
A client wanted her D-12-20 to fret in tune all along the fretboard. Can it be done?
Intonating a flattop’s bridge saddle is tricky, and that’s especially true when it comes to vintage 12-string guitars. Back in the day, it was rare to find an acoustic 12-string with a compensated bridge saddle. In fact for many players, the slightly out-of-tune jangle was a big part of a 12-string’s aural mystique. But times have changed, and as music and recording technology have evolved, most musicians and producers expect a 12-string to play reasonably in tune all along the fretboard.
Intonating a flattop 12-string with a straight bridge saddle involves filing unique break angle and intonation points for each string—an operation that requires skill and patience. Let’s investigate and see exactly what’s involved.
We’ll use a beautiful 1972 Martin D-12-20 as our project guitar. The guitar was in good shape when its owner brought it into the shop, but it didn’t play even remotely in tune and the action was uncomfortably high. Many old 12-strings require a neck reset (an expensive proposition), but I checked the neck angle and it was fine. Fortunately for the guitar’s current owner, the problem was rather simple. Somewhere along the line a previous owner or tech had installed a saddle that was both too high and incorrectly radiused (Photo 1).
My job was twofold: lower the action by reshaping the bridge saddle and then intonate each string. I knew that once I completed these tasks, the D-12-20 would play better than ever and sound more in tune at the higher frets.
Requisite tools. To intonate a 12-string, you need a few specialized luthier tools. These include a string action gauge, radius gauges, and a radius block (the latter must match the fretboard radius). You’ll also need a mechanical pencil, a capo, self-adhesive 80-grit and standard 400-grit sandpaper, and flat, single-cut miniature needle files.
You can estimate where each string should rest on the saddle, but it’s nearly impossible to get it perfect on the first try.
Preliminary check. Before starting this kind of work on a guitar, it’s important to tune to concert pitch and take measurements. These specs provide a baseline to help gauge your progress. You’ll be taking several measurements, so write them down as you go.
First, put a capo on the 1st fret and measure action at the 12th fret with a string action gauge. Take this measurement for both the 1st and 11th strings—the first of the doubled high Es and the low E string. (We’ll assume your 12-string has the standard octave-string configuration, i.e., the octaves in each pair are closer to you than their wound partners. Some electric 12s, notably Rickenbackers, reverse this order.) Measure the distance between the bottom of the string and the top of the 12th fret.
Next measure the relief: With the capo still on the 1st fret, hold the 11th and 12th strings down at the 14th fret and measure the greatest gap between the bottom of the 11th string and the top of the frets. Typically this occurs around the middle of the fretboard, somewhere between the 7th and 9th frets. You can identify this gap by tapping the 11th and 12th strings against the frets while still pressing them down at the 14th fret.
Now remove the capo and check the action at the 1st fret.
Finally, using a strobe tuner, check the intonation for each string. (Naturally, this is tricky on a 12-string because you have to pluck each individual string of the six pairs.) Starting with the 1st string, play the 12th-fret harmonic—make sure it’s in tune—and then fret the same note. If the fretted note is sharp or flat compared to the reference harmonic, write down how many cents it’s off and in which direction. Repeat the process until you’ve documented the intonation at the 12th fret for all 12 strings.
Our 12-string’s preliminary specs. Here’s how the D-12-20 measured up: The action at the 12th fret was 6/64" for the 1st string and 7/64" for the 11th string. Too high to play! The relief was .012"—perfect for my client’s playing style. At the 1st fret, the 1st string was 1/64" and the 11th string was just over 2/64" above the fret. Again, perfect action at the string nut. At this point, I knew my job would simply entail lowering the action at the bridge saddle.
When I checked the intonation with a strobe tuner, and compared the 12th fret harmonics to their corresponding fretted notes, I found most of the fretted notes were from two to six cents sharp, although the G and D pairs were flat by about three cents.
With these measurements in hand, I was ready to get to work.
Photo 2
Sanding the bridge saddle. My next step was to check if the saddle’s radius matched the fretboard radius. My radius gauge revealed what I’d suspected—it wasn’t even close. The fretboard had a 14"radius (Photo 2), but the bridge saddle was around 8". This meant the saddle had a much more pronounced arch than the fretboard. I knew if I didn’t reshape the top of the saddle to match the fretboard, the D and G pairs would be radically higher than the other strings.
Photo 3
Using a 14" radius block and self-adhesive 80-grit sandpaper, I sanded the top of the saddle until it matched the block’s radius. Here’s the most accurate way to reshape the top of the saddle: Place the radius block in a vise with the radius side up and affix the self-adhesive sandpaper to the block. Now remove the saddle from its bridge slot, turn it upside down, and gently sand its top in the block’s concave area. If you shine light behind the saddle, you’ll be able to see how much material you’re removing from the saddle and make sure its radius matches the block (Photo 3).
Since the action was pretty high on our 12-string, I removed about 1/32" from the top of the saddle at both E string pairs. I removed quite a bit more from the middle of the saddle to flatten out the arch.
Once the saddle is correctly radiused, slip it back into the bridge and grab your mechanical pencil.
Photo 4
Marking the saddle. Now it’s time to draw guidelines on the saddle crown for both the individual intonation points and the various angles needed to guide the strings as they emerge from the pin holes (Photo 4). But before you start drawing lines, let’s take a moment to discuss where the strings should sit on the top of the saddle. First we’ll deal with the intonation points, then the string angles.
Fair warning: Setting the intonation entails some trial and error. You can estimate where each string should rest on the saddle, but it’s nearly impossible to get it perfect on the first try.
For this task, it’s helpful to mentally divide the 12 strings into three groups:
• The six E, A, D, G, B, and E strings you’d find on a regular flattop. We know the lowest four are wound, and the top two are plain. So far, so good.
• The plain octave strings (E, A, D, G) that pair with the wound E, A, D, and G strings.
• The doubled unison B and high-E strings. Just like their mates, these are plain.
Okay, think about the first group—our standard 6-string. As a general rule, both the low E and B strings intonate best at the rear edge of the saddle (closest to the bridge pins). The G string’s intonation point is typically at the very front of the saddle (closest to the soundhole).
That leaves the high E, D, and A strings to be accounted for. The high E will typically fall between the B (remember, that’s at the rear of the saddle) and the G (at the front of the saddle). The D and A strings usually create a stair-step pattern between the G and low E strings, with the D closer to the G, and A closer to the low E.
The four plain octave strings are a different story. Both the low E’s octave and the G’s octave points will be at the front of the saddle. The octave strings for A and D will be further back toward the bridge pins.
As you’d expect, the unison B and E strings sit at exactly the same point as their siblings.
Now consider how each string travels from the pin hole in the bridge to the top of the saddle—the intonation point. On this Martin, the six primary strings—those that correspond to a standard flattop—are set back toward the rear of the bridge. The six additional strings, the four octaves and two unisons that make a 12-string such a beautiful beast, emerge through the soundboard and bridge right behind the saddle.
On the rear of the saddle, you need to file individual angles (think of them as ramps) that allow each string to reach its intonation point without encountering a sharp edge. Correctly filed angles minimize string breakage and maximize sustain. The angle for the primary strings will be shallower than the six extra strings.
Photo 5
On the rear of the saddle, you need to file individual angles (think of them as ramps) that allow each string to reach its intonation point without encountering a sharp edge. Correctly filed angles minimize string breakage and maximize sustain. The angle for the primary strings will be shallower than the six extra strings.
Filing the saddle. This is where your inner artist gets a chance to shine. Using a miniature flat file, carve each string’s intonation point and rear angle, based on your markings (Photo 5). Go slowly, and to prevent any sitar-like buzzing, be sure each string leaves the saddle from a crisp, defined peak as it heads toward the soundhole.
Checking intonation. As I mentioned earlier, there’s a lot of trial and error involved with intonating a 12-string. Once you’ve done the first pass of filing, put on a fresh set of strings, tune them to pitch, and check the intonation.
Photo 6
The goal is to have the fretted note at the 12th fret match the corresponding 12-fret harmonic. Use a tuner to keep track of how close the fretted note comes to its reference harmonic. If the string frets sharp, file the intonation point back toward the rear of the saddle. Conversely, if the fretted note is flat, carve the intonation point forward toward the front of the saddle. When you’re done, the saddle should look similar to Photo 6. Don’t be dismayed at how many times you’ll need to slacken and remove the strings, file the saddle, restring, retune, and recheck the intonation.
Wrap it up. When you’ve got the intonation dialed in to your satisfaction, take off the strings one last time, pop out the saddle, and then polish it with 400 grit sandpaper, followed with a polishing cloth. Restring, retune, and you’re good to go.
This process takes a long time to master, but in the end, it’s worth it when your 12-string plays in tune all the way up the neck.
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy … one of the nicest fellas I’ve ever come across. If you’ve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, he’s a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New Yorker—Brooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (he’s exiled here among us Philadelphia sports fans) and he’s just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since he’s been added to my circle (and is such a mensch), I decided I should work him into a column.
So here’s the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. I’ve also seen Kawai guitars with the Zim-Gar label, but the Zimmerman’s seemed to sell cheaper and cheaper gear as the ’60s wore on, including the piece you see here.
“This build reminds me of the cutting boards I used to make in wood shop back in my high school days.”
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay “dragon snout” shape of the mid to late ’60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this build—even the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didn’t know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ’80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there should’ve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
In line with the MOOER’s recent expansion on the MSC range, the company is excited to announce the new MSC50 Pro, an Alder-bodied electric guitar with gloss finish, available in the new Magic Crystal color.
Featuring a roasted maple neck with a satin finish, a rosewood fingerboard for playing comfort, 22 frets, and a standard C shape, the guitar has been designed with classic guitarists in mind. This is beautifully emphasized with its beautifully resonant tonewoods, all while still being balanced perfectly with style and comfort of use.
The MSC50 Pro features all of the industry-standard features you might expect from such an impressively affordable guitar, such as bolt-on construction, a bone nut, and a dual-action steel truss rod. However, other features make the electric guitar stand out among others at a similar price point, such as its MTN-3LC locking tuning pegs, beautiful Abalone dot inlay, and, of course, its previously mentioned tonewood selection.
In order to capture the MSC50 Pro's balanced tonal profile, MOOER's luthiers have built it with three perfectly balanced pickups: the MSC-II N single coil neck pickup, the similar MSC-II M single coil middle pickup, and, best of all, the MHB-II B bridge humbucker. When these carefully chosen pickups are combined with the guitar's MPW 2-point chrome bridge, guitarists can make the most out of its tonal versatility, all while maximizing tuning stability.
To ensure that the guitar is suitable for a wide range of genres, both softer and higher-gain examples, the MSC50 Pro has a convenient coil split switch built into it, giving users better resonance control. Of course, this is also combined with a classic tone dial, a standard 5-way tone switch, and a volume control dial.
Overall, the MSC50 Pro reminds users of MOOER guitars that the company has never forgotten about its roots in classic-style guitars. Yes, the company is continuing to develop innovative guitar technology in other areas, but this electric guitar also represents a grounded approach, keeping things classic, sleek, and tonally versatile–all at a reasonable price point.
Features:
- Alder Body with a Gloss Finish
- Available in the Magic Crystal color
- Standard C-shaped roasted maple neck with a Satin finish
- Bolt-on construction
- 22-fret rosewood fingerboard
- Abalon dot inlay
- MTN-3LC locking tuners
- Bone nut
- Dual-Action Steel Truss Rod
- 12" radius
- 09-46 strings
- 25.2" scale
- MSC-II N Single Coil neck pickup, an MSC-II M Single Poil middle pickup, and an MHB-II B Humbucker Bridge Pickup
- Chrome guitar strap pin
- Coil Split Switch
- 5-Way Tone Switch
- Volume and tone dials
- MPW 2-Point chrome bridge
The MSC50 Pro will be available from the official distributors and retailers worldwide on 13th May 2025 at an expected retail price of USD419/Euro399/GBP339.
MOOER Expands Its Popular MSC Guitar Line with the MSC30 Pro and MSC31 Pro
MOOER has never shied away from innovation when it comes to its guitars. However, with the recently announced release of the MSC30 Pro and MSC31, the company reminds us that, sometimes, true innovation lies in mastering and enhancing a proven classic. With this philosophy, MOOER introduces two new exciting additions to their beloved MSC series of electric guitars.
Both the MSC30 Pro and MSC31 Pro continue MOOER’s philosophy of creating affordable guitars, but without sacrificing quality or performance, thanks to the poplar bodies and flame maple tops. Some guitarists will be drawn to the bright tones of the MSC30 Pro’s maple fingerboard, whereas others will prefer the warmer resonance of the MSC31 Pro’s rosewood alternative.
Each guitar features sturdy bolt-on neck construction, dual-action steel truss rods, bone nuts, and MTN-1 chrome tuning pegs (with the BK upgrade being reserved for the MSC31 Pro), ensuring tuning stability and comfort at all times.At the heart of both models are MOOER’s versatile MSC pickups, comprising the MSC-1N single-coil neck pickup, the MSC-1M single-coil middle pickup, and the powerful MHB-1B dual-coil humbucker at the bridge. Further complemented by a versatile 5-way pickup selector and exclusive coil split switch, players can effortlessly switch between a wide palette of tones, such as pristine cleans ideal for jazz or blues, or high-gain tones for heavier genres.
Tremolo support is also provided through both the guitar's bridges, with the MSC30 Pro featuring an MTB-1 2 Point Tremolo bridge, and the MSC31 Pro boasting an exclusive black MTB-1 BK 2 Point Tremolo bridge. Both bridges guarantee guitarists the ability to use tremolo bars in their guitar performances, without compromising the integrity of tuning stability.
Both guitars come with a selection of vivid new colors, complementing the guitar’s hardware with undeniable visual appeal. The MSC30 Pro is available in the classic finishes of Sunset Red, Lake Blue, Lemon Green, and Rose Purple. Meanwhile, the MSC31 Pro boasts its own selection of glossy finishes: Grey Burst, Blue Burst, Green Burst, and Purple Burst.
Overall, the MSC30 Pro and MSC31 Pro solidify MOOER’s commitment to combining quality craftsmanship, affordability, and versatility, giving guitarists of all levels the chance to own instruments that genuinely inspire.
Features
MSC30 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Maple fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, Abalone dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 Chrome tuning pegs
- Available in gloss-finished Sunset Red, Lake Blue, Lemon Green, and Rose Purple
- Volume and tone dial
- Chrome strap pin
MSC31 Pro:
- Classic S-style design
- Poplar body with flame maple top
- Rosewood fingerboard
- Maple neck with satin finish
- Bolt-on neck construction
- 22 nickel silver frets, White Shell dotted inlay
- Coil split switch and versatile 5-way pickup selector
- MSC-1N/M single-coil pickups and MHB-1B humbucker
- 25.5" scale
- MTN-1 BK tuning pegs
- Available in gloss-finished Grey Burst, Blue Burst, Green Burst, and Purple Burst
- Volume and tone dial
- Chrome strap pin
The MSC30 Pro and MSC31 Pro will both be available from the official distributors and retailers worldwide on 2nd April 2025.
MOOER Gives Bassists What They Want with the New MBJ410 and MBJ420 Electric Bass Guitar Models
For 15 years, MOOER has built a critically acclaimed name for itself thanks to its cutting-edge electric guitars, pedals, and accessories. While the company is no stranger to building electric bass guitars, this has not been its focus for some time, hence why so many bassists are excitedly anticipating the release of the MBJ410 and MBJ420 electric bass guitars.
Both the bass guitars sport glossy Poplar bodies, keeping the price point affordable but without limiting their tonal resonance and versatility, whereas the MBJ420 holds the additional bonus of being built with a Poplar Burl top. Complete with roasted maple C-shaped necks (also accented with a gloss finish) as well as Roasted Maple fingerboards and White Shell dot inlays, the necks are designed to offer as much comfort as possible–a high priority for bass guitarists.
A 34" fret scale further enhances practicality for bassists, as does the neck's 12" radius. Strings are available in .045, .065, .080, and .100 gauges, providing something for any type of bass style - whether slapping, plucking, or picking techniques are preferred.Thanks to the industry-standard components of a dual-action steel truss rod and bone nut, the tuning and resonant stability of both the MBJ410 and MBJ420 models are also of a high standard. However, this is accentuated further by the guitars' strong and reliable BTN-1 tuning pegs, essential for heavier-gauge bass strings.
The tonewoods and structural integrity of the MBJ-series electric bass guitars wouldn't be complete without the accompaniment of the guitar’s two single-coil JB-style pickups. Combined with the MOOER BSC-2 bridge, both bass guitars have been carefully designed to amplify bass resonances excellently, complemented even further by their simple but effective tone dials. Two volume controls are also built in, ensuring that bassists can customize their sonic output to have the perfect tonal blend.
In terms of standout features, the main difference between the two bass guitars is the MBJ420's added poplar burl top, but most notably, the color selections. For the MBJ410, the bass guitar is available in Gunmetal Gray, Metal Green, and Metal Blue, perfectly suiting the stages of higher-gain performances. In contrast, the aesthetics of the MBJ420 are more classic, purchasable in Red Burst, Blue Burst, and Tobacco Burst. Finally, both guitars are topped with a chrome strap pin, enabling stylish and energetic live performances.
Overall, bassists will no doubt be excited to see MOOER return to electric bass guitars with the MBJ410 and 420 models. Of course, electric guitars will remain the focus for the company, but the release of these two new products is a reminder of just how accommodating MOOER is for its wide audience of musicians.
Features
- Electric bass guitar built with gloss-finished Poplar body (MBJ420 also features a Poplar Burl Top)
- Roasted maple C-shaped neck with a gloss finish
- Roasted maple fingerboard
- White Shell dot inlay
- 12” neck radius
- MOOER BSC-2 bridge
- VBJ-1 and VBJ-2 Single Coil pickups
- MOOER BTN-1 tuning pegs
- Bolt-on construction
- Bone nut
- Dual-action steel truss rod
- Pre-installed strings available in .045, .065, .080, and .100 gauges
- 21 frets
- 34"fret scale
- Colors available in Gunmetal Gray, Metal Green, and Metal Blue (MBJ410), and Red Burst, Blue Burst, and Tobacco Burst (MBJ420)
- Chrome strap pin
- 2 x volume control dials
- 1 x Tone dial
The MBJ410 and MBJ420 will both be available from the official distributors and retailers worldwide on 29th April 2025 at an expected retail price of USD319/Euro299/GBP249(MBJ410), USD399/Euro379/GBP319(MBJ420).
The Oceans Abyss expands on Electro-Harmonix’s highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now we’ve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport™ app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport™ app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply
Our columnist’s silver-panel Fender Bandmaster.
How this longstanding, classic tube amp design evolved from its introduction in 1953.
I have a silver-panel Bandmaster Reverb that I don’t think I’ve talked about enough in this column. It’s one of the most versatile and flexible amps I own, so I use it for everything. It’s portable, has tube-driven reverb and tremolo, and has a full set of EQ knobs including the critical bright switch, which we discussed the importance of earlier this year (“How to ‘Trebleshoot’ a Vintage Fender Amp,” March 2025). The amp is not only pedal-friendly; the flexible 4-ohm output impedance will handle almost all speaker configurations and sound any way you’d like. Let’s take a deeper look at the Fender Bandmaster amp and walk through its development through the years.
The first Bandmaster was introduced in 1953 as a wide-panel tweed amp with Fender’s 5C7 circuit. This rare combo was loaded with a single 15" Jensen P15N and powered by dual 6L6GC tubes in push-pull configuration to produce a modest 25 watts. The 6L6GCs were cathode biased and along with the 5U4GB rectifier tube contributed to a forgiving sag, early breakup, and a midrange-y voice.
Fender made several changes when they launched that amp’s successor in 1955, the more widely known 5E7 narrow-panel Bandmaster, a well-proven amp that has come back as a reissue model. It was still a dual-channel amp—instrument and microphone—but the newer 5E7 model had a fixed bias and a negative feedback loop, providing a louder, firmer, and cleaner tone. Most importantly, the single 15" speaker was replaced by three 10" speakers, making it very similar to the narrow-panel tweed Bassman, the granddaddy of all Marshall amps. This Bandmaster had three speakers instead of the Bassman’s four, and it delivered 25–30 watts instead of 40. It offered early breakup with a midrange-y, big and full tone.
For those not acquainted with tweed amps, the volume and EQ knobs behave differently than on silver- and black-panel Fender amps. The volume pot can act like a distortion control, while the EQ knobs control the volume, and many players I’ve talked to have not really unlocked this secret. This works because, in these circuits, the volume pot sits right before the preamp tube, which allows it to push the tube into full distortion. Since the EQ pots are located right after and are capable of reducing the volume, you’re able to distort the preamp at low volume settings.
“Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility.”
In 1960, a short-lived and rare Bandmaster dressed in brown tolex and a black faceplate appeared with the 5G7 circuit. From here on, all Bandmasters had the modern top-mounted chassis. With this circuit, the Bandmaster started to both look and sound more like a black-panel amp. It kept the 3x10" speakers but got a diode rectifier and bigger transformers resulting in a 45-watt output. Tremolo was introduced for the first time, and both channels were now intended for guitar.
The following year, a blonde 6G7 Bandmaster followed as a smaller amp head paired with a 1x12 extension cabinet. It had the timeless early blonde looks with cream tolex, brown faceplate, oxblood grill cloth, large Fender logo, and white knobs. But halfway into the blonde era, towards 1964, things turned strange and rather confusing. There were suddenly two 12" speakers, black knobs, a wheat-colored grill cloth, a more slim black-panel-style Fender logo, a black faceplate, and all in various combinations close to the transition into ’64.
Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility. It offers a pure, clean, scooped black-panel tone that’s somewhere between a Vibrolux Reverb and Pro Reverb, which share the medium-sized 125A6A output transformer and dual 6L6GC tubes. With its medium/high power and flexible 4-ohm output impedance, it can drive all kinds of speaker cabinets—as long as you stay between 2 and 8 ohms, you are safe.
For a short time in 1967–68, there was a transitional Bandmaster with aluminum trim and black-panel innards before the all-new silver-panel Bandmaster Reverb replaced it in 1968. The small-head cabinet had grown in size and, unfortunately, weight to accommodate the reverb tank. The amp got a 5U4GB rectifier tube along with a few general silver-panel changes to the circuit. Several silver-panel models existed with minor differences until a 70-watt beast version came along in 1977 with master volume.
To my own 1968 Bandmaster Reverb, I have done a few adjustments. First, I made a custom baffle to hold two 8" speakers. I installed a pair of WGS G8C speakers that fit perfectly on the baffle board without colliding with the reverb tank or transformers. Sometimes, I use only one of the 8" speakers for bedroom volume levels. Second, I reversed the bias circuitry to standard AB763 specs, making it easier to adjust bias correctly on both power tubes. If you are into sparkling clean and funky Strat sounds, you would love this little 2x8" combo.