I also used my trusty Gibson Les Paul Classic loaded with Seth Lovers (PAF type with alnico II pickups). I plugged in a variety of Fender Stratocasters including my recently acquired and prized NAMM one-off 1960 Custom Shop Stratocaster Relic in Daphne Blue with matching headstock. So that’s exactly what we were looking forward to and exactly what we went to do next. To get an amp like the Bassman to distort, you’ve simply got to turn it up. This touch-sensitivity indeed can really enhance the feel and mood of the music being played. All said, blues and classic rock players tend to appreciate non-master volume style of amps as the volume can be set to a breakup point of natural distortion and the dynamics can then be controlled by a player’s technique. There are also no effects loops, reverbs, or extra buttons or lights. The Bassman design itself is straight up and simple with no preamp gain controls for low-level distortion creation. This amp is capable of being VERY loud, especially if your interests are in clear clean tones. The ’59 Bassman LTD is rated at 50 watts and certainly puts out the power. Note that the two channels does not mean that this is a "channel-switching" amp. Each of the two channels (normal and bright emphasized) can be patched together with a short cord to combine the voices. The front covering is an attractive dark oxblood type cloth- again, like the originals.īeyond the improvements themselves, the The Fender 59 Bassman LTD shares the same four-input, two-channel design with independent controls for volume on each channel in addition to Presence, Bass, Middle, and Treble controls that go to 12. To finish up the revised Bassman, the ’59 LTD is housed in a cabinet constructed from solid finger-jointed yellow pine and covered in lacquered Tweed, just like the originals. Updates for the ’59 Bassman LTD include a tube rectifier (original spec 5AR4), an internal bias pot, a pair of US-made Groove Tubes 6L6-GE output tubes, as well as a quad of Jensen P10R reissue 10-inch Alnico speakers. Add to this the fact that the first Marshall amplifiers were largely leveraged from the Bassman’s circuit design (which in turn spawned a countless array of further clones as time passed), and it’s easy to understand why the Fender Bassman was the first amplifier chosen as a tweed reissue in the early ‘90s.įender’s new ’59 Bassman LTD reissue takes the amplifier even further (or should we say backward?) closer to the original. It’s perhaps a bit of an irony that this amp design is among the most revered from guitarists – not bass players. The Fender Bassman evolved as an amplifier designed to initially go along with the Fender Precision Bass.
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