There’s no evidence of excessive heat wear on the chassis, board, or power resistors, and those beautiful yellow Astron coupling caps and orange-brown Astron filter caps, salmon-pink “domino” cap, and turquoise selenium rectifier all look like they just left the factory. If it’s been played, it doesn’t seem to have been played hard, or long. The tweed and grille are bold, untarnished, and untorn the badge and control panel clean and unpitted and inside the chassis… whoa, does it ever look sweet in there, as well as totally original. You might not call it “showroom” or “mint”condition, but it’s all the more appealing for that – just a tiny ding here and there, the very slightest fraying at some of the lower corners of the cabinet, a mere haze of dust on the speaker frames, some wear on the handle to show it was actually played, and that’s it. And as considerable as it is for the 5E7, the context makes this exceedingly clean 1956 example all the more precious. Not that vintage values can be disregarded. Any effort at practicality aside, it’s indescribably, esoterically, somehow ephemerally cool, regardless of its astronomical vintage value. It’s got more beef than a single 12 or two 10s, while retaining the faster, more-detailed 10″-speaker attack that the 1×15″ Pro might lack, and remaining more compact and portable than a 4×10″ Bassman or 2×12″ Twin. Yet, as pointless as the Bandmaster might seem when considered amid the Fender line of the day, there is something strangely glorious about this configuration. It’s utterly whack, right? Especially when you consider that the amp that carries them is the same under the hood as its siblings with a single 15″ speaker or two 10s (other than that the output transformer was wound to match the odd 2.7-ohm speaker load). ![]() Wedging another between it all, a combo with three speakers no less, would seem utter madness yet that’s precisely what Leo Fender felt he needed – and precisely the amp, in the form of the 5E7 Bandmaster combo, that sends collectors gaga today. And that, you’d think, would have nicely rounded out an amp maker’s midsize/larger offerings. Hitting the mark between the two, plenty of blues players in particular have declared the toothsome utility of the 1×15″ Pro or the 2×12″ Twin, while Tele-twangers and others have lauded the 2×10″ Super. Two decades ago, when renewed appreciation of Fender’s narrow-panel tweed amps of the late ’50s really started to boom, the Bassman was generally considered king of the heap, with the 5E3 Deluxe winning fans among players who wanted to “crush it” in smaller rooms. *Disclaimer: All of the above listed amplifier models are trademarks of their original manufacturers.Amp and photos courtesy of Nadav GalimidiĬontrols: Volume, Volume, Treble, Bass, Presence Returns are subject to a restocking fee equal to any Credit Card, eBay or PayPal fees associated with the original transaction. Prior approval is required for all returns. ![]() Return shipping costs are the responsibility of the purchaser. ![]() Made in the USA!! Classictone 40-18088, Classictone 40-18088, Classictoneīecause these are electronic components, returns are only accepted on Damaged, DOA or Unused units only. ![]() Used In: Tweed Super, Tweed Pro, Tweed Bandmaster and most 35W-40W 2圆L6 amps It is wound with 33 gauge wire on the primary and has more turns on both the primary and secondary. Reference#: Tweed Super, Tweed Pro, Tweed Bandmaster, Brownface Super 2/4/8 ohm Super, Triad Fender C lassictone, Tube Depot, Classictone, Tube Depot, Classictoneĭescription: Great vintage type upgrade/general replacement output transformer! 2/4/8 Ohm Taps. Our Part#Īlternates: APD-8088H Classictone, Classictone, Classictone, Classictone, Classictone Premium guitar amplifier power transformers, output transformers and chokes.
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