for the high-gain EF86 tube,
avoid the susceptibility to interference from this long
wire run by replacing it with shielded cable.
We need to now make some changes to the normal
channel's tube socket, the first one on the right in the
172
Channel Bridging
In Chapter 7 we discussed using the Bassman channel
bridging technique to mix together the dual channels
of a silverface or blackface once they were placed in
phase using the dual channel reverb mod. Because the
Vox-converted normal channel uses only one tube, the
normal and vibrato channels are in phase with each
other. For channels to be in phase, they must both either
have an odd number or even number of stages, unlike the
original configuration where the normal channel has two
stages and the vibrato has three (discounting the reverb
tubes since they essentially run parallel to the 3.3-M-ohm
mixing resistor between the second and third preamp
stages). In terms ofthe Marshall-converted normal
channel though, channel bridging will not work because
the normal and vibrato channels remain out of phase.
While the addition of the cathode follower to the normal
stage adds an extra stage to the normal channel, giving it
three stages like the vibrato channel, cathode followers,
in fact, do not invertthe signal. To make things clearer,
when the signal is drawn from the plate of a triode, it is
out of phase with the input signal on the grid; however,
when the signal is drawn from the cathode of a triode, it
is in phase with the input signal on the grid.
To putthese channels in phase, use the dualchannel reverb modification . Of course, this will change
the characteristics of the Marshall preamp. Yet, if it is
more importantforyou to have the channel in place and
you don't mind reverb in your Marshall channel, read on.
The easiest way to incorporate reverb into both channels
after the Marshall preamp mod is to remove the wire that
runs between the middle lug ofthe treble pot and the
channel mixing resistor atthe left side ofthe board. Next
solder one lead of a 220-K-ohm resistor to the middle
lug ofthe treble pot and to the other lead solder a wire
=
=
<=
~
=<=
=
=
co
:s:
=
==-:
=
=
en
173 -
chapter
11
SWITCH 80XfS
Let's suppose you have a typical dual-channel silverface in which you've modified the normal channel
to have a Marshall-style preamp and left the vibrato
channel stock, or you've installed a Baxandall tone
stack in the normal channel and hot-rodded the gain
of the vibrato channel. In both cases you might switch
from one channel to the other by turning down the
volume, pulling the guitar cord from one channel,
plugging into the other channel, and turning up the
volume for channel. While that's fine for many situations, if you're playing a show or even rehearsing
with other musicians, you might want to have a quick,
efficient way to switch between channels. In that case,
an AlB switch box comes in handy. Basically, an AlB
switch box (or just AlB box) consists of an input jack,
two output jacks (A and B), and a footswitch. You plug
a guitar into the input jack and run a cord from each
output jack to each channel of the amp or even into
two separate amps. Once plugged into the box, the
guitar signal goes to either output A or B; for the sake
of this example, let's say the signal goes out A. When
you press the footswitch, the signal switches from output A to output B, allowing you to go back and forth
between outputs at the press of the switch. Basically,
then, the AlB box is a type of eitherlor circuit, sort of
like a giant version of the OR gate integrated circuit.
Now let's suppose you've completed the dual reverb
modification from Chapter 6 and both of your silverface channels are in phase and you want to be able to
not only switch between channels but also play through
both channels at once. Or, again, let's suppose you
have two amps running and you want to play through
both but still have the option of playing through one
or the other. In those situations, an A/B-Y switch box
does the trick. Essentially, the A/B-Y box is an AlB box
with an extra footswitch that switches on both channels
simultaneously. Think of the "Y" in A/B-Y as meaning
"Yes" to both outputs being on. For example, say the
guitar signal is exiting through output A and you press
the second, or Y, footswitch. Now the signal exits both
175 -
Here are all the parts you'll need to construct an A/B-Y switch box with LED indicators. Note thatthe box was not pre-drilled .
price drops by about half, two DPDT footswitches costing about $4 each. A straight AlB box without both the
Y-function and LED indicators will cost less than $20.
To accommodate anyone who would rather
construct the basic AlB model, I will provide the
instructions in two stages. Stage 1 will be a standard
AlB box with LED indicators; however, you can easily
PARTS LIST
176
I
I
OUTPUT
~~GNO
- -
-~al
--
1;4-ln
Mono
Jack
1;4-ln
Mono
Jack
I
I
I
I
I
I
I
I
I
I
I
I
o
a. I
" I
I
I
I
I
I
'"1J
TPOT
(/)
Switch
INPUT
(l)
1;4-ln
Stereo
Jack
+
9-Volt Battery
Battery Negative
- - - - - - - - ____ -I
Wiring diagram and layout for an AlB switch box with LED indicators.
the plug to the signal wires going from the long contact
blade to the contact blades of the output jacks, which
are mono 1I4-inch jacks, rather than stereo jacks.
Now the wire from the positive post of the battery
connects to one of the switch poles in the TPDT footswitch, which switches between the contacts on either
side of it. A resistor connects from each of those footswitch contacts to the positive lead of each of the two
AlB LED indicators, while the negative LED leads are
wired together and connected to the grounding ring
of the stereo input jack. In this way, when the plug
connects the negative battery lead to ground, one of
the LEDs will light up, indicating the switch position.
Because each LED mounts below its associated output
jack, we know which jack has the signal since the jacks
are wired to the same footswitch. The diagram above
should make all the connections clear.
To assemble the AlB box, first layout the components in relation to the empty box. The diagram
above shows the typical layout. The point of laying out
the parts first is to make sure everything will fit in the
box and that nothing interferes with the switch and
jacks. After determining that the components will all
fit, mark the mounting hole locations for the switch,
jacks, LEDs, and battery-mounting clip. The jacks
require 3/8-inch diameter holes, the switch a II2-inch
hole, the LEDs' I14-inch holes, and the battery mounting clip about a 1I8-inch hole (or whatever fits the
177 -
Inside the complete A/B box. The extra hole to the right of
the switch is for the Y switch to be added. If constructing
a box with only the A/B function, drill only one switch hole,
centering it within the width of the box.
178
- -
OUTPUT
%-in
Mono Jack
%-In
Mono
Jack
ro
Ql
:4
co
-y
Input
%-In
Stereo
Jack
TPOT
Switch
Switch
-<
IJ
o(/)
~:
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co
9-Volt Battery
Battery Negative
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
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.J
Wiring diagram and layout for an A/B-Y switch box with LED indicators .
179 -
180
181 -
R[SOURC[S
For Dating Fender amplifiers by serial number:
www.superchamp.dk/dating_fenders.htm
INO[X
Airtight Garage, 119
Ampeg amplifiers, 121, 141
Antique Electronics, 175
Baxandall, Peter, 141
bias, 13-15,20,21,35,36,38,44,47,51,53-75,80,
82-86,88-90,93-95,90 98 ,102,105,113,115,149
checking, 64-65
circuit layouts for 1968 and 1971 silverfaces,
68-69
circuit vs. control, 67
how to set, 60-61
test poi nt, 65
value of proper, 74
capacitors, 26-29
bass, 13, 99, 100, 102, 109, 117, 136, 137,
140, 166, 167
bypass, 29,31,44,99,100,105,121-124,
130, 160-161, 172
ceramic, 29
coupling, 26, 27, 47,95,98,100,110,
112-114, 116, 121, 123, 127, 130,
133-135,142, 143, 149, 166-168, 172,
173
electrolytic, 19,26,31-34,37,44,46,70-71,
74, 100-102, 124, 125, 158, 160, 161
film, 29-31, 160
midrange, 13, 99, 136, 137, 140, 144, 166,
167
paper, 29-30
silver mica, 29-30, 124, 136, 138, 144, 169,
172
suppressor, 93-94, 124
treble, 29, 99, 100, 102, 110, 117, 127, 130,
135, 136, 138, 142, 144, 168, 169, 172
CBS, Inc., 8,29
Celestion speakers, 41
CTS speakers, 41
Diaz, Cesar, 12-13
182
183 -
184