I will give you these are great amps but for many of us they are either two little in power or way too much power for the local club venues we play. The problem I have with fender amps and people in forums (not you people )that review fender is just like the mustang amps that are out now amps they all go wow cool great amp ,fender did it again ect then 3 to 6 months later what a loser amp nothing as good as the ri, your pick ,princeton. I admit vintage fender lust has my soul, this is sexy: These things are on sale for $375 which is an unfair price to us little Has front mounted celestions with the hidden internal slant baffle) I favor my tonemaster 212 cab (which is now calledĪ supersonic 212 cab.which I think is now a bandmaster 212 if it as one who has custom cabs designed for my own amp manufacturing by the best in the biz, fender makes REALLY goodĢ12 cabs. These amps and if you call them they tell you to refer to a qualified fender repairman who will only bias the tubes (and fender spec tubes) toĪlso reports of burned out components much like the import voxAC30 classics like "new Bandmaster VM that had a shorted and burned C42 cap across diode D16 in the tube high voltage section"ītw. Same chassis? I heard that much like an original bandmaster's underpowered output transformer, Fender has spec'd a very cold bias for fender is dealing with lots of problems as the deluxe vm shares the I'm feeling very ill right now, help me through this paradigm please. Was your original amp a Blonde early 64 bassman 6G6-B or late AB864 Bassman? measure twice, cut once.A new bandmaster vm replaced your 64 bassman? Why is all I can think of, I need the facts. I wish I'd foreseen this, and am reminded of the old axiom. I have a Heyboer Deluxe Reverb OPT (but I'd have to pull it from another project. My choice is to swap the OPT for a standard size or build a new baffle board for the cab with the cut-out about 1.5 inches to the left. The speaker itself doesn't clear the OPT either. or mount T-nuts to the face rather than the posts (I'd rather the posts, since they aren't as prone to vibrating loose). Looks like I'll have to remove the baffle, remove the cloth and rotate the orientation of the studs 90 degrees. I can't cut off the post enough and still have clearance to mount the speaker. That nice, big output transformer ran smack into one of the speaker posts. In that process I hit an unexpected snag. But thought first I'd drill holes in the cab for the chassis straps (easier and safer while tubes are out) by lining up the chassis in the cab and marking where to drill. I was close to installing a GZ34 and testing some voltages with the remainder of the tubes out. As you noted, there's not a lot of real estate to work there. I've revisited the wire-dress and made some adjustments, using cable ties to bundle and control wire orientation. Your observations, and the Keen reference, are very helpful. 5881s are an especially nice alternative. And it's neat that you've designed for the 6V6/6L6 swap. Very cool amp (everyone should have one).
I think it was Randall Aiken who suggested that the beneficial distortion characteristics of CCs are most pronounced where you have high voltage and large signal swings. Kind of a tall order for an inch and a half of real estate, I know.ģ) Once everything is together, you might want to experiment with carbon comps for the PI plate loads and maybe the third mixing stage. The tremolo intensity leads carry the switching noise from the neon lamp and cause the "ticking effect" so these want to be dressed away from everything else too. You want to bundle those wires and dress them as close to the circuit board as you can and keep the reverb and tone control wires as far away from them as you can. If it isn't a problem, don't sweat it I mention it just in case.Ģ) When you finalize the lead dress, the B+ wires that run from the doghouse between the circuit board and the backs of the Reverb Channel pots can be enormously hummy. You can just run a wire down into the doghouse. If you get any weirdness in the reverb, the fix is to move the ground of the 2K2/bypass cap to the screen ground.
#FENDER BANDMASTER DELUXE DRIVER#
Gerald Weber surmised (and I have more or less confirmed in practice) that they did this because by sourcing the reverb driver voltage from the screen supply yet grounding the reverb driver tube's cathode with the rest of the preamps, it creates enough potential difference between the grounds to (sometimes) induce oscillation in the oh-so-sensitive reverb circuit. They tied the screen cap ground to the preamp cap grounds. I was looking at the pics you posted (nice build, btw) and had a few observations.ġ) I see that you've grounded the screen supply separately from the preamp supply (as you should do), but Fender did not.
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