Spicemaster Pro V 2 5 Serial Number
2021年11月6日Download here: http://gg.gg/whdlu
The following is my current list of Amiga serial numbers, collected over the years. Please contribute to this list, so that we have an updated one for the community. Code: ADPro 2.5.1 02-140-029-9234 Amiga1200 Magic 3435020 Amiga1200 Magic 3435703 Amiga1200 Magic 3441833 Amiga Writer 1 EW/6j44-07g4Gf-61 Amiga Writer 2 AW/52L-097f2-G5L0. Also see Headstock Styles and Logo Styles for help determining when your guitar was made (particularly helpful if there is no serial number). Note: Any guitar with a serial number with the prefix ’SI’ is Indonesian-made. Note #2: Guitars with no serial number were produced at many different times. Samick branded models did not start using serials until around 1987. Also, the Indonesian factory.
Magix Video Pro X V8 0.2 5 Serial - DOWNLOAD. SpiceMaster 2.5 TFX (4 MB) SpiceMaster 2.5 PRO (19 MB). for Adobe Premiere Pro/Premiere Elements (for any Windows 64-bit version of Premiere) SpiceMaster 2.5 TFX (4 MB) SpiceMaster 2.5 PRO (19 MB). for Adobe After Effects (any Windows 32-bit version) SpiceMaster 2.5 PRO (17 MB). Put here a software name you are looking serial numbers for, i.e windows xp or internet download manager and press search button then, please, don’t add serial. Spicemaster Pro 2.5 for Premiere. Scholar’s Aid 3s 1.1.2.5. 4Leaf MOV Video Converter v2.2.5. Ideal DVD Copy v3.2.5.DATING FENDER AMPS BY SERIAL NUMBER, PART V
by Greg Gagliano
Copyright 2002, 20th Century Guitar Magazine
They said it couldn’t be done… Over 6 years in the making… Finally, what everyone has been waiting for… How to date Fender amps by serial number!!
Okay, I know you’re all just dying to skip ahead to the serial number tables but try to contain your excitement and read through the article first. I promise the tables will still be there after you finish reading. Besides, no article in the Dating Fender Amps by Serial Number series would be complete without some interesting information, n’est ce pas?
FUN FACTS Oddlings – Yet another printing error has surfaced, this time from the FEI (pre-CBS) days. A 1957 tweed Vibrolux was reported with a tube chart printed with circuit “5E3” (tweed Deluxe) instead of the correct 5F11 (see photo). Clearly Fender wasn’t afraid to use incorrect parts when they were in a bind. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late 1959 and early 1960 so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period. It’s unknown if the tweed covering was a mistake (“Oops, I thought this was a 4x10 Bassman cabinet that I was covering”) or intentional, perhaps as a special order.
Non-Schumacher transformers – It’s been universally accepted that Fender only used Schumacher transformers on amps made in the 1960s and 1970s. These are marked with EIA code “606” which is the company number for Schumacher. Well, this universal “truth” was debunked when we found a bunch of amps with transformers made by the Better Coil and Transformers company. These are marked with EIA code “831” and are most prevalent during the 1966-68 time period. Some examples include a ’66 Princeton Reverb and ’66 Pro Reverb with Better Coil output transformer, a ‘66 Deluxe Reverb and ‘67 Twin Reverb with Better Coil reverb transformer, and a 1968 Vibro Champ with Better Coil trannies. These units look, and apparently sound, just like the Schumacher-made units so it’s easy to overlook that “831” code.
Working at FMI – I was able to interview a fellow (who wishes to remain anonymous) who worked at Fender in 1972-73 in the amp department. Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built. For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly (just as with Fender guitar neck plates). He recalled, “We just went to a big bin every morning and loaded our wheeled rack with a batch of whatever chassis we were working on that day. The boss came around and said what we’d be building. The chassis weren’t used chronologically. Probably the same as the pots and transformers that we just dug out of the boxes. I think in the corners of the boxes were older pots remaining from earlier dates... leftovers.”
Regarding production he recounted the following information: “I think I remember being ’pushed’ to come up with 30 of the simpler chassis (Super Reverb?) per day. I think the better, older hands did 35 a day. Like I said, there were 5 or 6 of us at the benches every day. But it wasn’t always ’cool guitar’ amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs. I remember two ’suits’ from upstairs standing behind me occasionally doing time studies. They actually held clipboards and stopwatches to measure how long it took for me to attach various parts. Of course I tended to hurry more when they were there, and I would fumble more, too.”
Another really interesting fact was that he recalled that the eyelet boards were loaded/wired/soldered in Mexico! “I remember the circuit boards were pre-made, from Mexico, easy to screw into the chassis. Same with the little rectifier boards. When we had filled our cart we’d wheel it over to the Chicano chicks. They were something to behold, all chatting away while soldering so quickly, it didn’t hardly seem like they were looking at the amps. After that the foreman would add the tubes, turn ’em on and set the bias.”
Export models – We’ve confirmed that Fender amps were distributed by Hagström in Sweden. Not only that, but to meet Swedish safety codes, Hagström removed the external voltage selector switch (fitted to all blackface and silverface export models) and hardwired it internally (see photos). Notice that the original Fender back panel was removed and replaced with a Hagström panel. One has to wonder where all those factory original export back panels are! Maybe they’ll show up on eBay. Another interesting tidbit is that a lot of Fenders were imported into Australia in the late 1950s and early 1960s that were stock 110-volt (domestic US) units. The Australian Fender Distributor then installed 240V - 110V stepdown transformers in the bottom of the cabinets.
Mid-1968 Super Reverb export model modified by Hagström for the Swedish market. Note the removal of the voltage selector switch and hard-wiring. Also note the vertical black lines on the control panel (found on earliest silverface amps) and the large ceramic power resistors coming off the power tube sockets which indicates the AB568 circuit.
I Didn’t Know That! – Some Fender amp expert I turned out to be. I just discovered that the silverface Bandmaster speaker cabinet (the big, tall one without tilt-back legs) is ported (see photo). I thought they were completely sealed units. I guess this is what the 1969 catalog refers to as “large, individual specially designed baffles.” And all along I thought the big n’ tall silverface cabs were just a macho thing to compete against the awesome looks of a Marshall half stack or full stack. But really, these cabs were large because they were of a “special design” that “greatly improves tone and volume without distortion, and permits optimum performance of the speakers.” At least that’s the reason according to the ’69 catalog.
Also, another thing I’ve never seen before is a what appears to be a shipping tag of some sort (see photo). Note the check boxes for DOM (domestic US model), EXP (export model), CSA (Canada model), STD (standard) and SPEC (special). I have to wonder how often Fender used the SPEC check box and what features a “special” amp or cabinet would have?! Since the new owner would have likely removed this tag immediately upon arriving home, I’m amazed that the one in the photo has remained intact since mid-1968!
PRODUCTION Along with dating amps by serial numbers, we were interested in determining production totals, if possible. There is some debate about how to interpret the production code information on late ‘50s to mid-1967 tube charts and Greg Huntington is still working with those. One thing we know for sure is that production codes can help date an amp to a particular month within a given model run. Greg and I also disagree about determining production from serial numbers. I will present my hypothesis here and let Greg present his side of the story in a future article.
Unlike serial numbers used for most Fender guitars and basses, we know that serial number sequences are unique to a particular model or a family of models of amplifiers. This is similar to the early ‘50s Telecaster and Precision Bass having their own unique serial number system. Because the serial numbers are for a particular model and that chassis were stamped sequentially, is reasonable to assume that the serial number infers the Nth unit manufactured. Some caution is advised since it is likely that not all chassis were used due to defects or that duplicate serial numbers may have been stamped. Since these two scenarios are probably a very small percentage (or fraction of a percent) of total production, I’ve chosen to ignore them.
Another caveat is that it’s impossible to determine the production totals for “family” models, that is, models that share a common chassis. These “families” are: the Vibrasonic (6G13) and blonde Showman (6G14); the narrow panel tweed Super, Bandmaster, and Pro; the brown Vibrolux (6G11) and blonde Tremolux (6G9); the blackface Vibrolux (AB763) and blackface Tremolux (AB763); the brown Super, Pro, Concert and blonde Bandmaster (6G7); the silverface Super Reverb and Bandmaster Reverb; the blackface Pro, Concert and Bandmaster; the Vibro Champ and Bronco; the non-master volume Twin Reverb and Dual Showman Reverb; and the master volume Twin Reverb, Quad Reverb, Super Six Reverb, Dual Showman Reverb, and Vibrosonic Reverb. There is no way to separate out production for these models, but with enough data, we might be able to do some frequency distribution and such to determine a rough estimate.
For the uniquely serialized models, the production estimates using my hypothesis, can be determined from the serial number tables. This info may make some vintage dealers cringe when they find out how common some of these amps really are, but that’s just tough noogies. For example, the serial numbers for 5F6 and 5F6-A Bassman amps run from BM00001 to BM04600 therefore we can conclude that there were about 4,600 units made. How about those rarebird Vibroverbs? Well, the serial numbers for the brown Vibroverb run from 00100 to 00600 indicating a total production of around 500 units, and the serial numbers for the blackface Vibroverb run from A00100 to A05300 indicating a total production of around 5,200 units. The brown Deluxe is less common at about 4,800 units made (serial numbers run from D00100 to D04900). Anyway, you get the idea.
Just remember that if you’re interested in production from a “family” model listed above, you cannot use this method. For instance, the serial numbers for tweed Bandmaster (3x10) run from S00001 to S03700. At first glance you’d think there were about 3,700 Bandmasters made, but you’d be wrong. Remember, this model shares a chassis with the narrow panel tweed Pro and Super. Therefore, the only thing we can infer is that there were 3,700 tweed Bandmasters, Pros, and Supers made in total. Sure, you could assume that if production was equal between models that there may have been 1,233 units of each model made, but currently we don’t have the data to support this kind of inference.
DATING The tables are pretty much self-explanatory, but here are some guidelines to keep in mind when using the tables to date your amp. First, the tables should be used as a guide only. You’ll still need to look at various features and date codes to absolutely confirm a year of manufacture. Large overlaps in years may be due to lack of sufficient data (late 1940s to mid 1960s) or simply that the stamped chassis were used way out sequence (mid 1960s to early 1970s). Some, but not all, export models don’t fit exactly into the sequence given and are usually from a year or two later than the serial number would otherwise indicate. Silverface amps without the “A” prefix are generally from the 1970-71 time period and the dating tables can be used to date them if you add an “A” prefix.
Please note (this is very important) that there are many exceptions to the “rules” I have outlined here. Though rare, there are some amps with bizarro serial number letter-prefixes and/or missing expected prefixes that don’t fit the tables. Thankfully, these aberrations are pretty rare. Just as with Fender guitars, you’ll find serial numbers that should fall in a certain year… but don’t. Example: Vibrolux Reverb with serial number A756254 should be a ’77, but the latest date-coded parts date it to 1978. Some serial numbers have a letter prefix plus 4-digits instead of the usual 5- or 6-digits. Likewise there are some serial numbers with an extra digit (usually a zero) after the letter prefix. Again, these are rare and exceptions to the norm.
Finally, if you don’t see a particular model or year listed, it is because 1) there wasn’t enough data to generate a dating table or 2) it falls under the “universal” scheme for A6-, A7-, A8-, A9-, B-, or F-series serial numbers. In the case of early tweed amps, there simply isn’t enough info available at this time to accurately date these by serial number, though some rough guidance is provided. Same goes for Princetons made after 1966.
Don’t get all bent out of shape if you see a model that wasn’t “supposed” to be made in a certain year. Case in point; we have documented two factory-original non-reverb blackface Deluxe Amps from January 1967. The model was supposedly discontinued in 1966. Remember, FMI didn’t like to waste anything (witness the Custom and Swinger guitars) so using up the remaining AB763 Deluxe chassis wouldn’t be a surprise.
Dating Table - NOTE THESE TABLES ARE OBSOLETE!PLEASE GO TO PART 6 OF THIS SERIES FOR THE MOST UP-TO-DATE SERIAL NUMBER TABLES. For mid to late ‘70s silverface amps and early ‘80s “blackface” models, the serial numbers are date encoded much the same way as Fender guitars from the late ‘70s:
A6 + 5-digits – 1976 A7 + 5-digits – 1977 A8 + 5-digits – 1978 A9 + 5-digits – 1979
B + 5-digits – 1975, 1976
F0 + 5-digits – 1980 F1 + 5-digits – 1981 F2 + 5-digits – 1982 F3 + 5-digits – 1983 F4 + 5-digits – 1984 F9 + 5-digits - 1979, 1980
Examples: Vibrolux Reverb with serial number A756154 (A7 = 1977), Princeton Reverb II with serial number F077698 (F0 = 1980), and Super Reverb with serial number B10753 (B = 1975 or 1976). Note, there is enough data for B-series Twin Reverbs (and variants) to differentiate between 1975 and 1976. These are listed in the dating table. Unfortunately, there isn’t enough data for other B-series models to identify the ‘75s from the ‘76s… but with your help, hopefully we’ll collect enough info to do this for a future article.
Bandmaster 5C7, 5D7 (tweed) 0001 to 0800 – 1953 5000 to 5500 – 1954
Bandmaster 5E7 (tweed) S00001 to S00350 – 1955 S00350 to S01200 – 1956 S01100 to S01800 – 1957 S01700 to S02500 – 1958 S02500 to S03700 – 1959
Bandmaster5G7, 6G7 (brown) 00001 to 01000 – 1960
Bandmaster6G7, 6G7-A (blonde) 00001 to 02400 – 1960 02300 to 05100 – 1961 49000 to 58000 – 1962 58000 to 59200 – 1963
Bandmaster AA763, AB763 (blackface) A00001 to A01700 – 1963 A01400 to A08000 – 1964 A07700 to A17000 – 1965 A16000 to A22000 – 1966 A20000 to A27000 – 1967
Bandmaster AB763, AC568 (silverface) A26000 to A29000 – 1967 A28000 to A34000 – 1968 A33000 to A34000 – 1969 A34000 to A45000 – 1970-72
Bandmaster Reverb AA768, AA1069, AA270, TFL5005 (silverface) A31000 to A35000 – 1968 A35000 to A45000 – 1969 A45000 to A49000 – 1970 A48000 to A54000 – 1971 A54000 to A59000 – 1972 A59000 to A66000 – 1973 A66000 to A77000 – 1974 A75000 to A78000 – 1975 A78000 to A80000 – 1976
Bassman 5B6 (tweed) 0001 to 0300 – 1951 0300 to 0400 – 1952 0400 to 0600 – 1953
Bassman 5D6, 5D6-A (tweed) 0600 to 0900 – 1954
Bassman 5E6, 5E6-A (tweed) 0100 to 0200 – 1955
BM00001 to BM00550 – 1955 BM00550 to BM01200 – 1956 BM01200 to BM01600 – 1957
Bassman 5F6, 5F6-A (tweed) BM00001 to BM00400 – 1957 BM00400 to BM01500 – 1958 BM01500 to BM03100 – 1959 BM03100 to BM04600 – 1960
Bassman 6G6, 6G6-A, 6G6-B (blonde) BP00100 to BP01100 – 1961 BP01100 to BP05000 – 1962 BP05000 to BP08400 – 1963 BP08400 to BP12000 – 1964
Bassman AA864, AA165, AB165 (blackface) A00100 to A03800 – 1964 A03800 to A15000 – 1965 A15000 to A25000 – 1966 A24000 to A33000 – 1967
Bassman AB165, AC568, AA270, AA371 (silverface) A32000 to A40000 – 1967 A39000 to A49000 – 1968 A48000 to A58000 – 1969 A58000 to A60000 – 1970
Bronco AB764 (silverface) A19000 to A21000 – 1967 A20000 to A26000 – 1968 A25000 to A28000 – 1969 A28000 to A29000 – 1970 A29000 to A32000 – 1971 A32000 to A35000 – 1972 A33000 to A39000 – 1973 A39000 to A42000 – 1974 A42000 to A51000 – 1975
Champion 800 (tweed) 01 to 1000 – 1948-49
Champion 600 5B1 (tweed) 01 to 1300 – 1948-49 1300 to 1700 – 1950 1700 to 5000 – 1951-52 5000 to 5500 – 1953
Champ 5C1, 5D1 (tweed) 5500 to 6600 – 1953 6600 to 8000 – 1954 8000 to 9999 – 1955
Champ 5E1, 5F1 (tweed) C00001 to C00800 – 1955 C00800 to C03100 – 1956 C03100 to C06000 – 1957 C06000 to C08800 – 1958 C08800 to C12500 – 1959 C12500 to C15500 – 1960 C15500 to C16800 – 1961 C17000 to C19000 – 1962 C19000 to C21000 – 1963 C21000 to C23000 – 1964
Champ AA764 (blackface) A00100 to A02000 – 1964 A01900 to A05200 – 1965 A05200 to A12000 – 1966 A12000 to A12200 – 1967
Champ AA764 (silverface) A12200 to A13900 – 1968 A13900 to A18000 – 1969 A18000 to A30500 – 1970 A30500 to A32000 – 1971 A32000 to A35000 – 1972 A32000 to A42000 – 1973 A42000 to A50000 – 1974 A50000 to A63000 – 1975 A63000 to A85000 - 1976
Concert 5G12, 6G12, 6G12-A (brown) 00001 to 02400 – 1960 02300 to 05100 – 1961 49000 to 58000 – 1962 58000 to 59200 – 1963
Concert AA763, AB763 (blackface) A00001 to A01700 – 1963 A01400 to A08000 – 1964 A07700 to A08800 – 1965
Model 26 Deluxe (woodie) 100 to 1500 – 1946-48
Deluxe 5A3, 5B3 (tweed) 001 to 800 – 1948 800 to 1900 – 1949 1900 to 3000 – 1950 3000 to 5400 – 1951 5400 to 6800 – 1952 6800 to 7300 - 1953
Deluxe 5C3, 5D3 (tweed) 0001 to 1500 – 1953 1500 to 3600 – 1954 3600 to 5300 – 1955
Deluxe 5E3 (tweed) D00001 to D01400 – 1955 D01400 to D03000 – 1956 D03000 to D05000 – 1957 D05000 to D06800 – 1958 D06800 to D09000 – 1959 D09000 to D10000 – 1960 D10000 to D11000 – 1961
Deluxe 6G3, 6G3-A (brown) D00100 to D00900 – 1961 D00800 to D03800 – 1962 D03800 to D04900 – 1963
Deluxe AA763, AB763 (b
https://diarynote.indered.space
The following is my current list of Amiga serial numbers, collected over the years. Please contribute to this list, so that we have an updated one for the community. Code: ADPro 2.5.1 02-140-029-9234 Amiga1200 Magic 3435020 Amiga1200 Magic 3435703 Amiga1200 Magic 3441833 Amiga Writer 1 EW/6j44-07g4Gf-61 Amiga Writer 2 AW/52L-097f2-G5L0. Also see Headstock Styles and Logo Styles for help determining when your guitar was made (particularly helpful if there is no serial number). Note: Any guitar with a serial number with the prefix ’SI’ is Indonesian-made. Note #2: Guitars with no serial number were produced at many different times. Samick branded models did not start using serials until around 1987. Also, the Indonesian factory.
Magix Video Pro X V8 0.2 5 Serial - DOWNLOAD. SpiceMaster 2.5 TFX (4 MB) SpiceMaster 2.5 PRO (19 MB). for Adobe Premiere Pro/Premiere Elements (for any Windows 64-bit version of Premiere) SpiceMaster 2.5 TFX (4 MB) SpiceMaster 2.5 PRO (19 MB). for Adobe After Effects (any Windows 32-bit version) SpiceMaster 2.5 PRO (17 MB). Put here a software name you are looking serial numbers for, i.e windows xp or internet download manager and press search button then, please, don’t add serial. Spicemaster Pro 2.5 for Premiere. Scholar’s Aid 3s 1.1.2.5. 4Leaf MOV Video Converter v2.2.5. Ideal DVD Copy v3.2.5.DATING FENDER AMPS BY SERIAL NUMBER, PART V
by Greg Gagliano
Copyright 2002, 20th Century Guitar Magazine
They said it couldn’t be done… Over 6 years in the making… Finally, what everyone has been waiting for… How to date Fender amps by serial number!!
Okay, I know you’re all just dying to skip ahead to the serial number tables but try to contain your excitement and read through the article first. I promise the tables will still be there after you finish reading. Besides, no article in the Dating Fender Amps by Serial Number series would be complete without some interesting information, n’est ce pas?
FUN FACTS Oddlings – Yet another printing error has surfaced, this time from the FEI (pre-CBS) days. A 1957 tweed Vibrolux was reported with a tube chart printed with circuit “5E3” (tweed Deluxe) instead of the correct 5F11 (see photo). Clearly Fender wasn’t afraid to use incorrect parts when they were in a bind. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late 1959 and early 1960 so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period. It’s unknown if the tweed covering was a mistake (“Oops, I thought this was a 4x10 Bassman cabinet that I was covering”) or intentional, perhaps as a special order.
Non-Schumacher transformers – It’s been universally accepted that Fender only used Schumacher transformers on amps made in the 1960s and 1970s. These are marked with EIA code “606” which is the company number for Schumacher. Well, this universal “truth” was debunked when we found a bunch of amps with transformers made by the Better Coil and Transformers company. These are marked with EIA code “831” and are most prevalent during the 1966-68 time period. Some examples include a ’66 Princeton Reverb and ’66 Pro Reverb with Better Coil output transformer, a ‘66 Deluxe Reverb and ‘67 Twin Reverb with Better Coil reverb transformer, and a 1968 Vibro Champ with Better Coil trannies. These units look, and apparently sound, just like the Schumacher-made units so it’s easy to overlook that “831” code.
Working at FMI – I was able to interview a fellow (who wishes to remain anonymous) who worked at Fender in 1972-73 in the amp department. Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built. For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly (just as with Fender guitar neck plates). He recalled, “We just went to a big bin every morning and loaded our wheeled rack with a batch of whatever chassis we were working on that day. The boss came around and said what we’d be building. The chassis weren’t used chronologically. Probably the same as the pots and transformers that we just dug out of the boxes. I think in the corners of the boxes were older pots remaining from earlier dates... leftovers.”
Regarding production he recounted the following information: “I think I remember being ’pushed’ to come up with 30 of the simpler chassis (Super Reverb?) per day. I think the better, older hands did 35 a day. Like I said, there were 5 or 6 of us at the benches every day. But it wasn’t always ’cool guitar’ amps, sometimes I was making Fender Rhodes Satellite amps on bent aluminum, sometimes only Champs. I remember two ’suits’ from upstairs standing behind me occasionally doing time studies. They actually held clipboards and stopwatches to measure how long it took for me to attach various parts. Of course I tended to hurry more when they were there, and I would fumble more, too.”
Another really interesting fact was that he recalled that the eyelet boards were loaded/wired/soldered in Mexico! “I remember the circuit boards were pre-made, from Mexico, easy to screw into the chassis. Same with the little rectifier boards. When we had filled our cart we’d wheel it over to the Chicano chicks. They were something to behold, all chatting away while soldering so quickly, it didn’t hardly seem like they were looking at the amps. After that the foreman would add the tubes, turn ’em on and set the bias.”
Export models – We’ve confirmed that Fender amps were distributed by Hagström in Sweden. Not only that, but to meet Swedish safety codes, Hagström removed the external voltage selector switch (fitted to all blackface and silverface export models) and hardwired it internally (see photos). Notice that the original Fender back panel was removed and replaced with a Hagström panel. One has to wonder where all those factory original export back panels are! Maybe they’ll show up on eBay. Another interesting tidbit is that a lot of Fenders were imported into Australia in the late 1950s and early 1960s that were stock 110-volt (domestic US) units. The Australian Fender Distributor then installed 240V - 110V stepdown transformers in the bottom of the cabinets.
Mid-1968 Super Reverb export model modified by Hagström for the Swedish market. Note the removal of the voltage selector switch and hard-wiring. Also note the vertical black lines on the control panel (found on earliest silverface amps) and the large ceramic power resistors coming off the power tube sockets which indicates the AB568 circuit.
I Didn’t Know That! – Some Fender amp expert I turned out to be. I just discovered that the silverface Bandmaster speaker cabinet (the big, tall one without tilt-back legs) is ported (see photo). I thought they were completely sealed units. I guess this is what the 1969 catalog refers to as “large, individual specially designed baffles.” And all along I thought the big n’ tall silverface cabs were just a macho thing to compete against the awesome looks of a Marshall half stack or full stack. But really, these cabs were large because they were of a “special design” that “greatly improves tone and volume without distortion, and permits optimum performance of the speakers.” At least that’s the reason according to the ’69 catalog.
Also, another thing I’ve never seen before is a what appears to be a shipping tag of some sort (see photo). Note the check boxes for DOM (domestic US model), EXP (export model), CSA (Canada model), STD (standard) and SPEC (special). I have to wonder how often Fender used the SPEC check box and what features a “special” amp or cabinet would have?! Since the new owner would have likely removed this tag immediately upon arriving home, I’m amazed that the one in the photo has remained intact since mid-1968!
PRODUCTION Along with dating amps by serial numbers, we were interested in determining production totals, if possible. There is some debate about how to interpret the production code information on late ‘50s to mid-1967 tube charts and Greg Huntington is still working with those. One thing we know for sure is that production codes can help date an amp to a particular month within a given model run. Greg and I also disagree about determining production from serial numbers. I will present my hypothesis here and let Greg present his side of the story in a future article.
Unlike serial numbers used for most Fender guitars and basses, we know that serial number sequences are unique to a particular model or a family of models of amplifiers. This is similar to the early ‘50s Telecaster and Precision Bass having their own unique serial number system. Because the serial numbers are for a particular model and that chassis were stamped sequentially, is reasonable to assume that the serial number infers the Nth unit manufactured. Some caution is advised since it is likely that not all chassis were used due to defects or that duplicate serial numbers may have been stamped. Since these two scenarios are probably a very small percentage (or fraction of a percent) of total production, I’ve chosen to ignore them.
Another caveat is that it’s impossible to determine the production totals for “family” models, that is, models that share a common chassis. These “families” are: the Vibrasonic (6G13) and blonde Showman (6G14); the narrow panel tweed Super, Bandmaster, and Pro; the brown Vibrolux (6G11) and blonde Tremolux (6G9); the blackface Vibrolux (AB763) and blackface Tremolux (AB763); the brown Super, Pro, Concert and blonde Bandmaster (6G7); the silverface Super Reverb and Bandmaster Reverb; the blackface Pro, Concert and Bandmaster; the Vibro Champ and Bronco; the non-master volume Twin Reverb and Dual Showman Reverb; and the master volume Twin Reverb, Quad Reverb, Super Six Reverb, Dual Showman Reverb, and Vibrosonic Reverb. There is no way to separate out production for these models, but with enough data, we might be able to do some frequency distribution and such to determine a rough estimate.
For the uniquely serialized models, the production estimates using my hypothesis, can be determined from the serial number tables. This info may make some vintage dealers cringe when they find out how common some of these amps really are, but that’s just tough noogies. For example, the serial numbers for 5F6 and 5F6-A Bassman amps run from BM00001 to BM04600 therefore we can conclude that there were about 4,600 units made. How about those rarebird Vibroverbs? Well, the serial numbers for the brown Vibroverb run from 00100 to 00600 indicating a total production of around 500 units, and the serial numbers for the blackface Vibroverb run from A00100 to A05300 indicating a total production of around 5,200 units. The brown Deluxe is less common at about 4,800 units made (serial numbers run from D00100 to D04900). Anyway, you get the idea.
Just remember that if you’re interested in production from a “family” model listed above, you cannot use this method. For instance, the serial numbers for tweed Bandmaster (3x10) run from S00001 to S03700. At first glance you’d think there were about 3,700 Bandmasters made, but you’d be wrong. Remember, this model shares a chassis with the narrow panel tweed Pro and Super. Therefore, the only thing we can infer is that there were 3,700 tweed Bandmasters, Pros, and Supers made in total. Sure, you could assume that if production was equal between models that there may have been 1,233 units of each model made, but currently we don’t have the data to support this kind of inference.
DATING The tables are pretty much self-explanatory, but here are some guidelines to keep in mind when using the tables to date your amp. First, the tables should be used as a guide only. You’ll still need to look at various features and date codes to absolutely confirm a year of manufacture. Large overlaps in years may be due to lack of sufficient data (late 1940s to mid 1960s) or simply that the stamped chassis were used way out sequence (mid 1960s to early 1970s). Some, but not all, export models don’t fit exactly into the sequence given and are usually from a year or two later than the serial number would otherwise indicate. Silverface amps without the “A” prefix are generally from the 1970-71 time period and the dating tables can be used to date them if you add an “A” prefix.
Please note (this is very important) that there are many exceptions to the “rules” I have outlined here. Though rare, there are some amps with bizarro serial number letter-prefixes and/or missing expected prefixes that don’t fit the tables. Thankfully, these aberrations are pretty rare. Just as with Fender guitars, you’ll find serial numbers that should fall in a certain year… but don’t. Example: Vibrolux Reverb with serial number A756254 should be a ’77, but the latest date-coded parts date it to 1978. Some serial numbers have a letter prefix plus 4-digits instead of the usual 5- or 6-digits. Likewise there are some serial numbers with an extra digit (usually a zero) after the letter prefix. Again, these are rare and exceptions to the norm.
Finally, if you don’t see a particular model or year listed, it is because 1) there wasn’t enough data to generate a dating table or 2) it falls under the “universal” scheme for A6-, A7-, A8-, A9-, B-, or F-series serial numbers. In the case of early tweed amps, there simply isn’t enough info available at this time to accurately date these by serial number, though some rough guidance is provided. Same goes for Princetons made after 1966.
Don’t get all bent out of shape if you see a model that wasn’t “supposed” to be made in a certain year. Case in point; we have documented two factory-original non-reverb blackface Deluxe Amps from January 1967. The model was supposedly discontinued in 1966. Remember, FMI didn’t like to waste anything (witness the Custom and Swinger guitars) so using up the remaining AB763 Deluxe chassis wouldn’t be a surprise.
Dating Table - NOTE THESE TABLES ARE OBSOLETE!PLEASE GO TO PART 6 OF THIS SERIES FOR THE MOST UP-TO-DATE SERIAL NUMBER TABLES. For mid to late ‘70s silverface amps and early ‘80s “blackface” models, the serial numbers are date encoded much the same way as Fender guitars from the late ‘70s:
A6 + 5-digits – 1976 A7 + 5-digits – 1977 A8 + 5-digits – 1978 A9 + 5-digits – 1979
B + 5-digits – 1975, 1976
F0 + 5-digits – 1980 F1 + 5-digits – 1981 F2 + 5-digits – 1982 F3 + 5-digits – 1983 F4 + 5-digits – 1984 F9 + 5-digits - 1979, 1980
Examples: Vibrolux Reverb with serial number A756154 (A7 = 1977), Princeton Reverb II with serial number F077698 (F0 = 1980), and Super Reverb with serial number B10753 (B = 1975 or 1976). Note, there is enough data for B-series Twin Reverbs (and variants) to differentiate between 1975 and 1976. These are listed in the dating table. Unfortunately, there isn’t enough data for other B-series models to identify the ‘75s from the ‘76s… but with your help, hopefully we’ll collect enough info to do this for a future article.
Bandmaster 5C7, 5D7 (tweed) 0001 to 0800 – 1953 5000 to 5500 – 1954
Bandmaster 5E7 (tweed) S00001 to S00350 – 1955 S00350 to S01200 – 1956 S01100 to S01800 – 1957 S01700 to S02500 – 1958 S02500 to S03700 – 1959
Bandmaster5G7, 6G7 (brown) 00001 to 01000 – 1960
Bandmaster6G7, 6G7-A (blonde) 00001 to 02400 – 1960 02300 to 05100 – 1961 49000 to 58000 – 1962 58000 to 59200 – 1963
Bandmaster AA763, AB763 (blackface) A00001 to A01700 – 1963 A01400 to A08000 – 1964 A07700 to A17000 – 1965 A16000 to A22000 – 1966 A20000 to A27000 – 1967
Bandmaster AB763, AC568 (silverface) A26000 to A29000 – 1967 A28000 to A34000 – 1968 A33000 to A34000 – 1969 A34000 to A45000 – 1970-72
Bandmaster Reverb AA768, AA1069, AA270, TFL5005 (silverface) A31000 to A35000 – 1968 A35000 to A45000 – 1969 A45000 to A49000 – 1970 A48000 to A54000 – 1971 A54000 to A59000 – 1972 A59000 to A66000 – 1973 A66000 to A77000 – 1974 A75000 to A78000 – 1975 A78000 to A80000 – 1976
Bassman 5B6 (tweed) 0001 to 0300 – 1951 0300 to 0400 – 1952 0400 to 0600 – 1953
Bassman 5D6, 5D6-A (tweed) 0600 to 0900 – 1954
Bassman 5E6, 5E6-A (tweed) 0100 to 0200 – 1955
BM00001 to BM00550 – 1955 BM00550 to BM01200 – 1956 BM01200 to BM01600 – 1957
Bassman 5F6, 5F6-A (tweed) BM00001 to BM00400 – 1957 BM00400 to BM01500 – 1958 BM01500 to BM03100 – 1959 BM03100 to BM04600 – 1960
Bassman 6G6, 6G6-A, 6G6-B (blonde) BP00100 to BP01100 – 1961 BP01100 to BP05000 – 1962 BP05000 to BP08400 – 1963 BP08400 to BP12000 – 1964
Bassman AA864, AA165, AB165 (blackface) A00100 to A03800 – 1964 A03800 to A15000 – 1965 A15000 to A25000 – 1966 A24000 to A33000 – 1967
Bassman AB165, AC568, AA270, AA371 (silverface) A32000 to A40000 – 1967 A39000 to A49000 – 1968 A48000 to A58000 – 1969 A58000 to A60000 – 1970
Bronco AB764 (silverface) A19000 to A21000 – 1967 A20000 to A26000 – 1968 A25000 to A28000 – 1969 A28000 to A29000 – 1970 A29000 to A32000 – 1971 A32000 to A35000 – 1972 A33000 to A39000 – 1973 A39000 to A42000 – 1974 A42000 to A51000 – 1975
Champion 800 (tweed) 01 to 1000 – 1948-49
Champion 600 5B1 (tweed) 01 to 1300 – 1948-49 1300 to 1700 – 1950 1700 to 5000 – 1951-52 5000 to 5500 – 1953
Champ 5C1, 5D1 (tweed) 5500 to 6600 – 1953 6600 to 8000 – 1954 8000 to 9999 – 1955
Champ 5E1, 5F1 (tweed) C00001 to C00800 – 1955 C00800 to C03100 – 1956 C03100 to C06000 – 1957 C06000 to C08800 – 1958 C08800 to C12500 – 1959 C12500 to C15500 – 1960 C15500 to C16800 – 1961 C17000 to C19000 – 1962 C19000 to C21000 – 1963 C21000 to C23000 – 1964
Champ AA764 (blackface) A00100 to A02000 – 1964 A01900 to A05200 – 1965 A05200 to A12000 – 1966 A12000 to A12200 – 1967
Champ AA764 (silverface) A12200 to A13900 – 1968 A13900 to A18000 – 1969 A18000 to A30500 – 1970 A30500 to A32000 – 1971 A32000 to A35000 – 1972 A32000 to A42000 – 1973 A42000 to A50000 – 1974 A50000 to A63000 – 1975 A63000 to A85000 - 1976
Concert 5G12, 6G12, 6G12-A (brown) 00001 to 02400 – 1960 02300 to 05100 – 1961 49000 to 58000 – 1962 58000 to 59200 – 1963
Concert AA763, AB763 (blackface) A00001 to A01700 – 1963 A01400 to A08000 – 1964 A07700 to A08800 – 1965
Model 26 Deluxe (woodie) 100 to 1500 – 1946-48
Deluxe 5A3, 5B3 (tweed) 001 to 800 – 1948 800 to 1900 – 1949 1900 to 3000 – 1950 3000 to 5400 – 1951 5400 to 6800 – 1952 6800 to 7300 - 1953
Deluxe 5C3, 5D3 (tweed) 0001 to 1500 – 1953 1500 to 3600 – 1954 3600 to 5300 – 1955
Deluxe 5E3 (tweed) D00001 to D01400 – 1955 D01400 to D03000 – 1956 D03000 to D05000 – 1957 D05000 to D06800 – 1958 D06800 to D09000 – 1959 D09000 to D10000 – 1960 D10000 to D11000 – 1961
Deluxe 6G3, 6G3-A (brown) D00100 to D00900 – 1961 D00800 to D03800 – 1962 D03800 to D04900 – 1963
Deluxe AA763, AB763 (b
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