![]() ![]() Plenty of good speaker suggestions here already if you do like the sealed cab, and plenty of great music performed and recorded with the stock Fender piggyback set up, but I’d definitely audition any open back cab before I started buying speakers in pairs if you haven’t already done so.Ĩ ohms is fine for a Bandmaster, it knocks off maybe 30% of your output power and loses some bass and treble, brings the midrange forward, lets you crank the amp a little more for the same volume. Fender Bandmaster Head Alessandro Speaker Cabinets: John plugs the three aforementioned amp heads into four of these speaker cabinets for their blues tone. My advice would be to try anything open back you can get your hands on at either 4 or 8 ohms and make sure it’s not the cab that’s prompting your speaker search if you haven’t done that already. Even with the back off there are better options. The reverb is nice a deep sounding and the. I have a little 2x12 Bandmaster cab sitting empty, I wish I could use it just for the visual of “the set” but honestly it just isn’t that good a cab. Fantastic sounding and super clean 1969 Fender drip edge Bandmaster Reverb amplifier. I have two Fender piggyback cabs, a 1x15 tone ring Single Showman cab and a 2x15 Dual Showman but they sound way better for Rhodes than Stratocaster. I don’t think either of those typical Fender sealed cabs, big or small, sound as good as a combo and I think the amps actually perform better for guitar with less speaker damping. The fly in the ointment isn’t speakers in your scenario, it’s the cab. Nothing wrong with Celestion’s for a Fender, it’s a great sound, but so are the Jensen’s.Ĭ12N is a personal favorite as are the period correct Altec and JBL upgrades, but I do a lot of Fender/Celestion gigs these days too. Fender Bandmaster Cabinet 'Blackface' 2x12' Heavy-Duty Enclosed Speaker Cabinet. It won’t hurt the amp and it’s worth investigating if you wish you could get into the sweet spot a few dB earlier. Leans the whole amp more in the direction of singing single note line playing as opposed to the stock louder, cleaner, scooped thing. Its premium birch-ply construction and Celestion G12P-80 speakers deliver fat, woody bass response and clear highs. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.Click to expand.8 ohms is fine for a Bandmaster, it knocks off maybe 30% of your output power and loses some bass and treble, brings the midrange forward, lets you crank the amp a little more for the same volume. The Band-Master VM 212 enclosure mates with the Band-Master VM Head (or other quality amplifier) for onstage versatility and great Fender tone. Loaded with a vintage set of Celestion G12k-85 speakers, so you can get crystal cleans and fat chunk. New large rubber feet on two sides so you can lay it down or stand tall. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. 70s Fender Bandmaster Reverb 2x12 cabinet. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price).
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