now it looks old and natural with shellac finish
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this wide panel tweed deluxe 5d3 came to me with weber 12a125a speaker a few months ago. it was a very good combo and the price was fair with the new skin. but, I couldn’t stand the blue color of 12a125a. everything else was good to me and my friends.
I’ve tried a like new ’51 p12r without bell, re-coned ’53 p12r came out ’54 5C3, black ’61 p12n, and this ’51 p12q.
p12q is known as one of the original speakers for fender tweed deluxe. but didn’t have a chance to play with p12q before.
p12q breaks up early like p12r. it was my first question while I was searching this speaker. and the question has solved.
I was obsessed with vintage jensen speakers a while ago. especially with p12n. but it didn’t work well with 5d3 because of the breakup point. or the family and the neighbors.
then p12q came into my mind. the sound was great like p12n even at the lower volume. and breaks up early enough like p12r in my imaginary world before I actually got this speaker. and it came true. I love this setup and won’t change the speaker again.
got this brazilian strat neck a couple of years ago. it has refinished before. unfortunately, it’s urethan finish on it. it still ages well though.
trussrod nut and the decal have replaced at 90’s by the owner before me. and I don’t think this Mechanicland neck came with the decal. the decal on the head is definitely a aftermarket product. and it looks funny a bit
everything else is great with this beautiful with brazilian fretboard. and, sounds stunning along with this light ash (not swamp ash) body
the volume pot went bad a while ago. I didn’t know it was sucking the tone till I replaced it today. I thought it just was noisy.
this 50’s wiring with 0.02uf cap works very well even at the low volume. I’ve tried a few different values before. then 0.02uf in the diagram turned out the best to me.
it’s a ’59 fender tweed champ with 8″ stock jensen speaker. I’ve learned more than a few things from this amp. mostly about the tone. and it forces me to play more than before I got this small tweed amp.
I’m using 5y3 rectifier for the original setup along with 5v4g for more clean headroom. and watching that huge rectifier from the back side. 5v4g and Bendix 5y3 look beautiful at night.
5F1 breaks up early and it’s the character of this amp. 5v4g makes 5F1 sounds a bit like tweed deluxe. but, it’s still tweed champ of course. and, I recently noticed 5f1 with 5v4g is more vulnerable to 60hz hum. so, I came back to the stock 5y3
my jenen P12R came back from the re-cone job at my local speaker repair shop. this new cone I got off ebay doesn’t look like the original as I expected. but it still sounds very close to my silver P12R speaker came from the friend who gave me this P12R.
this tweed deluxe 5D3 came from December 1954. and the speaker came from a ’54 5C3. the date code one the speaker is 1953. they are like a family.
it’s not easy to pick only one speaker for my tweed deluxe so far. P12n is a great sounding speaker with it’s chime and volume. but I want a jensen which is crispy at the lower volume. maybe the bell cover doesn’t affect the sound. but me and the friends tested two different jensen p12r came from the same era. and the result was different at low volume in 5C3. and most of all, p12r looks way better with the bell.
it sounds really good with it’s look. even I like that red safety sticker on the bell.
I just tried 9V battery trick for 50’s Fender Champ 5F1 and Deluxe 5D3. and the speaker wiring turned out being reversed. both of them still have the factory wiring.
And, both of them move backward (to the magnets) when they wired 9V + to the white wire, and – pole to the black wire.
They mostly say there is no absolute speaker phase unless they are in the same cabinet. at the same time, many people say the speaker cones move forward when they hooked up in the right direction with 9V battery.
Fortunately, 9V battery didn’t kill my 8″ Champ speaker, nor 12″ Deluxe speaker. but I’ve read some cases this trick killed their speakers.
I’m not sure with 50’s and 60’s Jensen speaker’s correct phase. but, I started to believe Fender hooked them up this way. I’ve seen only 2 cases. and will update if I come across any Jensen speaker with different phase.
I once lost my original handle few months ago. then tried Jayco and Fender handle at the time. the first one I got from fender didn’t fit tweed champ like this.
003-6129-049 arrived today. unfortunately, it doesn’t fit either. this 9″ handle from Fender has identical length to the 50’s original. but the slots are not wide enough. but it still better than 099-0945-049. it looks easy to extend the slots.
And, I noticed 003-6129-049 fits the original wide panel tweed deluxe. this tweed deluxe currently has Jayco handle on it. they look almost identical to each other. and, I see the sewing stitches are better on Jayco.
this original leather handle came with a narrow panel tweed champ. I see 4 layers from this side.
the dimensions are like this
overall length 9″ (23cm)
handle mount center to center 7″ (17.8cm)
slot to slot (inside) 6″ (15cm)
and, I’m using this to protect my leather stuff. belts, shoes, and for this old handle as well.
This 6v6 came to me a couple of months ago. it looks same with 60’s to 70’s Sylvania 6v6 tube.
from left to right
RCA 6v6 from 50’s or 60’s.
Fender 6v6 made by Sylvania (the black plate, insulating spacers, and base are typical Sylvania)
Sylvania 6v6 from 60’s which you can find from everywhere. robust and affordable to me.
Also, this Fender-Sylvania 6v6 is exactly the same tube with Philips 6v6.
it’s the only correct 3 ply humped handle on the market I found so far. and the price looks reasonable to me. but the shipping charge is $13.95 to california by USPS priority mail.
there are few more humped handles out there. but most of them look funny or too thin.
I bought this fender leather handle to replace my old one on ’59 champ. actually it was not replacing. the original handle broke to 3 pieces on a street few weeks ago. the tweed cabinet was fine without any harm.
I didn’t know there were 2 different handles for tweed amps at the moment what I got it. and I’m updating this post not to make people confused.
the handle I got was too short for the vintage tweed amps. I barely put it on my champ after extending the slots. the part # is 099-0945-000.
found this too late. 003-6129-049.
but, it’s good to know fender has the right one for tweed amps
UPDATE – 003-6129-049 doesn’t fit the original champ either
I’m updating this post more than a few times. and, this handle is the one I put on my tweed champ without any trouble. and it works for tweed deluxe as well.
this one looks pretty much like the original, and it feels very firm with 2 ply structure while the original had 4 layers. maybe more than 4. but it looks like that.
I’d be stuck with this Jayco repro handle without trying 003-6129-049. it feels great and secure. all they are not the original. but handles are not the tone caps or tubes anyway.
and, this humped one looks good with the original 3 ply structure and shape.
기타 코드를 왼쪽 리이슈와 오른쪽 오리지날에 옮겨 연결하면서 연주합니다.
소리 성향은 비슷하지만 앰프 주인이 말한 것처럼 리이슈는 담요를 한장 덮은 것 같이 답답합니다. 둘 다 NOS 튜브를 사용했구요. 스피커가 아직 길들지 않은 차이를 감안해도 비슷한 톤에 아주 다른 느낌입니다.
59 strat vintage reissue가 나온 것이 2012년 경으로 기억됩니다.
당시에 새롭게 디자인되어 나온, 펜더의 마케팅을 그대로 옮기자면, 50년대 당시에 사용한 소재와 제조 방법을 살렸다고 하는 부품들이 몇가지 있습니다.
캐퍼시터 (왁스캡) 리이슈는 장착되어 나오는지 아닌지 모르겠습니다. 59 리이슈를 직접 사보거나 열어볼 기회가 없었습니다. pure vintage 파트를 2012년 이전의 American vintage reissue, customshop reissue 부품들과 비교하면
새들 – 캘러햄 vs. 구형 (fender 로고 반대로 들어간 것) vs. pure vintage 새들 (pat. pend. 각인)제 스트랫으로는 pure vintage 새들의 장점을 전혀 모르겠습니다. 캘러햄 새들의 피치가 더 명확합니다. 대신 patent pending 각인된 새들이 보기에는 좋습니다. 캘러햄 새들은 자연스럽고 피치가 정확하지만 CG 각인이 이질적입니다. 그래도 하나 고르라면 캘러햄을 고르겠습니다.
트레몰로 블럭 – 캘러햄 vs. pure vintage
제 경우는 스트랫을 조립하면서 캘러햄 브리지를 그대로 사용해서 pure vintage 블럭을 경험할 일이 없었습니다. 친구가 기존의 트레몰로 블럭을 이걸로 바꾸고 나서 제 캘러햄과 비교해보니 (서로 다른 스트랫이라 객관적이지 않지만) 퓨어빈티지 블럭도 꽤 좋습니다. 20불 이하로 구매했으니 가격도 좋구요. 최근에 가격이 10% 정도 오른 것 같습니다. 트레몰로 블럭도 캘러햄이 있다면 그게 제일 좋겠지만 펜더 퓨어 빈티지도 나쁘지 않습니다. 이렇게 표현하는 이유는 50년대 부품의 충실한 복각인지는 알 수 없기 때문입니다.
튜너 튜너는 비교대상이 없습니다. 펜더 아메리칸 빈티지 시리즈와 커스텀샵 튜너는 일본의 고또(Gotoh) 제품입니다. 깁슨 히스토릭 파트도 역시 고또가 만들고 있구요. 멕시칸 리이슈에 달려나오는 튜너는 한국산입니다. 전에 윌킨슨 브랜드로 판매되는 튜너와 비교해보니 역시 같은 한국산이고 외형은 같아 보였습니다. 퀄리티도 좋구요.처음에 Kluson 제품을 구매했는데 가격은 고또보다 비싸고 역시나 한국산이었습니다. 이름만 Kluson이지 지금은 WD가 상표를 소유하고 있어서 가격이 아주 싼게 아니면 구매할 이유가 없습니다.
퓨어빈티지 튜너는 5,60년대 뒷면에 DELUXE라고 각인된 것을 FENDER로 바꾸어 놓았습니다. 클루손이 정상적인 회사이던 시절에 펜더와 깁슨에 튜너를 공급했고 DELUXE 각인도 클루손의 디자인이라, 이제는 그냥 펜더 로고로 대체했더라구요. 고또가 생산했으니 품질 확실하고 외형도 50년대 느낌입니다.기존에 멕시칸이나 아메리칸 빈티지 튜너가 있다면 새로 살 필요는 없구요. 큰 차이는 없습니다.
캐퍼시터 (phonebook wax cap)
펜더에서 이렇게 캐퍼시터 리이슈를 여러가지 내놓았습니다.
이건 써보지 못했고, 저는 여기서 구매한 걸 쓰고 있습니다.
왁스캡은 좋고 나쁘고를 떠나서 50 wiring하고 같이 쓰는 맛이 좋습니다. 악기는 연주하기 위한거니 이렇다 저렇다 설명하면 오히려 본질하고 멀어지는 느낌이구요. 왁스캡의 톤이 있습니다. 기타에서 캐퍼시터는 그냥 필터의 역할이 아니라 코일(픽업)과 한쌍으로 성격을 부여하는 것 같습니다. 링크된 sonny walton 샵이 전 세계에서 가장 싸게 ZNW1P1 리이슈를 팔고 있습니다. 동일한 제품을 몇십불씩 파는 샵들이 많구요.
폰북 왁스캡과 이 와이어링을 같이 쓰면 톤이 급격하게 바뀌는 경계에서 음량도 변합니다. 불편하지 않고 활용도가 높습니다. 볼륨주법처럼 쓸 수도 있구요. 캐퍼시터 관련해서는 나중에 조금 더 업데이트하겠습니다.
요약하면, pure vintage 트레몰로 블럭 좋습니다. 나머지는 궁금하거나 고장나면 시도할 만 합니다. 그래도 폰북 캡은 써보고 그 소리를 듣고 나니 이제 표준처럼 느껴집니다.