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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? 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.
Note the removal of the voltage selector switch and hard-wiring. I just discovered that the silverface Bandmaster speaker cabinet (the big, tall one without tilt-back legs) is ported (see photo). 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.
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. 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.
“I remember the circuit boards were pre-made, from Mexico, easy to screw into the chassis. 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.
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.
I promise the tables will still be there after you finish reading.
The boss came around and said what we'd be building. Probably the same as the pots and transformers that we just dug out of the boxes.