My primary amp is a 62 brown Bandmaster. I put it into a 2-10 combo cabinet. Wonderful amp. A previous owner replaced the output transformer with a period correct one from a Twin amp. Its output is now 8 Ω. It’s loaded with a pair of 16 Ω AlNiCo Celestion 10” speakers in parallel.
So is that how they achieve the metallic look? With a silver or gold base coat? And I imagine the “gold” is copper, right? Anyone who knows, would love to have some insight here
Hmm, interesting thought there. It's possible, but I'm leaning more towards doubting they used copper, as I've never seen an old, worn candy apple red finish get the greening effect around the edges of the wear, that you so often see on Goldtop Gibsons from back in the 50's.
@@flapjack413 I found out recently they used bronze powder mixed with nitrocellulose lacquer to get the gold top on the Gibsons. I wonder what Fender was doing here with the gold/silver base coats and why
Awesome video. There were 5 styles of Fender amps. Tweed, brown face, black face, silver face. But the first were the Woodies. Not to mention all the ones that came after the 60s. keep up the good work
And no ill will perceived! The original finish had been compromised beyond restoration in this case and largely wasn't present. It (unfortunately) wasn't an option to touch it up or revert it to its former glory. As there's never a shortage of these in Sunburst, when we're looking at apply a new finish, we're always angling for uniqueness, and something that can connect with a player in a different way. In this case, we opted for NOS lacquer and a color Fender did use on select examples in the '50s :)
The Stratocaster I bought in 1984 Ser # E918444 says 'Made in Japan' on the headstock and it's not a Squire, I have brought it to many Music stores where I live in Long Island and everyone is amazed at the quality of this Guitar.
Harmonic tremolo isn’t really proper “Vibrato”. It doesn’t raise and lower the pitch like moving a vibrato bar on a guitar; what it does is split the signal into two signals, then it dials one to be more bass and the other to be more treble, then it alternates the volume of each. It’s like having someone turning up the bass knob while they turn down the treble knob, and then turning up the treble knob while they turn down the bass knob on the amp while you play.
Great episode guys. I have a heavily modified 1972 SG 200. A short lived all maple unusual looking Gibson that was totally shit stock. I did a refinish and complete refit. Now fitted with grover tuners,one semour duncan bridge pickup and believe it or not. A fender trem. I know that sounds whacked. But now, it`s an axe EVH would even dig. I would love to send you a few pics of it. Is there a way to do so? Perhaps a playing demo also? Let me know will you? Love your show and my norlan era bionic SG200. Rock on men.
The Terada Japan ones are some of the best I have played, I did have an earlier Japan Hot Rod 6120 and that was also superb. Korean 5120 and 5420's are great too.
I have a 1986 MIJ Strat E 608xxx serial# I bought new with the wacky bridge with the tuning dials and a locking style nut. Never worked well and had Carruthers Guitars put in a normal style tremolo. Were these style bridges rare? In the midst of dusting this guitar off after 20 years of not playing it.
We offer full service vintage gear restoration in-house, and we'd be happy to get your Premier archtop sorted. Please connect with us at Service@mmguitarbar.com.
Loved the random Garth Marenghi's Darkplace insert! I’m really digging the Hybrid II models (I currently have a Noir Tele), and I’m hoping to grab a Jazzmaster sometime soon.
