1974 silver face Fender twin Reverb OMG
- Thread starter Rockstar216
- Start date
Bludave
New member
Re: 1974 silver face Fender twin Reverb OMG
And this coming from someone who states that the most overrated guitar of all time is a 335.
And this coming from someone who states that the most overrated guitar of all time is a 335.
STRATDELUXER97
Stratoblaster Tone Meister
glassman
Electron Herder
Re: 1974 silver face Fender twin Reverb OMG
I still don't understand the whole hatred of silver faced Fender amps. Sure...I bought into it early on...I've probably converted 200 silver faced Fenders to black face specs over the 18 years I've been repairing amps. The tonal difference is minimal and is really only perceptible at higher volumes than is practical in a performance situation. I thwart most black facing requests these days and instruct the new owner to get to know the amp before making any changes. Chances are, the amp you are looking at may have had this treatment since a majority of them already have and some were that way to begin with. A master volume is not an issue; turn it to 10 and it is for all practical purposes, out of the circuit. The pull boost on the MV is only useful with thin sounding guitars...it probably matched the Fender guitars of the era. Don't use it if it doesn't suit you.
The bottom line is that these amps are built like tanks, all replacement parts are readily available (except the faceplate) and it will survive, properly maintained, to pass on to your grandchildren. if you dig it and can get it for a descent price...do it.
I still don't understand the whole hatred of silver faced Fender amps. Sure...I bought into it early on...I've probably converted 200 silver faced Fenders to black face specs over the 18 years I've been repairing amps. The tonal difference is minimal and is really only perceptible at higher volumes than is practical in a performance situation. I thwart most black facing requests these days and instruct the new owner to get to know the amp before making any changes. Chances are, the amp you are looking at may have had this treatment since a majority of them already have and some were that way to begin with. A master volume is not an issue; turn it to 10 and it is for all practical purposes, out of the circuit. The pull boost on the MV is only useful with thin sounding guitars...it probably matched the Fender guitars of the era. Don't use it if it doesn't suit you.
The bottom line is that these amps are built like tanks, all replacement parts are readily available (except the faceplate) and it will survive, properly maintained, to pass on to your grandchildren. if you dig it and can get it for a descent price...do it.
STRATDELUXER97
Stratoblaster Tone Meister
crusty philtrum
Vintageologist
Re: 1974 silver face Fender twin Reverb OMG
I might be able to add another perspective to this. Down here in Australia there were various taxes/duties/regulations that made it almost impossibly expensive to import American guitars and amps until the end of the 1960s. By the early '70s, things had changed and Fender products became easily available here (I think something similar happened in the UK). In both countries, the gaps were filled with locally-manufactured versions of the gear that those crazy kids with their electromomatic guitars and noisy beat music were clamouring for.
By the early '70s of course the amps that could be purchased new were s/f models. So most people here started their personal experiences of the Fender sound via those models. It was rare to encounter any earlier models, and those that were here had probably been imported individually and often had to be run with a step-down transformer from our 240 Volt power. As teenagers, my friends and I didn't think the Fender amps were good rock amps, they couldn't compete with the big tube heads and 4 x 12 cabs that we all used. However, depsite our views that Telecasters and Fender amps were only for country music, and maybe some traditional-style blues, we did begrudgingly respect the Twin Reverb for it's power, and some rock players were using them.
As the years passed and volume levels became more constrained, the Fender amps became better contenders for rock and pop. I started to become more familiar with the s/f amps and it was obvious they had some great qualities, and were quite happy to do rock with a pedal in front. Eventually i ended up owning a couple of s/f Super Reverbs and was impressed with their gorgeous clean tones and the fact that I could play virtually anything and get great sounds. Years later I was working on amps and performed repairs and services to many many old s/f models, and always enjoyed playing through them after i'd got them back to proper working condition.
During that time, i did encounter the occasional pre-s/f model, and most times i was unimpressed .... however, most of those amps were not prime examples and probably hadn't been serviced for many years. To my ear, they kinda had one good sound, whereas the s/f's had a beautiful clean shimmer that was also a welcoming canvas for shaping many sounds via pedals, which they seemed to enjoy.
I simply take the s/f amps at face value, i don't compare them to previous models or anything else. In good working condition, they are great amps ... simple, reliable and easily serviced or repaired (and perhaps a little too easy to mod judging by some of the weird and wonderful 'alterations' i've encountered, and usually removed with the blessing of the owner). Having seen the newer reissues and modern generations of (cheaper) tube amp construction, I have always maintained that with a little occasional love, the original s/f amps should outlive their owners, whilst the reissues and contemporary builds probably won't (although being cheaper, they probably still represent good value for money).
So my view is that if you really must have a tweed or blackface, search one out and buy it. If you want a good amp, the s/f models are great value, and even the worst-sounding ones are usually only a set of valves and filter caps away from being at their best, and from being able to give up great tones for many styles. I'd go as far as saying i don't hear any new amps today that can do the Fender sound as well as the old s/f amps, and even Fender's own reissues don't have the rugedness or ease of serviceability of the originals. As most people know, some of the CBS 'improvements' are easily removed or changed.
I've had several instances of players suddenly needing a new amp and having limited funds, and hence limited options. I would almost always recommend they seek out an old s/f at a good price and factor in some extra money for new valves and caps. That way they could get a great-sounding affordable amp, fully serviced and ready for years of tough gigging, AND with the Fender brand-name that will ensure decent resale value. One guy who did this emailed me after i'd serviced that amp to tell me that he was getting into trouble with his bandmates because while they were rehearsing songs, he would often find himself just holding a chord and listening to how good his amp sounded, completely forgetting that he was supposed to be playing his part in the song, hehe.
I suppose that Fender sold A LOT of s/f amps around the world, and because of that, many people encounter them when they (the amps) are old and in desperate need of some tubes and general service, leading to a poor reputation, leading to more abuse and neglect, etc. But now people are able to get parts and servicing more easily they are regaining respect, and rightly so.
So for my money, a good s/f can be a thing of beauty, and at some point the player has to take some responsibility by putting something toneful into the front of the amp in the first place. If most players can't at least make some kind of listenable music through a s/f, they may need to go back to the woodshed.
I might be able to add another perspective to this. Down here in Australia there were various taxes/duties/regulations that made it almost impossibly expensive to import American guitars and amps until the end of the 1960s. By the early '70s, things had changed and Fender products became easily available here (I think something similar happened in the UK). In both countries, the gaps were filled with locally-manufactured versions of the gear that those crazy kids with their electromomatic guitars and noisy beat music were clamouring for.
By the early '70s of course the amps that could be purchased new were s/f models. So most people here started their personal experiences of the Fender sound via those models. It was rare to encounter any earlier models, and those that were here had probably been imported individually and often had to be run with a step-down transformer from our 240 Volt power. As teenagers, my friends and I didn't think the Fender amps were good rock amps, they couldn't compete with the big tube heads and 4 x 12 cabs that we all used. However, depsite our views that Telecasters and Fender amps were only for country music, and maybe some traditional-style blues, we did begrudgingly respect the Twin Reverb for it's power, and some rock players were using them.
As the years passed and volume levels became more constrained, the Fender amps became better contenders for rock and pop. I started to become more familiar with the s/f amps and it was obvious they had some great qualities, and were quite happy to do rock with a pedal in front. Eventually i ended up owning a couple of s/f Super Reverbs and was impressed with their gorgeous clean tones and the fact that I could play virtually anything and get great sounds. Years later I was working on amps and performed repairs and services to many many old s/f models, and always enjoyed playing through them after i'd got them back to proper working condition.
During that time, i did encounter the occasional pre-s/f model, and most times i was unimpressed .... however, most of those amps were not prime examples and probably hadn't been serviced for many years. To my ear, they kinda had one good sound, whereas the s/f's had a beautiful clean shimmer that was also a welcoming canvas for shaping many sounds via pedals, which they seemed to enjoy.
I simply take the s/f amps at face value, i don't compare them to previous models or anything else. In good working condition, they are great amps ... simple, reliable and easily serviced or repaired (and perhaps a little too easy to mod judging by some of the weird and wonderful 'alterations' i've encountered, and usually removed with the blessing of the owner). Having seen the newer reissues and modern generations of (cheaper) tube amp construction, I have always maintained that with a little occasional love, the original s/f amps should outlive their owners, whilst the reissues and contemporary builds probably won't (although being cheaper, they probably still represent good value for money).
So my view is that if you really must have a tweed or blackface, search one out and buy it. If you want a good amp, the s/f models are great value, and even the worst-sounding ones are usually only a set of valves and filter caps away from being at their best, and from being able to give up great tones for many styles. I'd go as far as saying i don't hear any new amps today that can do the Fender sound as well as the old s/f amps, and even Fender's own reissues don't have the rugedness or ease of serviceability of the originals. As most people know, some of the CBS 'improvements' are easily removed or changed.
I've had several instances of players suddenly needing a new amp and having limited funds, and hence limited options. I would almost always recommend they seek out an old s/f at a good price and factor in some extra money for new valves and caps. That way they could get a great-sounding affordable amp, fully serviced and ready for years of tough gigging, AND with the Fender brand-name that will ensure decent resale value. One guy who did this emailed me after i'd serviced that amp to tell me that he was getting into trouble with his bandmates because while they were rehearsing songs, he would often find himself just holding a chord and listening to how good his amp sounded, completely forgetting that he was supposed to be playing his part in the song, hehe.
I suppose that Fender sold A LOT of s/f amps around the world, and because of that, many people encounter them when they (the amps) are old and in desperate need of some tubes and general service, leading to a poor reputation, leading to more abuse and neglect, etc. But now people are able to get parts and servicing more easily they are regaining respect, and rightly so.
So for my money, a good s/f can be a thing of beauty, and at some point the player has to take some responsibility by putting something toneful into the front of the amp in the first place. If most players can't at least make some kind of listenable music through a s/f, they may need to go back to the woodshed.
Chickenwings
Alnico 6/8
Re: 1974 silver face Fender twin Reverb OMG
Iv'e said it before and ill say it again: crusty for prime minister!
Iv'e said it before and ill say it again: crusty for prime minister!
MetalManiac
Li'l Junior Member
Re: 1974 silver face Fender twin Reverb OMG
I think its pretty safe to assume that theres lots af Silverface hate out there, and Im just being singled out mainly cause Im the one 'flying the flag ' in opposition on this particular thread.
Be that as it may, lets assume for the sake of argument, that there are NO changes to ANY of the transition 67 amps, and that IF there are changes to the '68 amps, as I think there probably are(especially cabinets) the 68 amps changes can be reversed easily enough assuming transformers (Shumacher I think) transformers are the same, which is another concern that has been expressed as being questionable), and capacitors are also the same as well as wiring type.
Anything past this period of time (67-68), even with "blackface " mods, is suspect by many I have read who have given their opinions on this subject as to not having the quality of sound we know as 'Pre CBS Blackface';that is,of people I have heard tell who have owned and/or played both feel something lacking in 'blackfaced' post-68 Fender amps as opposed to genuine pre CBS and /or 67-68 amps despite any modifications entailing reversal of the tone suck caps, Phase inverter issues and other famous silverrface 'problems'.
I'm not an expert. Trying to understand, clarify, and make sense.
So then, obviously a Silverface sounds great. Thats somthing I/we shouldnt deny. Its just that a Blackface sounds so much better. I'm personally not one who belives in 'subjective tone', nor are others who value THE one true only Blackface tone.
To me , Blackface vs. Silverface is like Leather vs. Vinyl, like real Wood Vs. synthetic; Its somthing that is more loevely, beuatiful, rich , full and lush.
To say I hate Silverface or properly, WE hate Silverface is not quite right, no, Silverface is good, but its not as great as Blackface. We hold this to be a fact that is true and reasonable.
I think what really needs to be determined now is *which amps are identical to Blackface in every way exactly.
That way, if you can only afford or or have access, or even prefer the glassy tone of a post 68 Silverface amp fopr whatever reason ( again the 'post 68' part is subject to scrutiny), you'll know exactly which amps to get.
I may be sidetracking a littel to the OP's main thrust of his inquiry, however I feel its not unreasonable to dilineate which amp it is thats being asked about.
Anyway, this is the last I'll say about it here.I hope I have been reasonable..I tried.
I think its pretty safe to assume that theres lots af Silverface hate out there, and Im just being singled out mainly cause Im the one 'flying the flag ' in opposition on this particular thread.
Be that as it may, lets assume for the sake of argument, that there are NO changes to ANY of the transition 67 amps, and that IF there are changes to the '68 amps, as I think there probably are(especially cabinets) the 68 amps changes can be reversed easily enough assuming transformers (Shumacher I think) transformers are the same, which is another concern that has been expressed as being questionable), and capacitors are also the same as well as wiring type.
Anything past this period of time (67-68), even with "blackface " mods, is suspect by many I have read who have given their opinions on this subject as to not having the quality of sound we know as 'Pre CBS Blackface';that is,of people I have heard tell who have owned and/or played both feel something lacking in 'blackfaced' post-68 Fender amps as opposed to genuine pre CBS and /or 67-68 amps despite any modifications entailing reversal of the tone suck caps, Phase inverter issues and other famous silverrface 'problems'.
I'm not an expert. Trying to understand, clarify, and make sense.
So then, obviously a Silverface sounds great. Thats somthing I/we shouldnt deny. Its just that a Blackface sounds so much better. I'm personally not one who belives in 'subjective tone', nor are others who value THE one true only Blackface tone.
To me , Blackface vs. Silverface is like Leather vs. Vinyl, like real Wood Vs. synthetic; Its somthing that is more loevely, beuatiful, rich , full and lush.
To say I hate Silverface or properly, WE hate Silverface is not quite right, no, Silverface is good, but its not as great as Blackface. We hold this to be a fact that is true and reasonable.
I think what really needs to be determined now is *which amps are identical to Blackface in every way exactly.
That way, if you can only afford or or have access, or even prefer the glassy tone of a post 68 Silverface amp fopr whatever reason ( again the 'post 68' part is subject to scrutiny), you'll know exactly which amps to get.
I may be sidetracking a littel to the OP's main thrust of his inquiry, however I feel its not unreasonable to dilineate which amp it is thats being asked about.
Anyway, this is the last I'll say about it here.I hope I have been reasonable..I tried.
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MetalManiac
Li'l Junior Member
Re: 1974 silver face Fender twin Reverb OMG
Dude, that was a good thread, despite the provacative title.
The Plywood guitar is not as good of a guitar as the the Carved solid top. I stand by that to the bitter end;
technically it can't sound as good.
Again, I believe in an absolute tone, not any subjectivity which prevails on most peoples court of opinion on this subject. I also wholeheartedly believe that.
I never said a 335 didnt sound great, or wasn't the best rock guitar; it does and it probably is. Can we let sleeping dogs lie?
Dude, that was a good thread, despite the provacative title.
The Plywood guitar is not as good of a guitar as the the Carved solid top. I stand by that to the bitter end;
technically it can't sound as good.
Again, I believe in an absolute tone, not any subjectivity which prevails on most peoples court of opinion on this subject. I also wholeheartedly believe that.
I never said a 335 didnt sound great, or wasn't the best rock guitar; it does and it probably is. Can we let sleeping dogs lie?
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the guy who invented fire
Fuzzy. Guitars
Re: 1974 silver face Fender twin Reverb OMG
This has officially gotten awesome!
Jerry...for a second set aside if you are right or wrong here.
You stated in a post above that you do not believe tone is subjective so right there anybody that was reading your posts and wondering if you were right should realize that you sir are a fool.
Second, the ES-335 thread is yet again more proof...I mean on it's face you make some of the worst statements, stated as pure fact ever...in that thread and in this one.
In addition to that anyone that has read more than 2 or 3 of your drunken rants/thread or has seen any of your "demos" pays you zero attention anyway or they are just as misguided as you are and deserve all the bad info you can fork over to them.
Lastly not only do I not believe any of this stuff you have spouted off I doubt you can even tell the difference in real life. Simply based on reading your insane posts the past few years and listening to your demos I doubt you can tell the difference between a 1965 BF Fender amp and a 1979 SF Fender.
However, please keep on going because your posts are too much fun!
Also, thumbs up for putting your thoughts into paragraphs...nice work but the spelling could still stand some tweaking!
This has officially gotten awesome!
Jerry...for a second set aside if you are right or wrong here.
You stated in a post above that you do not believe tone is subjective so right there anybody that was reading your posts and wondering if you were right should realize that you sir are a fool.
Second, the ES-335 thread is yet again more proof...I mean on it's face you make some of the worst statements, stated as pure fact ever...in that thread and in this one.
In addition to that anyone that has read more than 2 or 3 of your drunken rants/thread or has seen any of your "demos" pays you zero attention anyway or they are just as misguided as you are and deserve all the bad info you can fork over to them.
Lastly not only do I not believe any of this stuff you have spouted off I doubt you can even tell the difference in real life. Simply based on reading your insane posts the past few years and listening to your demos I doubt you can tell the difference between a 1965 BF Fender amp and a 1979 SF Fender.
However, please keep on going because your posts are too much fun!
Also, thumbs up for putting your thoughts into paragraphs...nice work but the spelling could still stand some tweaking!
Re: 1974 silver face Fender twin Reverb OMG
Here's one person's perspective: Back in the early -mid 90s, I was in school for "Electronic Music Technology". A 2 year tech school program that focused on teaching how to repair all sorts of electronic music devices...everything from hellish old organs to digital devices to tube amps. The "tube-amp gurus" that I remember being very influential at the time were Gerald Weber, Ken Fischer, David Funk, Dan Torres and the Groove Tube crew. I'm pretty sure that these were the main influences behind the "start" of the boutique amp craze. Obviously there were others, but these were the guys with published BOOKS (remember those?) and great articles in Vintage Guitar Magazine. Gerald Weber in particular was quite influential and I remember when our class got our box of his just published book, "A Guide To Hip Vintage Guitar Amps" (or something like that). Weber ripped Silverface Fenders for the most part, but he also told us which models stayed the same as their blackface predecessors, and how to convert the ones that could be converted.
So anyway, here you have all these influential amp gurus building tweed clones and talking up all the pre-CBS Fenders, plus the fact that even in the mid 90s guys with not a ton of dough could pass over silver face amps because there were still reasonably priced pre CBS Fender amps and other cool amps like 60s Ampegs and Gibsons available in good numbers.
Also, nobody builds silver face clones...no influential guitarists that I can think of play silver face amps. So...
Anyway, that's my buck fiddy. I'm not a Silverface hater, but I have to admit to never really being interested in them at all...other than a silverface Princeton that I bought for $25...but I knew they hadn't changed the circuitry in that one...
Here's one person's perspective: Back in the early -mid 90s, I was in school for "Electronic Music Technology". A 2 year tech school program that focused on teaching how to repair all sorts of electronic music devices...everything from hellish old organs to digital devices to tube amps. The "tube-amp gurus" that I remember being very influential at the time were Gerald Weber, Ken Fischer, David Funk, Dan Torres and the Groove Tube crew. I'm pretty sure that these were the main influences behind the "start" of the boutique amp craze. Obviously there were others, but these were the guys with published BOOKS (remember those?) and great articles in Vintage Guitar Magazine. Gerald Weber in particular was quite influential and I remember when our class got our box of his just published book, "A Guide To Hip Vintage Guitar Amps" (or something like that). Weber ripped Silverface Fenders for the most part, but he also told us which models stayed the same as their blackface predecessors, and how to convert the ones that could be converted.
So anyway, here you have all these influential amp gurus building tweed clones and talking up all the pre-CBS Fenders, plus the fact that even in the mid 90s guys with not a ton of dough could pass over silver face amps because there were still reasonably priced pre CBS Fender amps and other cool amps like 60s Ampegs and Gibsons available in good numbers.
Also, nobody builds silver face clones...no influential guitarists that I can think of play silver face amps. So...
Anyway, that's my buck fiddy. I'm not a Silverface hater, but I have to admit to never really being interested in them at all...other than a silverface Princeton that I bought for $25...but I knew they hadn't changed the circuitry in that one...
glassman
Electron Herder
Re: 1974 silver face Fender twin Reverb OMG
Oh yeah...I read those books back in the day; I started repairing in 1995! Those books were the reason I originally bought into the whole BF > SF argument. However, as more and more of both started going through my shop, it became apparent to me, by actually playing them, that the differences were minimal and situation depenent. My opinion changed. My opinion is only one guy's opinion but it is based on actual experience and not on something I read.
I too remember guys passing over reasonably priced SF amps...even ones that had the BF circuit in them and sounded identical to a BF. I think it had a lot to do with the general consensus that was fueled by these books but I also think it may have been a cosmetic thing; that brushed aluminum and light blue paint just isn't as manly as the black with white script. It also may have had something to do with keeping the BF prices up for the collectors even though both were out of production by then.
Oh yeah...I read those books back in the day; I started repairing in 1995! Those books were the reason I originally bought into the whole BF > SF argument. However, as more and more of both started going through my shop, it became apparent to me, by actually playing them, that the differences were minimal and situation depenent. My opinion changed. My opinion is only one guy's opinion but it is based on actual experience and not on something I read.
I too remember guys passing over reasonably priced SF amps...even ones that had the BF circuit in them and sounded identical to a BF. I think it had a lot to do with the general consensus that was fueled by these books but I also think it may have been a cosmetic thing; that brushed aluminum and light blue paint just isn't as manly as the black with white script. It also may have had something to do with keeping the BF prices up for the collectors even though both were out of production by then.
Re: 1974 silver face Fender twin Reverb OMG
jerry youre a fool but that was damn fun to read.
i own bf and sf fenders and have owned tweed fenders and still have two tweed era clones. my main amp is a '66 deluxe reverb. when it needed a cap job i used a '72 for a few gigs over a week. that '72 was a great sounding amp, not the same as my '66 but it was a great sounding amp. the bf amps are great but they arent perfect, some people prefer the thick woody mid range of a tweed or the crunchier punch of a brown to the tone of the bf era. absolute tone? totally bull****. no such thing.
i have all gerald webers books and while i have a ton of respect for him and he has tons of great, solid info... he is very opinionated and my ears dont tell me the same things as his sometimes.
jerry youre a fool but that was damn fun to read.
i own bf and sf fenders and have owned tweed fenders and still have two tweed era clones. my main amp is a '66 deluxe reverb. when it needed a cap job i used a '72 for a few gigs over a week. that '72 was a great sounding amp, not the same as my '66 but it was a great sounding amp. the bf amps are great but they arent perfect, some people prefer the thick woody mid range of a tweed or the crunchier punch of a brown to the tone of the bf era. absolute tone? totally bull****. no such thing.
i have all gerald webers books and while i have a ton of respect for him and he has tons of great, solid info... he is very opinionated and my ears dont tell me the same things as his sometimes.
Rockstar216
New member
Re: 1974 silver face Fender twin Reverb OMG
Well Im only 20 I was born in 92 so I wouldnt know the diff between a BF or SF all I know is that when I played that 74 SF it sounded better then any modern amp I had played at least clean anyway. I played two quick songs on it just messing around "Funk 49" and "Sweet Home Alabama" and Sweet home alabama almost sounded exactly like the record with that SF. Oh and for that argument as to which amp sounds better really doesn't that depend on who is playing through it? Oh and if your running pedals then does it matter since that dirt box is coloring up the tone anyway.
Well Im only 20 I was born in 92 so I wouldnt know the diff between a BF or SF all I know is that when I played that 74 SF it sounded better then any modern amp I had played at least clean anyway. I played two quick songs on it just messing around "Funk 49" and "Sweet Home Alabama" and Sweet home alabama almost sounded exactly like the record with that SF. Oh and for that argument as to which amp sounds better really doesn't that depend on who is playing through it? Oh and if your running pedals then does it matter since that dirt box is coloring up the tone anyway.
crusty philtrum
Vintageologist
Re: 1974 silver face Fender twin Reverb OMG
Errr .... 'which amp is being asked about ?' is in the title of this thread. Did you need the transformer serial numbers too ?
Errr .... 'which amp is being asked about ?' is in the title of this thread. Did you need the transformer serial numbers too ?
Chickenwings
Alnico 6/8
Re: 1974 silver face Fender twin Reverb OMG
I think a lot of people have forgotten the great tone of the fabulous pink face amps of 69.
I think a lot of people have forgotten the great tone of the fabulous pink face amps of 69.
MetalManiac
Li'l Junior Member
Re: 1974 silver face Fender twin Reverb OMG
^ heh. Pink Face. Listen, I hadn't meant to belabor my point, but I think I didnt make myself quite clear, so I gotta say that to try and appear from being completely incredulous , that I did not mean to suggest that teh Tweeds or Browns, Blondes are any worse than Blackface. That truly would be foolsih. In Fact, the Tweed bassman is widely considered as the Holy Grail of amps. Those amps are part of the pinnacle of the heirarchy chy of 'absloute tone' , as I put it.
I don't mean to open a whole nuther can of worms, and I'm not fixin' to go on another spree of speculative posts, but the issue as whther tone can be claimed as being subjective I don't agree with, because I think it takes the fundamental truth that the greatest most heralded amps of all time do sound the best, and stands it on its head.
I just meant that post '68 Silverfaces aren't considered to be in the same league as those great amps culminating with the Blackfaces, they arent as good, and its a widely held belief.
As for TGWIF, just becasue he doesnt understand something doesnt make it untrue.
He can go take a flying leap, and just cause he doesn't understand the theory of gravity, don't mean he won't fall and break his fat idiotic head.
^ heh. Pink Face. Listen, I hadn't meant to belabor my point, but I think I didnt make myself quite clear, so I gotta say that to try and appear from being completely incredulous , that I did not mean to suggest that teh Tweeds or Browns, Blondes are any worse than Blackface. That truly would be foolsih. In Fact, the Tweed bassman is widely considered as the Holy Grail of amps. Those amps are part of the pinnacle of the heirarchy chy of 'absloute tone' , as I put it.
I don't mean to open a whole nuther can of worms, and I'm not fixin' to go on another spree of speculative posts, but the issue as whther tone can be claimed as being subjective I don't agree with, because I think it takes the fundamental truth that the greatest most heralded amps of all time do sound the best, and stands it on its head.
I just meant that post '68 Silverfaces aren't considered to be in the same league as those great amps culminating with the Blackfaces, they arent as good, and its a widely held belief.
As for TGWIF, just becasue he doesnt understand something doesnt make it untrue.
He can go take a flying leap, and just cause he doesn't understand the theory of gravity, don't mean he won't fall and break his fat idiotic head.
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Lewguitar
New member
Re: 1974 silver face Fender twin Reverb OMG
Cold. BTW:
HAPPY NEW YEAR!
GO BRONCOS!!!
Cold. BTW:
HAPPY NEW YEAR!
GO BRONCOS!!!
the guy who invented fire
Fuzzy. Guitars
Re: 1974 silver face Fender twin Reverb OMG
Now that's just uncalled for but I forgive ya!
Now that's just uncalled for but I forgive ya!
