The new '57 Bandmaster amp now joins our prestigious Custom series, with all tube hand-wired circuitry and premium components. Hailed as one of the true holy-grail amps among guitarists and collectors, vintage examples are rare and highly sought after. If I EVER have the chance to get my hands on one at a reasonable price I'm going to do whatever it takes to make it happen.The late 50's tweed-covered Fender Bandmaster guitar amplifier combined great looks with sweet tone and powerful performance. During the time I had it time I'm pretty sure I had every model Fender shipped from the wide panel to end of blackface era in my collection and the 1x15 BN was the crown jewel of the group. A 1x15 wide panel tweed Bandmaster from 1955 was the best tweed Fender I've ever heard. the version right before the 3x10 has got to be one of the best kept secrets in vintage gear. One last comment about the tweed Bandmasters. I'd love to have a RI 3x10 Bandmaster but only if it were less money than Bassman.which it sgould be.but somehow I don't think that's going to be the case. I'm eally rambling now but everytime I see a 3x10 Bandmaster I am so impressed because it is legendary among rare Fenders but when it comes down to it, I'd really much rather have a Bassman for a player.and in the bigger picture, this is probably why the 4x10 Bassman has survived the ages and still a very sought after design while the 3x10 just kinda faded away into the history books.
I think the big money is simply because they ARE one of the most scarce tweeds. Truth is they are a very good amp, they do everything a Fender tweed should do in a big way BUT I really don't think they are as good as a 4x10 Bassman nor there anything different enough about the voice to make that the purchase agenda.
I do have to wonder if they are even close to worth what a real vintage 3x10 BM will bring.(I recall the one Tune-O-Matic sold for $14,000 on Ebay and several others I've seen bring more than $10k). Can anyone comment on that?Īs I write this I'm kind of trying to work out in my own mind (like with so many other awesome vintage pieces I let go) reasons for dumping such amazingly rare amps and make myself feel better for doing so. I don't have good tech knowledge but I always wondered if the 3 x10 configuration poses more of a challenge for an OT with an oddball load or something. Only one of mine had a replaced OT but seems like every single one I'd run across at dealers and shows over the years would have a blown or replaced OT. The other thing I've noticed about 3x10 Bandmaster's over the years and some of you may have as well.is they are the undisputed king of the "replaced output transformer" models among Fender tweeds. It's a slightly different "voice' than a Bassman but not nearly enough difference to make a difference in your tone pallette if you already have a Bassman so I've never been able to figure out why one wouldn't just get a Bassman (and maybe that's what Leo thought, too once he finally scrapped the 3x10 format)
#Tweed bandmaster 5e7 portable
It's more portable than the Bassman for sure but the 2x10 Super is MUCH more portable if that's the goal. Anytime you get that much paper cone area on a sounboard that large you are going to get a pretty punchy amp.but the Bassman outkicks it like a mule to a goat. Does anyone know if it's the same? I did like the all three amps that I owned but always felt like it was in no man's land as a nitch among tweeds. I don't know if the circuit changed when they switched from tweed to tolex in 59/60. I had one of the original tweed 3x10 from 1959 and two of the brown tolex 3x10's from 1960.
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