Fender Bandmaster Reverb

Made in 1968. Some parts are from 1967. By now, we know the features.

Extreme amount of bass. Mine is pushing 65 watts as measured by my amp tech. Runs hot. Starts breaking up around 5. I am using a pair of Celestion Heritage 12 - 30 watt speakers which break up nicely. Quite simply te best tone I have ever heard, except for my 1964 Princeton. Bass is so deep and loud this will make my windows rattle at 3 or 4. Clean is pristine up to 5, even with humbuckers, after that, watch out! I had mine blackfaced for $30, only the power grid resistors and a few caps needed changing, along with a few resistors. I have several blackface and silverface amps to compare to. Don't be afraid to have it blackfaced, the improvement is tone will make you drool. It is a bit hissy with the presence switch on.

Had a cap job done last year (after 38 years), that's when I had it blackfaced. I thought the original RCA tubes were bad, so I bought 6 Tung-sol Re-issue preamp tubes and was in for a shock. It sucked the tone right out of the amp and was very noisy and microphonic feedback everywhere! I put the RCAs back in and breathed a sigh of relief. I have expreimented a lot with tubes and have not found any as good as the old RCA tubes. But Sylvania and Phillips are very close, I guess it is just a matter of taste. Groove tubes by Sovtek? Forget it. GE, Sylvania, RCA rock.

Forget it. The new company wishes it could reclaim the past by making stuff like the Princeton recording amp which looks stupid. Mine sounds a lot better anyway, dispite having only 12 watts vs the new Princeton's 20 watts. They must have done something right when Leo was around for this amp to last 38 years without a single repair. Find a good tech.

Been playing 30 years, mostly the last 7. I was a little kid when this was made. I hated the original cabinet, so I had a custom 2x12 combo cab made out of pine. Very nice. Buy one if you love deep lows, shimmering top end, and crystal clear mids, then break-up just when it starts to get loud enough to cut through. This is one of Fender's best kept secrets, they just didn't know it at the time.

This amp is from 1972. It sings when I play the blues. Two non switchable channels. Headphone jack ??? This amp has it all, wonderful reverb and tremolo. 45 very loud watts, it's enough for most occasions.

It has a natural tube distorsion, that I haven't heard from any other amp, but when you roll off the volume on the guitar, it cleans up perfectly. I use Strat and Teles only (I'm a Fender guitaroholic)
It's a little noisy, but it is not a problem. As I mentioned earlier in this rewiew, I play blues, and for that this amp is hard to beat.

The dependability must be good it's 35 years old. No, this one has never broke down for me.

Yes, I have dealt with the company, and that was not so good, It's almost impossible to get in touch with these people, d**n!!

I've been playing Strats and Teles on and off since I was 15, but for the 10 last years I've been playing everyday, I am 50 now. This amp would be very hard to lose, because they are hard to find, especially here in Sweden. There is nothing about this amp i dislike, what do a guitarplayer love about an amp: the sound of course, and thats why I bought it. I'm a really conservative player, and I don't need lots of channels and pedals with this one, only a Ibanez TS-10 and a wha pedal.

This amp is from 1972, and for my style of music it's wonderful. Blues is my style of music. The most of this sweetsounding amp, is allready been written.

This amp has a natural tube distorsion, that my other Fender amps i have owned don't have (Twin reverb, Custom Vibrasonic and others i have tested and played through.

I have been looking inside of it, and some soldering has been done, but this thing is 35 years old and still deliver this sound that only old Fenders have. The amp is dependeble.

Yes, i have dealt with the company about my guitars, and sorry to say, it seems to me they don't care so much of their customers.

I've been playing since I was 15, and I'm 50 now. If this amp would be stolen it would be a very big loss, because they are very hard to find these days, found this one in a small musicshop in a small town here in Sweden.

Two channels. Normal channel has three knobs: Volume, Treble, and Bass. More mids than the effects channel, no reverb or tremolo. Effects channel has four knobs: Volume, Treble, Middle, and Bass. Mids are notched out for that signature Fender "Blackface" sound. Footswitched Reverb and Tremolo. Bright bypass switches for each channel. These bypass the highs past the volume pots, so the Fender "shimmer" remains at low volumes. This is not a boost, the switch's effect disappears when the volume is turned up. Top rating. Nothing better has ever been designed.

The Bandmaster Reverb is the last bargain left in the classic Fender market today. It is the same as a Super Reverb, in head form with a 4 Ohm output transformer. Once you pull out the supressor caps and reconfigure the PI and bias sections back to BF specs, you have a perfect amp. I followed the Gerald Weber suggestion for hot rodding a Pro-Reverb, and installed a Bassman output transformer, which is about four times the size of the stock tranny. It uses a different mounting pattern, but my chassis was pre-drilled for it, so it is a completely reversable mod. I have an early 1970 model, no trim edge on my grill, but still 40 watts printed on my back panel, and I used a 1970 Bassman tranny. It sounds great, full and sharp at the same time. I A-B'd it with my Deluxe Reverb and it sounds the same, just louder and clearer with extended lows. It has the same great overdrive as the Deluxe, which is saying alot. I play blues-rock and have a variety of Strats and Teles, an LP, a 335, the usual suspects. I have an Explorer with Dirty Fingers that loves this amp, it sends it off into another universe. One more thing: The normal channel through a Marshall 1960A sounded better than a JTM45 Reissue. Not a real one, mind you, just a reissue.

Keep it dry, out of basements and damp warehouses. The tag board will absorb moisture out of the air and become a conductor. Replace all of the caps as soon as one begins to leak. Carry spare sets of pre-tested tubes. It'll still break down, just not as often, and not as completely

Find a tech you believe in. They're out there, and people talk. Nobody does everything. Some guys won't do mods, some guys do 'em without asking you. Find one who suits you, and don't chew his ear off with a bunch of "What do you think of this..." BS.

My fantastic value cost me $500 on Ebay, plus $400 for new caps, the tranny and 4 hours of my tech's time to refurbish, blackface and modify it. (I live in California, prices are high here) All the tubes were good except one. The footswitch had bad ends. One more thing, I wouldn't bother with the matching cabinet. I think the Fender sound depends on open backed cabinets, and Fender was in a stupid size war with Marshall at the time, building these huge, dead wardrobe trunks. Avatar makes a great 2X12 that I use. Funny thing, it's not much bigger than the head.

This amp was made in 1968. 2 channels, Tremolo and Reverb. That's all any manufacturer really offered back then. And that's just dandy because it's all TONE, baby! Plenty of CLEAN power (45 watts of this amp is louder than many 100-watters!. Great for any style where you want clean,roaring tone. I use a Mesa V-Twin preamp for the dirt.
I use it with a couple of different cabinets. One is a 1970 Bandmaster 2x12, but I replaced the original speakers with a pair of Eminence Commonwealths (their JBL D120F clone).Total fidelity. If I want more dirt, I go to a 64 Bandmaster 2x10 (very rare animal, tilt-back legs)loaded with a pair of Eminence Li'l Buddies for blues.

Righteous tone. I did do some work to get there. I bought the head with the smaller cabinet from a dude who lived in a "truckers' compound" (5 double-wides in a circle!)in the Florida sticks.He used it as a jam amp at their barbecues. Cleaned it up, replaced the 2-prong, the filter caps, a couple of 12AX7s, and the power tubes, biased it, and it was ready for the stage!Loud and proud! I have since run across a Dual Showman Reverb made in 1970...even more of the same great tone!

A train couldn't stop this puppy!

Not the Fender we now know and resent...

I bought this amp for $200 (!). Another $200.0 in parts, and I swapped a Tektronix scope to a dude for the labor. Whatta deal!
I own all sorts of amps: Fenders, Marshalls, Supro, Sunn, etc. I love 'em all, but the Bandmaster Reverb is one of the tops!
If this baby was stolen, I'd find the SOB and smash a Peavey over his head!

1967 Bandmaster head w/vibrato channel.

I use a mim Strat,a 77 Ibanez les deluxe, 93 les Studio lite w/m3 electronics "single coil in the middle",81 Hamer special usa and Charvel elec/acoustic. the bandmaster sounds real nice with my CGM
2-12, or Line 6 4-12. Unfortunatly it started making a loud rumble
last week. I'm playing in a country band, I thought they would run in terror when I brought my old jcm 900 to a barn dance.I turned the post all the way up and just cracked the pre and sensitivity. i put the 2-12 on one side and ran half of the line 6 on my side.It kicked cow pattys! I'll keep using the 900 to get enough cash to fix the Fender.

I have 3 fender amps, The Bandmaster,A hot rod Deluxe 1-12,and a Champ. None of them work.The pre-amp section is gone on the Hot rod.
the Champ doesn't work at all, and the Bandmaster is humming like
crazy. On the other hand the 900 has worked great for 3 months,the
valvestate 8080 has had it's butt kicked all over.Missing knobs etc.
and still works, and my best sounding and working amp is an 80's lead 12 little practice Marsh.i do most of my recordings with it.
Fender..your old amps sound good but, either I got all lemons or there's a trend here! i bought the Hot rod new in 98'.I let too many bozos run their pedals through it at an open mike I hosted. Other wise it would probably be fine.

I'm guessing the repair is gonna cost 200.00 or so. The amp is all original.

Iv'e been in bands since 79 or so.i'm 41 now and just getting all the gear i saw and read about for years. i played bass mostly for bands in the 80's and 90's. I was given best bassist award in upstate ny in 95. I've always relyed on mostly guitar to create originals.I started on guitar after hearing priest,sabbath and kiss
in 76. i'm playing country now for another challenge and I can make money at it.I have originals at http://www.myspace.com/selfunited
I guess I didn't much believe in my own songs or would have played only them.I couldn't write to save my life until 98 or so.mabey still not...Peace Tom

I purchased this amp in 1969 i was fifteen and washing dishes at a local restaurant. i also purchased a Gibson SG(i also still have) at the same time, from Sherman & Clay accross the street from the Bon in Seattle Washington.
Since i am the only owner i know it is all original, no modifications except for a three prong plug.(still have the two prong)

has any an all features any exceptional guitar amplifier should have.

i have a dozen guitars of all types and varieties, Humbuckers, single coils, P-90's, and different makers of these PUPS. You'd really have to play through one of these amps to understand the full rich sounds they produce. quit simply, this amp in my aresenal is the standard to measure against. I have rejected many outstanding amps because the Bandmaster covers them as well if not better than the amp i'm reviewing does.
i have to admit, this amp has been a good friend for some 35 years so i'm sure i'm a little predisposed to think more highly of it. however, use the other reviews to tempter my comments.

35 years and still works great, never let me down at any gigs.

never dealt with Fender.
never used the warranty.

been playing..., GACK, 40 years exactly. I wown many guitars and amps as i have more $ than sense now. Soldano, THD, Mesaboogie, Fenders, Gibson's, Epiphones, Carvin and on and on. If my Band Master were stolen i'd catch them, and murder them twice.
The amp has and does everything i want an amp to do. I don't want all those bells and whistles as i believe it gets in the way of the tone.
i'd like the amp to be a little smaller as in my old age it's not as easily tossed around as i used to be able to do.

this amp i will pass onto my children and grandkids. along with the SG of course.
it's been a good friend.

The 1964 Blackface Bandmaster did NOT have reverb.

Only Silverfaces were Bandmaster Reverb, starting in about 1969.

1964 blackface head and a 1972 2x12 cab with oxfords allll original down to the insulation in the cab.. i disconnected the external spkr on the circuit board and placed the lower rated tremlo tube in the 1st channel,, i also took out the tubes that run the tremlo..why? this puts all the juice in the 1st chanel and adds loads of shimmer to her with out butchering or radically changing anything in the amp. ill probably have the caps checked and the orig 2 prong cord replaced one day ..as for tone.... i run a tele taht screams. pedals include boss compressor sustainer..boss ch1 chorus..boss dd3 delay and on occasions an old ts9 tube screamer...this combo does it all and then some and with out the pedals it still rocks and crones,,breakup around 5 with my tele on 9 low tone setting on tele.amp on tone5 bass4 growls and howls kicks the jams and cleans up at the flick of the pick attack... wouldnt sell her for any price ..nuff said

6yrs playing have a celestian kustum 1-10 ss practice amp ..strat.

This is a silverface Fender Bandmaster Reverb 5005D. It has the metal edging around the grill cloth and is 40 watts. It has two "channels". No channel switching and the main difference between channels is the left channel (number one) does not have reverb or tremelo. It has a volume, treble and bass knob. The right channel, channel 2, has volume, treble, mids, bass, reverb and two "vibrato" (tremelo) knobs. Both channels have two inputs. One input is slightly louder than either. Both channels have a bright switch. I think it is a 68 or 69 year as the transformers have a 68 in their numbers.

On the back are two RCA jacks for a footswitch to control the reverb and vibrato. There is a main speaker jack and an auxiliary jack. I believe the amp is set up for 4 ohm speaker load although it seems to power 8 ohm speakers just fine also. On back there are two toggle switches, one for power and one for standby. There is a fuse and disconnected ground switch. It has a 3 prong cord.

Sounds terrific! Very good reverb, very good vibrato. Classic Fender clean and breaks up at about 6 and above with a Strat plugged in and the Strats volume on 10. Nice breakup too. But mainly I play it clean. Not overly loud, but loud enough. Classic Fender tube amp tone, tone, tone. I bought it because I wanted a Fender head with reverb to play through my Marshall 4x12 when I am not playing my Marshall through it. I now have a Marshall head and a Fender head.

You can jumper channels and I have even jumpered between heads, plugging each head into the stereo inputs of my Marshall cab for doubly loud cleans and a mix between Fender and Marshall sound. My understanding is to get a stereo chorus pedal for stereo, haven't tried that, I hope to.

Reliable so far.

Solid Fender 40 watt tube head with reverb and vibrato. Great tone.

This is 1972 Fender Bandmaster Reverb ( 45 watts ) built in the 13th week of that year. When I first bought the amp it had no tube charts inside the chassis so I had to get the code numbers from the transformers. From there I found out the amps year. I'm going to have to give this amp a ten for features because my other amp is a Sound City 120 MkIV single channel! Compared to the Sound City this amp has a ton of features and thats a major reason I bought it. Two channels with two inputs per channel, normal channel and vibrato with reverb.

I'm playing post punk, space rock, sooo this amp is being used for cleans and I'm pushing the front end with a Marshall Guvnor Mk1 for medium gain rhythmn. This amp is plenty powerful and plenty loud for 45 watts and I've got it running a Bandmaster 212 cab with 50 watt Sammi's. Everything I could want in an amp, not overun with buttons and features but just the right amount of everything for a guy that likes to plug and play but wants some bits and bobs also.

I nearly bought a Fender Vibrosonic Reverb and spent two hours with it before trying this amp that had been sitting quietly waiting. When I plugged in, straight away it was game over. The warmth of the clean tone on this amp was really stunning, an immediate sound that had all the punch and velvety richness certain vintage Fender amps are known for. I walked out the door with it!

When I got it home I was able to play around with it a bit more and crank it up to around 6-7 where the clean tone doea exactly what I wanted. Basically you get a really throaty clean tone that begins to break up into a very smooth dirty sound thats unbeatable. The clean has that push to it where the ends of the notes have some hair on them ... perfect! Think Dave Gilmour doing Echoes in the Live at Pompeii film!

I'm playing Ovation Breadwinner and Deacon guitars with their special brand of Humbucker and have huge effects board thats too long to get into here. The amp is very quiet, silent infact and that extremely impressive to me for an amp this age. The straight clean tone is typical lush warm Fender, you can easily move into surf, jazz, rockabilly, roots rock, reggae, dub and just about any style of music you want with the cleans this amp produces; truly second to none! This amp is capable of a good variety of tones but is really born for rock!

Overall this amp maintains the cleans up to about 5-6 on the volume but above that begins to break up and thats what I love about it. At lower volumes the cleans are beautiful and rich ... a Twin will clearly maintain the clean headroom allot longer but I found the Vibrosonic and Twin amps a bit sterile compared to the vibe and character of the Bandmaster.

Awesome amp!

I have a great amp tech so it's always going to be fine. 10 for the amp tech!

Never dealt with them ...

Been playing 17 years, have a couple of other amps, lots of guitars and loads of pedals etc. If stolen I would buy another and maybe buy a Bassman also. Compared it to a Vibrosonic Reverb as I said and this won hands down. I love this amp ... game over!

This is a Silverface Fender Bandmaster Reverb TFL 5005D . This amp is all original with the exception of the filter caps and the associated bypass resistors. Luckily, when this amp came in to my hands. it had little or no mileage. (I fixed it up for a good friend who gave it to his son.)
Still had the orignal RCA blackplates, rectifier and preamp tubes. I replaced the leaking filter caps with Sprague Atom types, threw in a set of JJ 6L6 GC tubes along with a fresh 12AT 7 driver and presto... and the amp just came alive. As for the features.... if tone-to-die-for is a feature, this amp gets a 100. Frankly, it's not feature laden, with only reverb and two non-switchable channels, but who cares? It needs nothing else but what it has.

I'm struggling to describe the sound of this head, pushing two Eminence 12" speakers in an open-backed cabinet. To say it sounds fantastic is a real understatement. I would say without hesitation that Eric Clapton, Jimmy Page, Nokie Edwards, Chet Atkins, Jerry Donohue or any other legendary guitarist would be prompted to make a serious offer for this particular amplifier upon hearing it. Bogner, THC, Dumble, Carr and the rest of the boutique makers have made an industry out of a desire to build their amplifiers around and in search of the tonal characteristics exhibited in this remarkable sound machine. Otherworldly. Utterly sublime. Words have no meaning...it makes grown men weep and angels cry. It is the end of the tone road...there is nothing like it and nothing could improve upon it. But hey, let me tell you how I really feel....

Father time has been good to old Fenders. Treat them with respect and they will serve you masterfully. Besides that...nobody makes 'em like they used to. I expect it will be around for my friend's son's grandsons to use, cuz this one ain't leaving the family....

Don't let anyone touch it except me. I'm the only customer support this amp will ever need...period.

Beyond mere words. If God has an amp, He currently has it on loan to my pal's son. Thank you, heavenly father.

This was a 1968 Bandmaster Reverb head that I have modified to a combo with a single EVM 15L. It does not have tons of features a la Mesa Boogie, but I didn't buy it for the features--I'm a tone dog.

This is where this amp stands head and shoulders above so many other makes. I use a Strat with a rosewood fretboard and a couple of mods that I performed: slightly modded Fat 50's p'ups, sheilded body cavity with a star ground to eliminate that 60 cycle hum, and .1 milliFarad caps on the tone pots. I also bypassed the "sand resistors" in the amp, because as I understand it this is the single biggest change from the Blackface to Silverface circuitry.

This is an incredible sounding amp: very shimmery cleans and great growl when overdriven; beautiful reverb as well--classic Fender. I plugged my acoustic (a limited edition Taylor 314-LTD with Koa back and sides) into the "plain Jane" channel and it really gives me a faithful reproduction. I don't relish hauling this big boy all over town, but it's really worth the extra effort!

I've been playing this amp for 3 years now and haven't had a problem. It is old, but it's built very well.

I've only dealt with Fender once (regarding another amp I still own) and they treated me squarely.

This is a great amp--I'm thrilled to have the honor of playing through it. It's unique: there is no other like it in all the world, and I like that, too. If this one died I would definitely resurrect it.

I've been playing twenty-some years. I also have a 1948 Fender Deluxe Tweed in beautiful condition, and various pedals, etc.

I've had the whole thing changed around. More later. 2 channels.

It works fine with humbukers but shines with single coils. I play blues/rock and county/rock. Strat and tele. 335 also. extremely quite since I recently rewired it. I added a 2 4 and 8 ohm switch in the back. Replaced all the tubes. 6l6 s are tung sol. Clean is great. some dirt when placed on 4 ohm setting. I converted the head to a 1 12" cabinet. Eminence 12". Ok now the good stuff. As other people have said this is basically a super reverb with a smaller transformer. I changed the transformer and it is now a super reverb. Both channels now have reverb and tremelo. The bright switch is converted to standards that cezar diaz recommended in a review I recently read in Tone Quest Report. It is now a mid range boost that still provides a slightly brighter tone. With the 8 ohm switch on the amp is very clean. With a little volume about 5 or 6 and digging in it will sound very sonny landreth. I think thats how you spell his name you know the slide player. This amp sounds great with a od808 or a ts9 but by itself it is very shimmery and brite.

Never any major problems. Its good to bring extra tubes. This is a point to point hand wired amp. Just like matchless and bad cat.

Never dealt with them. No reason to. Find a good local tech.

I've been playing 40 years. I would buy more of them. I know where I can get 2. The tech has added 2 8 inch speakers to the head for low volume listening. This is a great amp modded. Not modded it is a 9.5 with good tubes.

I wrote a review when I first purchased this amp. It's a '71. It is a gorgeous, loud, clean amp. An amp shouldn't include features that compromise its sound, and this one doesn't allow a player to make himself sound bad, so it gets a 10. Its versatility lies in the fact that it doesn't step on the tone of the guitar, pedals, cables, fingers, and cabinet that it's amplifying. Plus it's got Tremolo and reverb.

The amp has incredible thickness and sustain. It's harmonically superior to anything else I've toured with, except possibly a '65 blackface Super Reverb I rented for a 17 show stint at the Paris Olympia Theater. It's extremely similar to a blackface Super in design, though it operates at 4 ohms rather than 2. In my original review I wrote that I was planning to combine it with a Matchless Chieftain onstage. The Fender, which is pushing an old closed back Sound City 6-10" cab, so completely blows the doors off the Matchless that the latter now resides at the guitar shop where it's on consignment. The Fender projects better, doesn't muddy up with a distortion in front (DOD 250, Swollen Pickle), and just sounds so full and gorgeous. I've been recording insome great rooms lately, where I've brought both amps, and we always go with the Fender.

The amp is not super reliable. No Fenders are. I just did 2 weeks in Europe where I was renting Twins; I probably went through 7 amps. In the past, I've had to call ahead to venues while on tour to have a tech waiting at soundcheck back when we were travelling with our own amps. This particular head died at a show a few months back, but it had the good grace and decency to die just as the set was ending. I've since sent it to Louis of Louis Amplifiers, NJ. He costs a fortune, but he claims to have bullet-proofed it. Time will tell....

It's 32 years old. I don't think Fender will cover it.

It killed the Matchless. If you know sound and have played through a good blackface era Super Reverb, then you know it's still the king. This is practically the same amp, at 1/4 the cost, plus since it's wired at 4 ohms, it'll properly mate to most good cabinets.

The '71 silverface Bandmaster I bought is 'magnifique'! Its clear sound is one of the best I 've ever heard. 2 channels: clean and tremolo, a superbe reverb (one of the largest i've ever seen), and ofcourse original tubes! Looking at the amp, is wonderfull, playing on it, undescribable... This baby really makes you playing the guitar much much better. I think it's playable for many genres, we like to play alternative rock, but it is suitable for blues, jazz, reggae.. whatever... i bought it from a guy who even played metal on it. Sometimes, it plays Radio Moscow without even touching a string :-)

I play it with my Leo Fender Legacy, the ideal combination! It sounds warm & sweet, broad & powered. When you put the volume to 12, the overdrive is magnificant! check it out: http://users.pandora.be/trondheimtriggers (music & pics)

never broke a tube, it is solid, and you can depend on it..

no warrenty anymore :-)

if you ever have the luck to buy this amp @ the price i did... don't hesitate!

68 Bandmaster Reverb, All the features are well documented. I am a firm believer in the theory, that you start with a GREAT clean channell and build on it from there.

I play mostly Fenders. Twin Reverb, Deluxe, and a HR DeVille 4x10. This is one of the best clean sounding Fenders I have ever heard. Still has the original RCA Blackplates in it. No mechanical problems what-so-ever! I wish I had a set of JBL's to drop in the cab. I had one of these back in 69-70 when I first started playing out. I always thought it was me and not the amp, because I was so young playing through it at the time. But talk about things going full-circle. I must have played through every sought after amp out there, and have owned most of them. To come back to this amp at this time and still feel this way about the tone.....Really says something for the Bandmaster.

Seriously......This amp is 35 years old and still has the original tubes in it!

Fender is O.K.

The 68 Bandmaster Reverb was the first good amp I owned in 69-70. For me to be playing through another 68 Bandmaster Reverb, 35 years later, says a whole lot about this amp. I really like my BF Twin-Reverb for humbuckers on stage. But this Bandmaster is right there. It just breaks up faster, around 4 with Hums. Super sounding with single-coils. Couldn't ask for a better clean sounding amp.

This is a Silverface Fender Bandmaster Reverb TFL 5005D all tube amp made in 1972.
I use it to play instrumental Surf music and it suits the style.
it is a two channel amp with 4 inputs, no channel switching possibilities, FX loops, or headphone jack. I has been modified by a previous owner with a Master knob, so the amp is more verstaile and easier to overdrive.The reverb is of the large spring type and the tremolo is superb, better then any outboard I ever heard.
It has a rectifier tube instead of a solid state rectifier and two speaker outputs, which I use in a strereo mode on my Marschall 1960 A cabinet. This gives it a real nice sound, exellent for Surf rock.

I use a modified CIJ Fender JAzmaster with Seymour Duncan Antiquity pick ups thru a 1965 Farfissa F/AR Solid State outboard reverb tank and a Digital delay unit (which I hopefully can replace one day with a real or digital tape delay).
This amp is soo clean, it breaks up around 8 or so, but by that time so would my ears...this is not an easy amp to get distorted.
This amp is LOUD, even louder then my Sovtek Mig 100...
I like the sound of this amp a lot, I wanted a clean, yet heave sound and the Bandmaster delivers.

Hmmm, I got it a few days now, I did a band rehearsal on it and it was great. Next will be a gig, but I don't think this amp will give me trouble. (but I'll take my Sovtek as backup anyway, just in case...)
This amp is in exellent condition and always taken good care off, tubes were recently replaced by the previous owner.

Well, given the fact this amp is more then thirty years old, I guess custumer support is not an option. But a good amp tech is.

I play for 12 years now and this is my 3rd guitar amp I got.
I still have my Sovtek Mig 100, my two Marshall cabinets, one 1960 A JCM 4x12" cabinet and one Vintage Marshall 4x10" cabinet.
I also once had a Laney Solid State linebacker amp but this was not a good amp at all, glad I sold it.
Well, it is a powerfull as the Sovtek Mig 100, but the sound is better, nicer and less raw. Also the Clean channels are a real improvement over the Low and High gain channels of the Sovtek Mig 100. I love both amps, the fender suits the Surf style better, but the Sovtek shreds so nice. So I keep 'em both.

2 channel, vibrato, reverb, tube rectifier

This amp was purchased to complement a Matchless Chieftain onstage. It will be mated to a Sound City 6-10" enclosure. The band is a 3 piece- the guitar needs to sound big and beautiful. Though the Chieftain is a wonderful amp, it has absolutely zero bass presence. The Fender has a tight bass sound, balanced mids, and a very zingy high end. The two together should sound up front and huge without being too loud (I guess the idea of loudness is a relative term- I'll be pushing air without cutting people's heads off). I'll use the reverb from the Fender- it kills the Matchless'. The guitar is a very Gretch-like custom from NYC Guitars. In front of the amps are a BOSS Harmonist(used once in a while for +1 octave), SIBI Echodrive (the blue one), The Throb, an old DOD 250 overdrive (the grey one, and a Swollen Pickle.

I don't know yet, but having toured for years with Fenders, I know they break down touring, but everyone everywhere seems to know how to fix them.

This is an old amp. NA.

I tried this versus some old plexi Marshalls, a couple of JCM 800's in various states of modification, various silverface Bassman heads(all sorts of wattage), some other Fender heads (I can't remember which) and this just totally blew the others away.

This is a late 1969 BMR. You know the drill regarding features.
I can't 'wish it had this or that' -- the old Fenders are what they are. Bought it with an unusual, but original cabinet that measures 20x31 housing two 12's -- an Oxford and a CTS. While both speakers are early 60's I suspect that neither was packaged with the head when it was first shipped.
I use this for "southern metal", R&B, blues, and rarely for jazz. I intend to 'vibroclone' this one.

I use this with an LP, an ES-175 and a strat, so the guitar dictates the style, not the amp.
The amp overdrives well and does not break up strongly -- I've tested it with a 4x10 box also and get similar behavior though very different tone.
This particular amp is not noisy at all although it does need a full cap job. I believe some of the limited range of tone is attibutable to the need for a complete overhaul. I find the brite switches work, but don't add alot of sparkle. I don't use the clean channel, but expect to swap the pre-amp tube out for a lower gain model and use this channel more with effects pedals while reserve the vibrato channel for straight-up playing and overdrive.
These amps aren't tone monsters in terms of diversity, but are part of that vintage sound.

No problems, 34 years and still has original RCA tubes in it. All features work, though vibrato is a bit underwhelming compared to other Fenders I've had. AGain, some fresh tubes should heal some of that.

Who has ever really gotten Fender service in the past couple of decades? They don't even offer to respond to e-mail!

After fingerpicking acoustics only from '76 to about 2001 I decided pull my electrics out of the attic and give youth another shot. I'd never stopped playing the blues, but playing hard R&R and country twanging is fun.
The BMR is great for all of this because it has a mid control that the competing fender tube amps don't and it had adequate power (at 40-45 watts) for just about everything. There also isn't quite the vintage madness with these as they are all silverface so you can get them for a decent price. [Only Princeton Reverbs seem to generate as much interest in mods -- and the BMRs cost 25-40% less for more than triple the 'amp' if you measure by power, speakers, channels and tone range! Last, there's a universe of ideas out there dealing with mods to BMRs, the Vibroclone being just one. This is just a very malleable amp.

I think this is an early 70,s model. When I bought this amp it had been modified. A 1/4" jack was installed on the back and is labled Remote Volume control. There are two toggle switches on the front for reverb and tremolo and also an extra speaker jack was added. It has two channels (non-switchable), normal and vibrato. I built a 2x12 cabinet for it, sounds great. Over the summer I installed two 6x9 speakers directly into the head, perfect for practicing at home.

Use a Fender squier stratocaster, HM Strat and Fender Bullet s-3, Fender Bullet h-2 and a Fender Musicmaster Bass. All of my guitars sounds great through this amp. Terrific clean tones with wonderful reverb. Great for Blues, Jazz, Funk and Reggae. When I want distortion I use pedals. I used to be in a rap group in the eighties and used the amp for recording Guitar, Bass and sometimes vocals.

When I bought it the reverb wasn't working. The knobs were scratchy and amp was noisy. I changed the tubes and had my buddy service the amp. Worked great after that.

Never dealt with Fender directly.

I've been playing for about 17 years. I've had a Peavey Encore 65, don't come close to my Bandmaster. I sold my Peavey to a co-worker. My friend, who owns a Peavey Renown 400 likes the sound of my Bandmaster better. If it were lost or stolen I would buy it again. I love the tone I get no matter what kind of guitar or bass I plug into it.

I gave this a 10 due to the mods that I have added: variable neg.FB control, kill pot for vibrato, reverb and vib. added to normal channel, revoiced the normal channel a bit "darker" and changed a few resistors here and there to really "dial-in" the sounds...now the amp can do all sorts of things. You can A/B the two channels for switching or jump channels like a bassman to mix the sounds. Dial in the right amount of break-up with the FB control....that one really makes the amp come alive....before mods I would say features are standard Fender...all that you need...still gets a 10

Sounds....best amp I have ever owned...I also took the chassis mounted it in a Rodgers deep 12" cab...2-10 config... Ruby 10 speakers, actually eminence....I play tele's & strats....I have a 59 bassman and this amp...I sold a BF twin and a Rivera M100 combo cause I have no use for them...between the two amps I can cover anything..the Bandmaster is great for jazz, country, classic rock, blues, whatever, no metal here though...it loves pedals I use a Marshall Bluesbreaker, the old black one...thats it...killer sound...it is so sensitive that a small adjustment on the amp or the guitar can change the whole flavor of the sound...this amp just sounds great low vol all the way to loud....the more you put into it, the more it gives back...Again, without the mods, its still a 10...its that fender tone.This amp is a 1969...something magic about that year I guess...

I have had fender amps forever it seems, I really have never had a major problem with any of them, and I see no reason to expect one now..find a good tech and you are set...forget fender support or repair shops, they don;t have a clue...you need a guy that KNOWS what these amps can sound like and get that for you....if you have a good fender amp, a good tech can make that into a great Fender amp....

never had any luck with fender the company...seems like they would like to forget, or rather that the public would forget how good their amps used to be and still could be...makes their current stuff look weak.....even their re-issue series is getting worse by the day...none can hold a candle to the real thing...I don't think that they are very proud of that....I woulden;t be...I will give them a 3 cause I suppose they would at least answer the phone....

I have been playing since I was 12..almost forty years.. I have been in bands since I was 15.. I have had it all...with the exception of Dumble and a few others, and I would not hesitate to stack this bandmaster against any of them...maybe it can;t do what a Dumble can, but I bet the Dumble can't do what the Bandmaster can either..I am looking to put together annother combo, exactly the same...'cause its that good...I love everything about this amp...when I took it out last week first gig, I could have sold it 10 times over at whatever price I named...it is really that good...don;t hesitate to get one...you will not be dissappointed...straight stock they are great...modded they are AMAZING...I would not trade this amp for any current amp on the market....why buy something that is advertised as "sounds like a BF Fender" when you can have the real deal...everyone copies the best and Fender is the King of them all..at least the older ones...they are really "plug & Play" if you want them to be...Amps like these put a smile on your face and make you feel good about playing...its all about the tone...and this amp has it in spades...

1973 Bandmaster Reverb TFL5005D. The best feature is it's full frequency mojo. This makes it a very versitle amp. Plug in electric guitars, basses, harps, cheezy radioshack organs, real organs, synths, acoustic sound hole PUs, fiddles, banjos, mandolins, theremins, etc.. With the bright switched enabled, this amp also reveals all those esoteric "tone" claims of things like: cable length, dieing carbon batteries, true by-pass pedals, passive vs active P/Us etc...

This amp came with the tall 2x12 sealed cab with utah speakers and together they are brilliant. The amp ODs just past 4 and a setting of 7 lets me cover alot of genres with only my G&L asat's single coils, PU switch, volume/tone and 10' cable. But I also have a pedal board. Even though I lose some of the magical and juicy transparent sparkle with the extra cable length, true by-pass is essential to retain the air of passive single coils. I use a mesa bottle rocket as a virtual OD channel. A captain coconut 2 into the bottle rocket provides more authentic tone flavors. For modern tones the akai shred master is a bargain and works well with the same amp settings.

Mine needed service when I got it in 89' and both speakers were blown. It got new mesa power tubes and a nos 5u4 rectifier tube and has worked like a charm now for 13 years! Same tubes.

Too bad G&L doesn't build an amp like this!

I've heard alot of great clean amps and clean tone. But this tone has air in it. The bass is awesome as well. Plug straight in for jazz, blues, country, surf, punk, reggae, polka, ect..

I have an early 70's model. I use it to play mainly blues and classic rock. I hardly ever use it to gig being that I have no time for a band. i occasionally sit in with some buddies who play out. It has all the features I ever need.

I usually just play my Tele through it clean and it is incredible especially for blues licks using the neck lipstick pickup. Completely mellow tones and awesome reverb. This head was made for the Telecaster as far as I'm concerned. My SG and Strat really have no business being played through a head like this. When I do want distortion I use the Boss Metal Zone. This is in my opinion the most versatile pedal on the market. You can do anything from warm overdrive to seething Megadeth distortion even with the Tele. This amp is still most comfortable with clean bluesy playing though.

When I bought this amp it had been tinkered with by a meathead. A lot of mismatched tubes and someone had soldered a bunch of different valued filter capacitors together to get the somewhat correct rating. had a bunch of extraneous noise. It was still good to wank around on but far from spectacular. I have since had it completely serviced by the well respected Uncle Albert's Amp Shop in Indianapolis. Uncle Albert is frequented by many big name groups. Ted Nugent comes to mind immediately. When I dropped it off Mellencamp had a lot of his stage gear there being serviced as well.
After they worked their magic on the amp it sounds like brand new or better. Totally clean sound and no popping or hissing. Fair price too. Since then I am sure I could count on it for countless playing hours and wouldn't be too worried about a back-up.

I have never dealt with Fender directly for this amp.

i have been playing since I was 13 (about twelve years). I have had a few practice amps. I also have mid 70's Kustom 100 head and cabinet. It is in perfect shape with not a scratch or puncture anywhere. That is why I initially bought the Fender. It is cosmetically rougher and I wanted it to travel with for gigs or jams without worrying about dinging it up. Since then I have fell in love with it and hardly ever play the kustom. I have Played countless other Crates, Peaveys, and even Marshall stacks and combos and none of them can touch my old Fender tonewise.

Great Fender sound at lower volumes. If you like clean tones with shimmer and instand "break up" when pushed ,this amp has it. Won't support larger venues or outside work unless miked. For more volume and sonic blastin' I use a Dual Showman Reverb head ( a Twin Reverb clone)and a open back abinet with 2-12 JBL's. Never ever need anymore.

I've had two of these and countless other silver face heads. I really like the portability. My style is clean blues, modern country and 60's 70's 80's standard dance tunes. Wonderful tremelo and reverb.
I play it with a custom built Mojo open back cabinet with 4-10 alnicos. If any pedals at all, a Boss Compressor and Ibanez Tube Screamer. I keep it simple so not to loose signal/tone. If you want distortion don't even consider this amp.

Never had a problem except for some broken solder joins. Easily fixed by just about anyone. Premium tubes make all the difference.

Fender is Fender today. Way too busy with retail to help very much but there are so many users of this equipment that answers to questions are easily obtained via internet. Almost cultish in wanting to share info with a user.

I've been playing since 1965( 35 years) and have owned many Brands and types of amps but I'm most comfortable with older Fender tube amps. Some of the reissues and vintage repros are close but the old Fender blackface/silverface non-master volume units get my jobs done. Many folks constantly ask me how do I get "that tone" like its somewhere in a pedal or some trick amp mod. I tell them its shared between the gear and me..... thats all, no trick stuff. Plug and play.

This is a 1971 Silverface model, though I had a '69 one before (which was the same and which I wish I'd never got rid of!) The features are pretty standard Silverface Fender fare: two channels (non-switchable) - does anyone ever use the normal channel on these old amps? - long-spring reverb, tremelo, no master volume, tube rectifier. For a 40w head, this thing is physically HUGE - and quite heavy, too, though that's less of a problem as I took the head out of the cab and built it in a combo.
With the original '69 one I had (I paid #120 GB for it!!!) I built a 2x10 combo cab, which was pretty neat. (I wanted a Twin and thought this would be a smaller, more affordable version - in fact it was something far better and as I say, I should never had got rid of it.)

This time around,someone gave me an old Gibson Lab Series 4x10 combo, which wasn't working properly and sounded awful. (Mind you I saw BB King using a 2x12 Lab Series a couple of years ago and that sounded pretty dreadful, too, so maybe that's just what they're like!) Anyway, I looked at this cab and thought: "You want do be a Super Reverb!". It was almost exactly the same size as the wider-bodied Silverface Supers, so I decided to look out for a Silverface Bandmaster to drop in. It fits pretty well - the cab's about 15mm too wide either side and the slot is about 10mm too deep, so I had to sort out some discreet wooden packing pieces - but the overall effect is pretty good. Being a Lab Series cab, it's got black speaker cloth, rather than silver, so it looks a quite distinctive - very like Albert Collins' Quad Reverb on the cover of one of his live CDs that I have.

The speakers were shot, too, so I replaced them with a set of Celestions (basically Vintage 10s, modified, to go into Trace Elliot Bonneville combos which were then discontinued - Trace's factory was just up the road from me until Gibson closed it down and laid all the guys off just before Christmas.There used to be a lot of stuff like that floating around at very good prices)

I play blues - SRV/Fab Thunderbirds Texas-style - though in fact, this amp is more often used by Owen Barry, the wonderful young guitar player in my band, The Rockin' Armadillos, than by me. We both play mostly Strats - vintage, or vintage-style, loaded with Fender American Standard p/us (very under-rated units - we both swear by 'em!). Owen has access to a number of top-class amps, including a lovely Matchless Chieftain head and cab, but reckons on its day, the Bandmaster is the equal of any of them. I tend to agree - this amp is the business! At lower volumes, it has that marvellous, chystalline clean Fender sound - wound up it's just awesome.

I'm told this is basically the same circuit as the classic Blackface Super, albeit with a smaller output transformer that makes the power stage less powerful. I've used Blackface Supers and can honestly say that this amp sounds every bit as good - it just breaks up a bit earlier, which of course is what you want! After 6 on the dial, it stops getting louder - it just gets FATTER! For a physically big amp, it's not all that loud - just about loud enough for a smallish club or pub gig un-miked. For bigger gigs, Owen uses his Matchless Chieftain and 4x10 cab (a much louder 40 watts!) on its own, or with the Bandmaster - tube amp heaven!
The reverb is one of the sweetest I've heard anywhere, as is the tremelo - it's far smoother than the trem circuit on later Twins and modern Fenders.

Being an old amp, it does have issues with reliability. To be honest, I would worry about gigging the Bandmaster without a spare. With the band, it's less of a problem for Owen as I play guitar and harmonica, so there usually a couple of spare amps (my excellent modern Fender Blues/Hot Rod Deluxes) on stage that could be pressed into action in an emergency.

A couple of years ago, it suddenly started making a lot of hissing and buzzing noises. I took it to Dennis Cornell, my amp tech (and designer and builder of some very fine "boutique" amps in his own right!) and he looked at it and said basically the problem was that the tagboards were starting to break down and allow voltage leakage. The only answer would be an expensive rebuild - we were heartbroken!!! I took the amp home and left it in a corner in my bedroom for about six months. Then one night, Owen asked to give it a try at a gig, alongside the Matchless - and surprise surprise, it worked perfectly!
It had previously been stored in a cold, damp garage and it seems that six months snuggled up alongside a radiator had done the trick. It's been fine ever since, though I do worry about a recurrence of the problem.

The only other issues we've had were the time the rectifier tube went down - ALWAYS CARRY A SPARE, GUYS! - and the odd niggle with those stupid RCA phono connectors on the reverb circuit and the footswitch. Phonos must be the worst connector ever invented! Why on earth to people use them on grown-up amps like this?

Nor direct experience - Dennis Cornell also does repair work for Arbiter, the UK Fender importers, so I would imagine it would be pretty good!

I have been playing for about 25 years and I have seldom come across sweeter-sounding amp.(It's second only to the Matchless Chieftain 2x12 combo that a freind of ours used to have, but then that cost #2,500!!!) The combo looks pretty cool too - it's sometimes nice to be different!
I am looking to buy another one as a spare. If I saw one at the right price it'd snap it up - and if mine was stolen or lost, I would definitely buy another without hesitation. Mind you,I would get Dennis to have a good look at the tagboards and electrical state of the amp before I paid silly money for it. (These 70s Fenders are starting to get a bit pricey these days!)
In short - I honestly believe this is one of the best (and most uder-rated) amps Fender ever made)
Don't take my word for it. Check out the downloads on our band site www.rockinarmadillos.com and hear for yourself! (All Owen's guitar sounds on our last CD, "Armadillo in the Road" - and there's a huge variety of sounds - were recorded using the Bandmaster, a '62 Strat and a few pedals!!!)

This is the first Fender amp I ever owned. Came with a 2X12 cabinet I have always liked tube amps, but always had monsters that were way to loud. The Bandmaster is perfect for every style I play. At about 45 watts RMS it is plenty for most size rooms. Any larger room can be handled by miking the amp. Features are non-existent (think it was manufacture in the early 70's) except reverb and tremolo. I play mostly rock ie. Stones, Beatles, Clapton, Cream, etc.

I use an Ernie Ball Axis, Gretsch Black Hawk, Guild 12 string with pickup. The amp is fairly quite except I get what sounds like a grounding noise with my hand off of the bridge. I originally thought it was the guitar, but it happens on everything I plug in (not a major concern, keep my hand on the bridge). The amp has a very thick sound. I play mostly three piece, and the full sound is great. The amp is very clean, I control distortion with pick-up gain and preamps.

This amp has never broken down. However, it had just been overhauled when I bought it. I am very careful with equipment, religously using covers, and loading carefully. Avoid heat/cold and moisture. I think this amp is a typical fender. If I don't drop it off a cliff, it'll keep on going

No clue, never called them for anything.

I have been playing about 40 years. I have owned a lot of amps, and some unusual ones at that. The Bandmaster is without a doubt the best sounding amp I have owned. I use a 2X12 fender cabinet that was standard with the amp. I would like to add a cabinet with 4x10's for more brilliance. I really don't have any criticism of the amp.

my fender bandmaster was made in 1973
my father bought it secound hand in leeds england around 1980 unsure of how much he paid for it
features are basic 2 channels normal and vibrato
the normal chanell has only 2 tone controls and 1 volume thats your lot!
45 watt stated power but it is definatley the loudest cleanest amp i have ever owned

i play metal ie anything from metallica to kreator
all i use is a boss metal zone for distortion and a boss chorus for clean
i play a jackson with emg 81/sa/sa pickups
it is also one of a very few amps where i can get a clean sound at very high volume

never had it serviced ! if it aint broke dont fix it
it has never ever let me down apart from once when the rectifier valve died about 10 years ago
lets put it this way it still has the origonal rca valves in it
they must be at least 20 years old and i have never replaced any of them

i have been playing guitar for over 20 years,i use my bandmaster with 2 jbl 12" speakers.everybody tels me that my set up is wrong for metal but when they not only feel my sound as well as hear it they soon change there mind!
in the past i have used an ada pre amp boogie 50/50 valve amp countless rackmount fx processors they all tend to sound like mush
i can use massive amounts of distortion with this amp and chords still hold definition you can here every note in the chord with this amp
if sombody stole my amp i would hunt them down and kill them! this amp is not replaceble

Owned a 5005 since the late 80's and nothing can touch the
vibrant acoustic tranparency of the Band Master. Harmon speakers from the fifties provide hard edge distortion, while Celestian speakers from later years brought radience and
digital friendly sound, this too led to solid state amps. I run an original Harmon on top and a Pyle Driver 280 on bottom. This offers a wide range of frequency but the 40watt head really works for the sound at lower volumes (2-5)

I play a '92 American Standard Tele (Sunburst/Rosewood).
You can have the front pick-up when you pry it from my cold,
dead, Minnesota hands. I usually run a
DIGITECH GSP21 LEGEND before the input. I bought this processor at the same time as my guitar and have found
that not much has come close since. A Jimi H. Fuzz Wah
hypes the Fender to a level unknown, put on your seat belt if you should acquire this deaedly combo. Let me tell you first hand...
it Rocks!

As far as tube tech goes... I put it at a 9.8 out of 10
I've rented this thing out, had friends play it for their gigs...
it always works.

I have my Fender amp checked out every two years by
Good Guys in St. Paul MN USA
I have the extreme pleasure of being a close frien of Dung Mai
of Atma-Sphere(formally) and Tri-Planar Tone Arms

Beaut little amp made in 1968. Is starting to show its age now but still works great. Has two channels, normal (2 inputs) & vibrato (2 inputs). Has reverb capability but was never fitted with one from the factory. I think it was an optional extra. Full valve construction including the rectifier. Has good tone controls and vibrato/reverb switching jacks. Heaps of power for the small amount of stage work I do. The head itself has now been converted into a combo with two JBL 10" drivers.

Stratocaster, Telecaster, G335 and SG61 have all been played through this amp and they all sound really good. It suits the style of music I play because most of it is cabaret type music. No pub rock, grunge or heavy metal. Even though it is only rated at forty (40) watts of power with two JBL 10" 109dB sensitivity speakers in the cabinet it has never needed to be driven over more than six regardless of the size of the hall.

It has never given any trouble and has always performed better than expected. I always do gigs without a backup because I don't see the point of carying two amps and not trusting either of them. I maintain and trust my amps completely. I have never had an onstage failure in the ten years I have been playing.

Even though it is a 1968 amp I have had great support from fender dealers and from fender themselves. Not many people know much about the repairing of valve gear and those that do are very expensive. Being an electronic technician by trade I repair any faults and do all servicing myself.

If it were stolen I would hunt down who stole it and retrieve it with any force necessary. Compared to newer amps, even fenders, the old ones with valve rectifiers and point to point wiring have always held a special place in a musicians heart.

This head is about 1970. I play blues/rock/folk/funk. This is a vintage amp so features are not modern. No channel switching but an ABY Switch was invented for that, like the one that Morley makes. Effects loops weren't around then either. Use the normal channel as an effects loop. Headphone jack? Why would you want one? Features I wish it had? I will probably have the local amp tech connect the reverb/tremolo on the Normal Channel, I need to decide still. Another mod I'm considering found on the web is the "Vibroclone" which turns it into a super reverb or vibroverb. It would have more power and punch but I don't know if I would need it. I use the bright switches a lot. The verb is Fender great and always on. I like the trem a lot. The breakup is good but I tend to use a Tube Screamer for crunch. I just play at home now so I can't rate it's live applications. Plenty of power here though just ask the neighbors.

I use a Strat clone with a Dimarzio at the bridge, standard in the middle and a Fender Laces Sensor at the neck. I also play the acoustic through it. This amp is perfect for my style of Folk/Blues/Country/Funk Rock. The reverb gets a little noisy and I will take it to the tech to find a cure. I use an 18x22" cab that is 4 ohms. It is loaded with a 15" speaker and a 10" speaker. Sounds wonderful, lows highs. The cabinet I made to easily place or remove the back panel to get an open or closed sound, too cool to change back to the 2x12.

I would never use any amp on a gig without a backup. It's 30 years old and still runing great. What else could you ask for besides a tune-up. No breakdowns yet. Fender vintage amps are built solid. If something does go wrong my tech can easily and inexpensively fix it. If it is a pc board amp what do they do? Chuck it?

This is a vintage amp. You go to a local repairman.

I have played 25 years. I own a Gibson 8 watt tube amp that screams. I own a tele copy. I would buy it again if I could get a similar price. I like it's tone, volume and features. I don't like the big size but it's worth it. I have owned Fender Bassman heads that were awesome but I missed the spring reverb.

The amp is a 1968, it has the chrome trim around the tolex. I bought the amp in 1970 used for 150.00 at Jacks Drum Shop in Boston. I used it through the mid 70's and went to the Marshall stack. In the eighties I bought a Twin and sold the Bandmaster to a friend. Now that I play the blues I traded the Twin back to my friend for the Bandmaster. What a wise choice. The twin was getting heavier every day, and it can't be because I am in my late 40's, No way. The features are just enough. I vibrato is great but you do lose a little volume.

I use a 92 Clapton Strat, 1970 Les Paul Custom, 1993 Gibson ES335. The amp is perfect for the blues. It starts to break up nicely around 4. It does get a little load but you can use a tube screamer. I noticed that the volume kicks in just a notch over 3. As long as the room is grounded properly there is not much noise from the amp. The amp at times sounds better depending on the room, humidity, etc.
I get some really thick sounds from the Gibsons. I am still experimenting with the Strat because of the active electronics on the Clapton Strat. For a while I had it off but now I am trying it with it on 8-9 range. I used to use it when I had the Twin.

This amp never had a problem in 30 years. I even use to let a bass player go through it during the early 70's. It did have a cap job and that is it.

There are many good amp techs out there

I have been playing for 36 years. The amp is great in all aspects.

I just got a silver face TFL 5005D, 1969 - 1972 head unit pumping out 40 watts, serial number A35156. Standard Front pannel with two inputs and bright switch for a dry channel as well as two inputs and a bright switch for a reverb/vibrato channel. Nice condition, with standard road bruises. The silver/blue fabric mesh is in great condition though making it look almost as good as it sounds on stage. Use it primarily for funk and jazz gigs but it's great for slipping back to the retro Velvet Underground meets Dick Dale sounds. Reminds me of the punk I grew up on, unimitatable.

Fender vintage tube amps in general are quite vesatile but there is a boundry to the genres it best represents. I would not advise this amp head for any Grind Heavy Metal. I play a Epiphone Sheraton through it on Jazz gigs, going through the vibrato channel, keeping the Mid level low and the vibrato quite dry. This way it produces the dry channel sound but with room for reverb. For music of a more excitable nature I plug in my Maple neck Tele to unlock the Amps true worth. With pristine distrotion at high levels, and a Vibrato you can spread on your toast you find a sound that bridges the gaps between Chicago Blues, Surf Punk, 2nd Generation Ska and Parliafunkadelicment. If you buy this amp it's because you have already fallen in love with its sound.

It's old. It'll go sour at times, just like my Hammond. Currently, I have one original tube in it but I gots connections to get replacments when the time comes. Everything else is the reason why God invented solder. Will probably change the pots knowing crackles and pops don't usually mix with the band.

Every town has a tech who can build these amps up from scratch.

Basically I picked it up at a Thrift Store for $5.00, no joke. The tubes alone, the revrb box alone... I got lucky and finally bought the amp I've always wanted since playing a Fender Twin Reverb in High School. I bought an Ampeg ReverberRocket - reissue, with no type of vibrato scanner. The amp sounded like A Fisher Price version of the great Fenders. Fortunately/Unfortuntely it was stolen/hawked by an ex-rommate for rent money which forced me to further pursue the American Fender dream. I've had the amp a couple of months not a single aspect has given me any doubts. It is every thing I've expected and a jewel of my musical instruments collecton.

This is an early Silverface, probably '69 (some pots are from '66 and the transformers are from '68 and '69). This amp used to be a head that came with a big 2 x 12" cabinet, but mine is built into a home-brew combo box with 2 x 10" (one is a '66 Oxford ceramic, other one is a similar looking noname ceramic).

The amp has channels: the 1st (normal) channel has volume bass and treble and a bright switch. The 2nd (vibrato) channel has got volume, bass, middle, treble, reverb, vibrato speed and vibrato depth and a bright switch. No channel switching. Preamp tubes, vibrato and reverb recovery are 12AX7 (ECC83). Reverb driver and phase inverter are 12AT7 (ECC81). Rectifier tube is a 5U4 (I use GZ34). Power tubes are RCA 6L6 black plates. The Reverb spring (fortunately) is made by Hammond and is butter sweet! It looks like just another Silverface, but if you run into one, BUT IT IMMEDIATELY!! I will tell you why..

This amp is NOT just a Bandmaster with reverb. Actually on the inside it doesn't even look like one. Even the blackface Bandmaster has got a solid state rectifier, but this silverface amp still got a rectifier tube! Where have we seen this before. Exactly! On the inside this amp is more like a SUPER REVERB! The schematics are *very* similar and it's easy to build this BM back to the Super Reverb AB763 specs!! Actually the only difference between my modified Bandmaster Reverb and a blackface Super Reverb is the output transformer (OT). Unfortunately the Bandmaster's got a much smaller OT that's saturated much earlier.

So now you know my Bandmaster inside actually is a blackface Super Reverb. I wired the 6L6 tubes as triodes instead of pentodes to reduce the output power to about 25 Watts. The output transformer and the 2 x 10" speakers can handle this power quite good. When you pump 40 Watts into the small OT, it gets saturated and will start to get muddy and fuzzy. With 25 Watts the saturation problem is acceptable. The clean sound (up to 4) is very bright and full, when you turn op the volume it starts to break up in a beautifull way (my favorite)! From 7 to 10 you get that fantastic SRV sustain and distortion. At high volumes, the tube rectifier has to work so (too) hard that you get a natural tube sustain (tube sag) making these amps unique!Amazing sound, magical! Play one and your sould is sold! My blackfaced Super Reverb is slightly better but this amp defenitely is a good number 2. A Super Reverb sounds "10", that's why I give this amp a 9

Like all Fender amps it's very reliable. Nevertheless it's an old machine that's point-to-point handwired. So if you buy an old Fender amp, have the soldering points checked (redone), check all the resistor values and get some new (Spraque Orange Drop) caps. These things wear out you know! People that know how to handle a soldering iron can do this job themselves easily (watch the high voltages!).

Don't go to Fender with your old Fender amp, just visit your local tube amp guru or do the mods and repairs yourself! It's easy and fun! All info you need (schematics, layouts) are available on the internet e.g. check The Fender Amp Field Guide: http://www.ampwares.com/ffg

I Can be short about this (but I'm not)! My Bandmaster Reverb is exactly like a blackface Super Reverb except for the output trafo, making it the second best amp in the world! There is no Koch or Mesa Boogie or other expensive retro tube amp that can even stand in the shadow of this old magic Fender amps. If you find one, BUY IT! It's the poor man's Super Reverb!

Note on dating: The only schematic I could find was the AA1069 (Amp version A, October 1969). I don't think there ever was a blackface version of the Bandmaster Reverb so I don't understand people claiming their amp is a '68 or early '69 model. Anyone has more background on this? Anyway, the AA1069 defenitely is NOT a blackface schematic so immediately get rid of the big earth resistors + caps on the power tubes, rewire to blackface "level" bias (bias at 35 mA), change some resistors on the circuit board, apply the vibrato mod (cut white wire on intensity pot), remove channel 1 tube and vibrato tube and enjoy the blackface sound!

The guy I bought mine off of told me it was a '68, but after reading up on the Bandmaster series, I think it may be early 70's. (At least it's older than me!) Mine has the silver control plate as others have described in more detail. It's got all the basic features you need, and the vibrato and reverb kick! I agree with others in that channel switching would be nice, but I think I've solved that problem with an A-B switch.

I play an early '70's Fender Mustang with this amp. The clean sound is absolutely incredible! I would describe it as warm and bell-like. It just rings so wonderfully. I don't get enough chances to play it wide open, but the overdriven sound is also very warm. I'm looking into an overdrive pedal to add some more gain. I was playing the amp through a 1x12 cab with a JBL D120F, now I'm finishing up a homemade 2x12 with Celestion V12-60's. I haven't had much trouble with noise with this amp.

I've had mine for 6 years with no major problems. The connections to the reverb spring crapped out but they work fine now that I replaced the cables. I did once get a nasty shock through my guitar when playing an outdoor gig, but this hasn't happened again since I changed the polarity switch setting.

I've never contacted Fender. I wish they had some tech info for their vintage amps on their web site.

I've been playing for about 12 years, and this was my first real amp. I didn't know too much when I bought it, but I've never regretted the purchase. I don't picture myself parting with it any time in the near future, even if I get myself another amp. I don't think I could afford another amp with comperable tone. If it was stolen, I'd probably take the opportunity to invest in a Twin, since I've always wanted one, but if I had the money, I'd buy another one (hopefully with the original 2x12 cab).

<li>Made in 1968
<li>Versitle Blues, Rock, Surf, Country styles are covered well.
<li>Two Channels, no Channel Switching, Effects loops, or Headphone.
<li>Wish it had Channel Switching, but it's not a problem.
<li>I use it for Recording, small Clubs, light jams. Plenty of Power.
<li>This is a great head and is the perfect size for stage.

<li>I use a Fender Strat with EMG pickups and Gibson Les Paul with P-90 Pickups.
<li>I play both kinds of music... ROCK and ROLL.
<li>Can be noisy with 60 cycle hum until you switch polarity switch.
<li>The tone stack is responsive and can produce many different sounds.
<li>Both channels will break up nicely about mid range.
<li>When it distorts, it's musical with a singing sustain.

<li>I can depend on this amp and have no worries about using it alone.
<li>It has never broken down completely... replaced tubes and set bias and it woke up and sang sweeter than ever.

<li>Fender doesn't have an interest in these amps. Use a Qualified Amp Tech.

<li>I've been playing for 35 years. I own a 65' Twin RI, 83' Concert, and the Bandmaster Reverb installed as a 2X10"(Weber-California) combo.
<li>I would buy all I could find for what I paid... even more.
<li>I like it's tone and responsiveness. I can't hate anything about this amp.
<li>It doesn't compair with any new amp. Nothing has quite the same vibe. It's not THE VERY BEST amp ever built, but I havn't found a Production Amp that could match it.
<li>I'd like a "line out", but I always mic on stage... so no biggie.
<li>This is the perfect Wattage amp for me on stage. My sound man likes it a LOT BETTER than my Twin Reverb.

Mine is a '68. Normal channel has volume, treble, middle, and bass, as well as a bright switch. The other channel has the same, plus reverb and tremolo speed & intensity controls. There's no master volume. It's 40 watts. Your basic Fender two-channel, reverb preamp going through 2 6L6's. It came with a 2 x 12 cabinet that is way too big - it could probably hold 4 12's. The same dimensions as Fender's old 2 x 15 cab. It looks cool. The amp gets fairly loud, but now I use my 100-watt Twin more.

I've played punk rock, blues, and surf on this baby, with everything from a Les Paul to a Moserite. The clean sound is deep, clear, and sweet on both channels. The best part is the reverb - the deepest, lushest, most sustained reverb I've ever heard on an amp. I've done a couple of mods to the vibrato channel to get some overdrive, but originally that channel started breaking up at around 7 1/2 and had ok crunch at 10. When you overdrive the amp, it's a tight, hard-edged, yet smooth crunch. The Sex Pistols sound.

The amazing thing about this amp is it produces tons of harmonic overtones. They make for a very sweet clean sound, and beautiful feedback in overdrive.

The weakness of this amp is that the treble never gets really piercing, like I like it. The treble practically disappears if you push the amp too hard with a pedal or a high-gain mod. With more treble response and volume, I'd give it a ten, because every other aspect of the sound is perfect.

Well, this is an old amp, so stuff gets worn out or broken. The leads inside the tremolo tank have broken off at least three times. When I drive the amp hard, it makes a horrible racket if the preamp tube for the channel that I'm using isn't perfect. Lots of rumbling microphonics, squeals, and a.m. radio signals. A new preamp tube always fixes it, but I seem to go through a lot of them. The power tubes, on the other hand, have held up fine for years. They're nice RCA N.O.S.. Also, the wiring and soldering inside don't look as rugged as my mid-70's twin.

N/A - never tried talking to Fender, but any amp tech worth his salt can work on a silverface with his eyes closed.

I used to want another one just like it, to play through them both side-by-side. Now I've hooked on my Twin. I'd still pick up another Bandmaster with matching cab, if the price was as good as I paid for this one.

This is a 1976 silverface Bandmaster Reverb. I bought it from the guy who bought it new. It came with owner's manual and covers. 45 watts with two 12's in Cabinet don't know what kind. There are 2 channels with 2 inputs each. Vibrato channel and regular, vibrato is controlled by a footswitch. Bright switches for each channel. It has a master volume contol on the far right side that can also be pulled out for distortion. Tubs are one 5u4gb, two 6l6gb, two 12at7, three 7025, one 7at7a no need to replace them.

I play a Fender Strat and a Fender acoustic and it sounds great. I use some fuzz and wah wah all with no trouble. ( I LOVE THIS AMP ) I play hard and soft rock at home and gig with a few other guys ( THEY LOVE THIS AMP ) I have a small Fender Princeton 112 plus ( NICE AMP TOO )that I have not used senice I got this amp

I have had the amp for 5 mounths and played the S#@T out of it with no problems. I still bring the 112 but have not nad to use it.

No need so far

Although I have been playing for 30 years I am not a pro just a old rocker. But I no a good amp when I hear one and this a nice sounding amp. From the slow acoustic Pind Floyd to the loud fast Van Halen the Fender Bandmaster Reverb rocks

This amp has tremolo and reverb, but when playing through the vibrato channel, you lose some volume. Reverb is ok, but i think that it could be a little richer

I play a Fender Tele 62' reissue and an old Univox hi-flyer. I play mostly alternative, but some songs are very clean and quiet. It fita well for this style. It gets noisy if you use the tremolo with a high volume setting, or if you have the pre-volume up too high(pertaining to the models made in the late 70's to 1980)There is not much distortion on this amp, but the cleans are completely amazing.

This amp needed a little cleaning when i bought it, but after i cleaned the pots and reverb connections, it has been fine.It crapped out on me once when i tried to change my prevolume setting, but again, it was due to a dirty pot.

I have been playing this for about ten months. I recently recorded a CD with it and have played numerous gigs with it. I love the cleans, but i wish that i could switch between channels. Again, the cleans are unbelievable, and i haven't heard better cleans in amps that cost 5 times this amp. A looked at other Fender tube heads, and i found this to have the best tone. i don't plan on selling it ever.

Not sure how old this amp is, but it is just great! Tube amp, I think it's 40 watts, that is what is says on the back panel. So you know which amp I am talking about, I will give a full description (I hate it when I am researching a product and the review only lists opinions, not what it looks like). From left to right on the front (sliverfaced) panel: -"normal" channel with 2 inputs, a bright switch, volume, treble, bass--"vibrato" channel has 2 inputs, bright switch, volume, treble, middle, bass, reverb, and rate, intensity contols for the vibrato. Back panel, left to right: ground switch, fuse, standbye switch, on switch, speaker out (40 watts to speaker), Ext. spkr. jack, vibrato pedal RCA jack, reverb pedal RCA jack, vibrato output (to amp), reverb output (to amp).
This amp is a dream to play. The Fender reverb is really something that stands alone in this world. So sweet, so smooth. I bought this amp because I missed reverb with my Sovtek MIG100. I got the trem as an added bonus. I never use the normal channel, but the vibrato is the preferable channel to play anyway. The bright switchs are neat, they allow an "enhansing" to the signal. Great features.

The sounds that come out of this amp are great. It is super responsive to pedals, so you can make almost any sound come out of it. I like to play music similar to Sonic Youth, Mudhoney, Pixes, with some Dick Dale and Devo mixed in (a pretty f*%ked up martinie with this combination!). I use a few pedals, and they all mostly sound great through this thing. Right now I am using this set up: choppped and customized strat copy guitars (one in normal other in alternate tuning)--MXR dynacomp (re-issue)--Arion Stage tuner--BOSS AW-2 Auto Wah--E.H. re-issued Small Stone phase shifter--E.H. re-issued Big Muff distortion--this amp. very great sounds out of this amp, clean yet able to fuzz up with a good pedal in front of it. Fender amps are the amp to get for Mudhoney style grunge as well as smooth and rolling rock/jazz.

It is old, I am not sure how old, but it is holding up great. Shows wear, and tear, but it functioning fine. I worry about the reverb/vibrato outputs to the amp, because they are exposed and crusty, but they haven't shorted out, and I am sure a new conection would fix any problems. I doubt I will do it in anytime soon. Kinda weird how their are RCA outs for the contoller pedals on the back...

Never dealt with Fender, but I do like most of their gear.

I have been playing for a few years now, and I have been through many amps, but this one is my keeper. I love reverb, it is so fine. I also like not having a pre/post gain or even a master volume nob to deal with. Makes the tweaking simpler. The only better amp that comes close is the Sovtek MIG100: it is just awesome, pure power and tube tone, but no silky reverb, and that was what got it sold...(don't worry, the Sovtek went to a good home!) I was in a guitar store when someone brough 2 of these in for trade, I got to try it out to see if it was in working order (I know the guys in the electronic dept.) and wanted it bad. I had my old amp sold and this amp bought within a week. This amp, as well as most old fender, non master volume stuff, just sounds great. I was attracted to the Fender Deluxe Reverb reissue, the tone and features (which are very similar to this amp's) got me interested in it, but the price shoved me away! This thing has more power anyway! Overall, a great find, a great amp.