Our columnist is back to balance the force with a look at the top qualities of old-school Fullerton noise-makers.
Last year, I wrote a column listing the top 10 annoying things about vintage Fender amps. Now, I seek to rebalance the equation, and will share my list of reasons to love them.
There are countless reasons why simple, vintage Fender amps are still the tool of choice for many working musicians, both onstage and in the studio. I suppose my list is also colored by the fact that I am an electrical engineer, just as Leo Fender was. I have traded and serviced them for almost three decades. As usual, I will mostly refer to the black-panel and silver-panel era of amps from the 1960s and ’70s.
1. Circuit standardization
The amp techs among us may have noticed how similar the electrical circuits are in the various Fender models, especially the popular black-panel Deluxe, Vibrolux, Pro, Vibroverb, Super, Twin, and Showman. Many of us use the nickname “AB763” amps because they are based on the same electrical circuit design, and some are almost identical on the inside. Yes, there are some differences, but apart from the power levels and size, they follow the exact same recipe with the tube layout, preamp section with tone stack, the long-tail phase inverter, the class-AB push-pull power tube design, fixed bias, negative feedback loop, and so on.
So, the tonal differences between the black- and silver-panel-era amps are explained by cabinet size, speaker configurations, speaker type, and power levels. Once you learn how to work on one model, you can work on them all.
2. Circuit simplicity
The first time I opened a Fender amp and inspected its innards was in 1998 when I got my first vintage one, a 1965 pre-CBS Super Reverb. I was surprised by how simple and organized the circuit was. The few components were laid out in patterns and functional sections, and the wires were cut in perfect lengths and bent nicely, tying everything together in a way that was easy to understand when I followed the circuit layout diagram. Simplicity means fewer things that can go wrong. These qualities also make maintenance easier for amateurs and enthusiasts.
3. Low-cost physical construction
Back in the day, Fender was concerned about cost and weight, and as a result, there was no high-end selection of materials or advanced mechanical features. If you need to repair or rebuild something, you don’t have to rebuild with absolute vintage correctness to obtain the original Fender tone. If, for example, an MDF baffle board is damaged, which tends to happen to amps with multiple heavy speakers, I always use thicker pine plywood when cutting out a new board. The tone remains pretty much the same, while robustness is drastically improved. This also goes for cabinet pieces, back plates, screws, and nuts. Do what Fender did, and use what you have available.
4. Tube mods
As a player, I like simple tube-swap mods, and as an engineer, I am impressed at how vintage Fender amps handle different tubes, or even allow you to pull some tubes out. Did you know that you can remove V2, V3, V4, and V5 in an AB763 amp, and the normal channel will still work?
My favorite tube swaps are a 12AX7 in the phase-inverter position for less headroom; a 12AU7 as a reverb driver for better reverb control; 6L6s in place of 6V6s in the Deluxe Reverb for cleaner headroom; and a single 6L6 in the Princeton Reverb for less headroom. There are plenty other tube swaps that you can learn about on my website, fenderguru.com, or in previous articles here at Premier Guitar. You risk malfunction and burned tubes and components if you insert the wrong tubes, so be careful and trust only valid sources.
5. The big lineup
In my list of problems with Fender amps, I pointed out a few amps that I would have recommended that Leo Fender cut out to reduce production complexity and cut costs. However, I do dig the big lineup of different amp models, from small practice amps to huge stage amps. You can pick the exact tool according to your taste and needs, and as mentioned earlier, all of them share the characteristic Fender clean tone—it’s just that some are much louder than others.
6. The clean tone
For me, the clean tone of an amp is everything. This is my number-one reason why I love the old-school Fender amps. They were designed as clean, natural tone platforms, for the simple purpose of amplifying the sound of your guitar, bass, or keyboard.
But a proper analysis of Fender’s clean tone requires a column of its own, so stay tuned for the next Silver and Black!
The L.A.-based musician knows a thing or two about writing—and especially reclaiming—stories in song.
Mississippi-born, Los Angeles-based musician and songwriter Garrison Starr has been recording and releasing music since the early ’90s. The veteran rocker is an expert on creative expression—but also on navigating the “ballsack of an industry” that is the professional music world.
That includes the alienating experience of having to engage in a narrative—whether in song or in the press—that isn’t real or true for you, maybe even one that cheapens your personhood. “How many times have I done that to myself?” Starr wonders. These are the things the commercial music industry foists upon its would-be stars.
Along with Before Your Very Ears hosts Sean Watkins and Peter Harper, Starr hits on the key to writing great songs: Being honest creates more, and better, success. “The vulnerability is where the power is,” says Starr. Fueled by the experience of being outed in college, and then exiled from her evangelical community for being gay, Starr leads the trio on a songwriting expedition to examine the damage of having our stories ripped from us—and the potential of reclamation through song.
Visit BOL.education for a free sample lesson, or use code “Song” for a 10% discount on your first non-degree course.
Don't miss these limited edition models! They're only available through September. Learn about the latest in the Gold Standard from Taylor Guitars.
The quality guitar builder celebrates 50 years of innovation with a compelling new collection of anniversary models.
Throughout 2024, Taylor Guitars is celebrating its 50th anniversary. For the El Cajon, California-based company, it’s not merely the marking of a milestone birthday, but an extended tribute to the spirit of player-friendly innovation that has always pushed the company forward. Read on for a brief history of this innovative acoustic guitar builder.
American Dreamers
In 1974, Bob Taylor and Kurt Listug, two ambitious, guitar-obsessed dreamers from San Diego who’d met at a guitar-making shop called the American Dream, embarked on a journey that would reshape the landscape of acoustic guitars. The path wasn’t always easy, and Bob and Kurt knew they had a lot to learn. “Things were hard for a really long time,” Kurt says. “We had to learn everything. How to build guitars. How to sell guitars. How to build a business.”
Relentless Innovation
Despite the steep learning curve, even in the early days innovation was part of the DNA of the company. In 1976, Bob Taylor introduced an early version of Taylor’s soon-to-be-embraced slim-profile, bolt-on guitar neck. This design marked a departure from the big, round, chunky neck profiles found on most acoustics of the day. It also made it easier to perform neck resets.
Musicians were impressed by the slender neck profile and low action, which made Taylor’s guitars remarkably easy to play. Neil Young played a Taylor rosewood/spruce 12-string Jumbo 855 in 1978, a purple 12-string Jumbo was crafted for Prince in 1985, and, shortly after, signature models were made for acclaimed acoustic players Dan Crary and Leo Kottke.
Taylor became the first acoustic guitar company to adopt computer-numerical-controlled mills. In 1990, they introduced CNC machines to their factory, which offer exacting precision in cutting, pocketing and shaping complex guitar components.
The Birth of the Grand Auditorium
In 1994, Taylor’s Grand Auditorium made its debut, sporting refined dimensions that sat between a dreadnought and Taylor’s small-bodied Grand Concert. This new body shape offered a versatile acoustic voice with remarkable balance across the tonal spectrum, and clear, well-defined notes suited for strumming, picking, and playing fingerstyle. This medium-sized body style redefined the acoustic guitar to better fit the needs of the modern player. Its sweeping utility made it a go-to choice for session musicians and gigging players alike, ultimately becoming Taylor's best-selling body shape.
As part of their 50th anniversary celebration, Taylor is releasing a collection of limited-edition guitars celebrating the best from the Taylor line over the past five decades. And it’s only natural that the all-purpose Grand Auditorium takes center stage in this commemorative collection. A number of models have already been released and are available now at authorized Taylor dealers, including the 50th Anniversary Builder’s Edition 814ce LTD, 314ce LTD and AD14ce-SB LTD.
Builder's Edition 814ce LTD
The 50th Anniversary Builder’s Edition 814ce LTD is an ultra-refined version of the player-favorite Builder’s Edition 814ce (released in 2023) that retains comfort-enhancing elements from the original: a beveled armrest, beveled cutaway, chamfered edges and a Curve Wing bridge. A solid sinker redwood top and solid Indian rosewood body offer a harmonious blend of rich lows, sparkling highs, bold projection and remarkable dynamic range. It features an abalone rosette, mother-of-pearl inlays, maple binding, maple purfling around the fretboard and peghead, and ultra-precise Gotoh 510 tuners, and streets for $4,999.
Zac Brown & Marcus King | Taylor 50th Anniversary Next Generation
314ce LTD
One of the best-selling U.S.-made acoustic guitars, Taylor’s 314ce gets a premium upgrade with the 50th Anniversary 314ce LTD. Taylor’s special roasting process has been applied to the solid Sitka spruce top, offering aged-in depth and sweetness from day one, along with enhanced soundboard stability and responsiveness. Paired with solid sapele back and sides, you can expect a rich and versatile sonic profile with the signature warmth, clarity, and balance that’s characteristic of Taylor guitars. Eye-catching aesthetic touches include an artfully sprayed tobacco shaded edgeburst and a bold firestripe faux-tortoise pickguard. The street price is $2,799.
Jason Mraz & Daniel Tovar | Taylor Guitars 50th Anniversary Next Generation
AD14ce-SB LTD
Some of Taylor’s earliest guitars featured a Sitka spruce top and a walnut body, many of which were built in the hippie-vibed music shop where Bob and Kurt met and from which the American Dream Series takes its name. The 50th Anniversary AD14ce-SB LTD, only the second Grand Auditorium in the series, combines workhorse versatility with earthy, neo-vintage aesthetics. With walnut contributing to a pronounced midrange and a balanced blend of warm lows and clear highs, this guitar is ideal for everything from intricate fingerpicking to vibrant strumming, and is street-priced at $1,999.
All three Grand Auditoriums are voiced with V-Class bracing, a groundbreaking sonic “engine” developed by Andy Powers, Taylor’s chief guitar designer (and president and CEO). Joining the team in 2011, Andy is committed to ensuring that Taylor’ guitar-making innovation continues to be a central focus in the decades ahead.
Each guitar in the collection shares celebratory appointments, including a commemorative 50th Anniversary label inside, ebony bridge pins with gold acrylic dots, and gold tuning machines and buttons.
You can explore Taylor’s full 50th Anniversary Collection of guitars here. All models are available exclusively at authorized dealers.
Plus, check out Taylor’s 50th Anniversary Timeline to learn more about the history of innovation and some of the amazing artists who have played their guitars over the past five decades.