Pro Reverb Fender Amps, Mods, Modifications, Vintage, Maintenance, Tubes, Speakers, Schematics,...

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Pro Reverb

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Production years:

1964 -1967 blackface circuits AA165, AB6681968 -1982 silverface circuits AA1069, AA1009, AA270

Tube layout

AA165 Tube layout (Seen from behind, V1 is to the right side)

V1 12ax7 = Preamp normal channelV2 12ax7 = Preamp vibrato channelV3 12at7 = Reverb sendV4 12ax7 = 1/2 Reverb recovery and 1/2 gain stage for vibrato channelV5 12ax7 = VibratoV6 12at7 = Phase inverterV7 6L6 = Power tube #1V8 6L6 = Power tube #2V9 GZ34 = Rectifier tube

Summary

The Pro Reverb is one of the beloved 40W 6L6 working horses. It has the same 212 speakerconfiguration as the Twin Reverb but has a less powerful amp. It has half the number of power tubes,smaller transformers and a tube rectifier in stead of diodes. Together this makes the Pro Reverb break upsignificantly around the usual volume level 4, while the Twin Reverb is clean almost all the way up.The power transformer and power tube circuitry is equal to the Super Reverb, but a smaller outputtransformer lowers the clean headroom and introduces sag and breakup. The amp is less powerful thanboth the Twin and Super Reverb and wed place it somewehere between the Deluxe Reverb and SuperReverb. For many years it has been a relatively unknown amp. In the blackface and silverface yearsplayers wanted powerful amps, and the Pro Reverb was probably considered too weak. In moderntimes where low wattage breakup has become desirable, the Pro Reverb has become very popular.

The 212 speaker configuration can deliver lots of punch and powerful mids that cut through with agood sound spread on stage. Different speakers may alter the tone significantly in the Pro Reverb, as inall amps. A set of Celestions give you a Britsh Marshall color with strong mids, while traditional Jensen-style speakers give you the classic Fender tone. Speakers are very difficult to recommend since the toneexperience is nothing but personal taste. Like all silverface amps, the Pro Reverb was modified in theCBS periods to increase the clean headroom making it thinner and harder sounding.



Having an AB763-similar circuit, there are many mechanisms in the circuitry that you can tweak to suityour needs, basically to increase or decrease the clean headroom. Personally we like to mod the amp sowe can make it smaller when needed. Tube mods (pulling V1 out and a 12ax7 PI) will take you a longway. If you also implement the tremolo disconnect mod you can really make the amp break up atpractise volumes.

Youll need schematics to implement some of these mods. http://www.ampwares.com/fender.asp. Weusually start with explaining a mod from a functional perspective where we relate to components in thelogical schematics diagram. Finally we point out location of components in the physical layout diagram.

Five fundamental tricks to create the holy grail of Fender tone

Here is a video demonstrating the effects of some of the mods and tricks described here. To seeembedded text comments, go to video on Youtube.

Speakers

The easiest and most effective change you possibly can do to your amp. Tonewise, the speaker is themost important component in your amp. You may increase or decrease volume and color your tonesignificantly by swapping speakers.

The blackface Pro Reverb came originally with Jensen C12n, Oxford 12L6 or sometimes the Oxford12T6 which is more often observed in the Twin Reverb. The Oxford 12T6 are exceptionally goodspeakers, a lot better than the 12L6 found in many Pro Reverbs and Deluxe Reverbs. Theyve got allwhat it takes, punch and sparkle.. The Jensen C12n are probably the most popular speakers bothtonewise and in terms of robustness. In a 50 year old vintage amp the condition of the speakers varies alot. To those who are both players and collectors we would recommend to recone vintage speakers ifyoure not happy with the tone. You may experience that they sound even better than they originally didin the 60s and 70s.

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Installing high or low efficient speakers depends totally on your need for volume. If your plans areto play the Pro Reverb with tube distortion at moderate volumes without beeing extremly loud (like theTwin Reverb), we recommend staying away from powerful and big sounding speakers (like EVM12L,Jensen C12N/K, Eminence Swamp Thang). In stead you should go for less efficient, vintage typespeakers, perhaps with a dark frequency response if you are planning to play the amp beyond its sweetspot. Darker speakers tend to smoothen out the preamp and power amp tube distortion. For clean toneyou should seek more neutral and transparent speakers. A nice trick is to pair different speakers, onevintage type and one more powerful. At some occasions we must admit that we get excited and fire upour Pro Reverb with speakers like EVM12L, Warehouse Veteran 30 or Eminence Swamp Thang. Thepunch of a big tone is amazing when coming from a big cabinet.

If you think your Pro Reverb is too loud you can easily disable one of the speakers for less volume andearlier breakup. Not only do you reduce the speaker areal and bass tones, the tubes are pushed hardersince they see a 8 ohm load in stead of 4 ohm through the output transformer. Youll achieve the ampssweet spot at a lower volume.

See page How to select speakers for general speaker recommendations.

Check this video to hear a stock 1966 blackface Pro Reverb with Jensen C12n (video on Youtube).

12AY7 or 12AT7 as preamp tubes Less preamp gain.

If you want cleaner and spankier preamp distortion charcteristics, you may replace the V1 or V2 12AX7preamp tube with 12AT7 and 12AY7. These tubes have different frequency responses than 12AX7,particurlarly when distorting. People describe these tubes to have less harsh and buzzy distortion. Thismod does not alter the tone significantly when amp is played clean or when only the power amp sectiondistorts. Youll have to increase the volume setting to achieve a similar volume as before. The reason isthat 12AX7 tube has a voltage gain factor = 100, while 12AT7 = 60 and 12AY7 = 45.

Pull out the V1 normal channel preamp tube More preamp gain in vibrato channel

Well start with saying that this is a must have mod. It is so easy to enable and disable that it can hardlybe called a mod. If you are like most players and only use the Vibrato channel (reverb, tremolo, thebrigth cap and the extra gain stage), you should pull out the V1 tube. This is the preamp tube for thenormal channel which you are not using. Vice versa; If youre using the Normal channel, you can pull

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out the V2 tube. All AB763-similar circuits (Deluxe Reverb, Super Reverb, Pro Reverb, Twin Reverb,Vibroverb, Vibrolux) are designed so that signal is leaking between the two channels. The amp willplay louder at the same volume knob setting when pulling the V1/V2 tube that youre not using.The stronger signal will push the second gain stage (V4 tube) harder and give you increased sustain,compression and harmomics. This mod does not change the amps clean headroom.

This mod is one of Cesar Diaz tricks in the Fender Custom Shop Vibroverb 64 which he always did toStevies amps.

Replace the 12AT7 PI tube with a 12AX7 or 12AU7 Less clean headroom.

Very practical mod at practice and low volume environments. This mod reduces the amps cleanheadroom and youll achieve sweet spot at a lower volume. Youll notice that the amp gets looser andwith less attack. Tips: If you pulled the V1 12AX7 tube you may use it as V6 phase inverter.

12AX7 as phase inverer tube will give the most effect out of this mod. 12AU7 will be in between12AT7 and 12AU7.

Replace the 12AT7 reverb driver with 12AU7 Better reverb control.

Reverb is an important character with vintage amps, yet so individual and mysterious. We all know thatspeakers change their tonal character during age. So does the reverb. The reverb function sounds andbehaves differently between identical vintage amps. Some amps have long, lush and soft reverb whileothers are mushy and overwhelming. We often find the reverb sweet spot around 2.5 on the reverb pot,varying from 2 to 4. Some amps are sensitive and difficult to control the reverb on. The whole dynamicarea can be within a narrow interval, i.e. 2 and 2.5. These amps require a careful touch when dialling inthe reverb, which irritates us.

The reverb circuitry consists of two tube sections (reverb driver V3 and reverb recovery V4) and thephysical reverb tank. All these components will drift during age and minor differences in componentvalues are noticeable to mans ear.

If you replace the V3 12AT7 reverb driver with a 12AU7, you will reduce the effect of the reverb and itwill be much easier to control with the reverb knob. So simple as that.

Use normal channel for reverb control Adjust EQ and depth of reverb.

This mod is relevant only for two-channel amps with normal and vibrato channel. This trick is great forthe reverb enthusiasts among us, and who is not? Plug your guitar into the vibrato channel, then unplugthe reverb return cable on the back of the amp (the one that comes from the reverb tank output) and plugit into the normal channel input. You will need a converter to go from male phono/RCA jack to a 1/4male jack. You may now use the normal channel as a reverb control where you can adjust the depth andtone using the volume, bright switch, treble and bass knobs (and mid if you have a Twin Reverb). Thereverb knob on the vibrato channel will have no effect any longer.

This mod is not applicable together with the Pull V1 mod, as you need the normal channel preamp tube.

Diode rectifier More clean headroom.

This mod is for those who need more power, clean headroom and attack. It is very practical to carrywith you those small Sovtek plastic adapters that quickly and easily replaces the rectifier tube.Youll increase the power of the amp with a few watts. The diode rectifier will feed your amps filtercaps with a higher and faster DC voltage compared to a tube rectifier. The fact that it delivers aslightly higher DC voltage to your power tubes (via the filter caps) means an increase of the tube voltagegain factor. When you hit a hard chord the preamp and power tubes will require energy and current



is flowing from the DC filter caps which are charged up by the rectifier. If the recitifer can deliver moreenergy more quickly, youll have more power and attack.

Check also out Ted Webers Copper Cap Rectifiers that emulates the sag of a tube rectifier.

Rectifier tube

The silverface circuit AA270 has a 5U4GB rectifier tube in stead of GZ34, which all blackface circuitshad. 5U4GB has less attack and more sag. You may choose to go with 5U4GB in all Pro Reverbcircuits if you desire low wattage breakup before clean headroom.

Bigger output transformer

The Pro reverb has a smaller OT than other 6L6 BF/SF amps like Super Reverb and Vibroverb. Whenamp is pushed hard and close to the amps maximum clean headroom, the OT will not be ableto transfer all energy ideally from the power tubes. There will be saturation and sag. If you want morepower, clean headroom and attack from your Pro Reverb you may replace the original OT with onefrom a Twin Reverb or a Bassman head. The transformer must match the 4 ohm speaker impedance inthe Pro Reverbs 212 configuration.

Tremolo disconnect mod - More preamp gain in vibrato channel.

The effect of this mod is similar to pulling the V1 normal channel preamp tube when playing the vibratochannel. This is also a very popular mod in AB763-similar circuits (Super, Twin, Virboverb, ProReverb, Deluxe, Vibrolux).

By original design the tremolo circuit will absorbe current/signal even when one turns the tremolo offwith the footswitch. This mod suggests to entirly disconnect the tremolo circuit from the signal path byreplacing the tremolo intensity pot with a switchabe pot (spst). One side effect with this mod is anoticable click and a volume difference between tremolo on and off using the new spst pot. If one usesthe tremolo regularly one should still use the tremolo pedal to enable/disable the tremolo and leave theintensity spst pot at your desired level. The spst pot is not good for enabling and disabling the tremolovery often (because of the click and the volume difference) but is a nice when you play without tremolo.A good thing with this mod is that you have both the tremolo pedal and spst pot to use.

With a new switchable/spst pot set at intensity=0 the mod will kick in and raise the signal level in thepreamp section, right before the phase inverter. Once youre turning up the tremolo the circuit isconnected again and the tone will remain original. This mod does not increase the amps cleanheadroom. We would describe the effect as making the tone richer, fuller and more powerful withstronger mids that pushes the power amp section harder (phase inverter + power tubes). We like thismod a lot for stratocasters wi the Fender AB763-similar circuits since they boost a relatively scoopedand thin sounding guitar and amp. In addition to pulling the V1 tube, this mod is one of those must havemods which we never undo once having implemented it.

This mod is one of Cesar Diaz tricks in the Fender Custom Shop Vibroverb 64 which he always did toStevies amps. This mod can be implemented in two ways, either by unsoldering the tremolo circuit orreplacing the tremolo intensity pot with a swicthable pot, so-called SPST pot. The switch is enabledwhen you turn down intensity to zero. There are also switchable push/pull pots where you pull the knobto enable the switch.

Order a 50k SPST from one of our recommended amp part dealers.Remove the original 50k trem intensity potmeter by unsoldering the wires to the potmeter lugsand unount the pot from the chassis. The black plastic wheel is to be used for the new pot.Install the new 50k SPST pot to the chassis. This is a switchable pot offering a mid positionedswitch in addition to the variable resistanse 0-50KOhm between the lugs. At level=0 youll



completly disconnect the tremolo circuit.See the wiring diagram below.Youll have to solder the yellow wire to one side of the mid positioned switch in stead of to theright pot lug as before.Then solder a new (red) wire between the other side of switch to the right lug.

If youre permanemtly disconnecting the tremolo circuit you can just clip of the brown and yellow wiresand insulate the ends with tape. Note that the figure below shows the Super Reverb. The Pro Reverbwould be the same.

(One may also use the tremolo pedal, in stead of the spst switch/pot, to entirly disconnect the tremolo.You will not need to replace the intensity pot with a spst, but let the yellow wire to the tremolo pot gothrough the tremolo pedal. In our opinion this is not a good idea since one loses the possibility to useboth the spst switch and tremolo pedal. Using the pedal will now involve a significant click sound andvolume increase.)

Blackfacing

The AA165 is the classic blackface circuit that many converts to. The following AB668 and AA270were changed, but not dramatically. They both have some filter circuits (caps and resistors) areound the6L6 power tubes to increase headroom and make the amp cleaner. This is easy to remove. Thesignificant change in AA270 is the 5U4GB rectifier tube having less attack and more sag. You maychoose to go with 5U4GB in all Pro Reverb circuits if you desire low wattage breakup before cleanheadroom.

We describe the differences between AA165 and the following circuit(s).

Changes in AB668:

1. New power transformer producing a higher plate voltage to the 6L6 tubes (465V vs 440V).This means more clean headroom in Ab668.

2. 6L6 power tubes had 150 ohm resistors installed between ground and cathode. Also a 25uF/25vcap was installed between the tubes cathode. This is pin 8.

3. 6L6 tubes had 2000pF caps installed between ground and control grids (pin 5) to filter out highfrequencies. This will result in a cleaner tone.

4. 220kOhm grid resistors on 6L6 tubes were replaced by 100kOhm.5. Resistor changes in dc voltage dividor circuity. The 1kOhm resistor was replaced by a 4,7KOhm

resistor. The 10kOhm was replaced by a 4,7KOhm.

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6. Bias electrolytic cap was changed from 25uF/50V to 50uF/70V in AB568. Tone not affected.7. The bias circuit was changed with separate wires to each of the 6L6 tubes and resistor values

changed.8. Phase inverter plate resistors changed from 82K/100K to 47K/47K.

Logical schematics (showing the AB668):

Layout (showing the AA165 with larger circles around the 6L6 tubes having several changes):

Click images for full size versions.

Changes in AA270 (from AB668, we list only significant changes):

1. The 150 ohm resistors and 25uF/25v caps on 6L6 cathodes were removed (like it originally wasin AA165)

2. The resistors in dc voltage dividor circuity were changed back to AA165 specs; 1 KOhm + 4,7KOhm.

3. The GZ34 rectifier tube was replaced by 5U4GB which has more sag and less attack.4. Mid cap in EQ circuit for both normal and vibrato channel was changed from 0.047uF to

0.022uF. This means more mids with the 0.022uF since less signal leaks to ground through thatcap and the 6,8KOhm resistor. Our recommendation is the lower cap value that allows morebeefy tones. If you seek a scooped tone with less mids, go with the higher cap value. This cap ismarked with a red circle at the left most side in the figure below, on both channels.

Middle pot

The Pro Reverb did unfortunatley come without a mid pot. Many players are happy with the default6.8K mid resistor in the EQ circuitry, but some want what the others have; a 10K potmeter mounted inseries with the 6.8 Kohm resistor. When the potmeter is set at 0 youll have an original tone, and whenturned up the mids increases and your amp growls with a British Voxish tone (especially together with



a Celestion speaker). For a wider tone range you can replace the 6.8 KOhm resistor with a 4 KOhm,and use the 10 K pot to go beyond the original 6.8 KOhm and up to 14 KOhm. If you do not use thereverb or tremolo pedal it is very practical to install the middle pot here. It requires a simple solder andremoval job to replace the phono plugs with a mid pot. Or you could install the mid pot at the left mostside of back of the amp where the additional power supply is located.

Logical schematics (Princeton Reverb, but equally for Pro Reverb)

Layout



Negative feedback loop

The negative feedback loop can easily be tweaked to alter the treble cut and distortion in yor amp. Thepurpose of the NBF loop is to clean up the tone and cancel out the mid/higher frequencies and upperharmonics (distortion) at the entry point of the phase inverter which is placed in front of the power tubes.The NBF theory is that you take the signal from the speaker output, let it go through a resistor and mix itin at the entry point of the phase inverter. The speaker signal is out of phase (180 degrees) with thesignal at the entry point of the phase inverter and will cancel out equal frequencies. If you disconect theNBF loop youll notice that the volume increases and tone gets much more aggressive. Morewhite noise too. unfortunately, which is why there is a NFB loop. You will fin the amps sweet spot at alower volume knob setting without the NFB loop. Not only is there a volume shift, the amps cleanheadroom is reduced slightly. Most importantly the tone gets rougher and rawer with more mids andhigher frequencies, aka presence. If you think your tone is too bright or harsh or youre seeking amellow and nice clean tone, you probably want to keep the NBF loop. This mod is for those who wantmore bite and a tone that really cuts through in the mix.

You may choose to implement the mod in several ways and in various combinations with the groundswitch or a foot pedal. A foot pedal works like a boost/FAT pedal. If yore struggling to find atransparent boost pedal that keeps the natural Fender tone you should try this out. You will still have thatbeautiful Fender tone, just more and wilder.

1. No negative feedback at all. Simply disconnect the feedback loop (a wire) and tape insulate it.You get the most effect of this mod by disconnecting the NFB loop entirely. You may experiencethat the tone gets harsh, depending on guitar, speakers and EQ settings of course. If so, read moreabout the cap in the next bullet point.

2. Keep the feedback loop and install a .01 F in series with the NBF resistor. This cap will preventthe lower and mid frequencies to go through the NFB loop. Depending on the cap value treblefrequencies will be fed back to the phase inverter which cancels out the treble in the main path.The tone gets less harsh and you still have a noticable effect. You should experiement withdifferent cap values. Start with 0.01F.

3. Increase the feedback loop resistance value. A good starting point is around 1.5 and 3 KOhm.This reduces the effect of the feedback loop, making the amp break up more when the NFB isengaged. If you make the NBF switchable there will be less volume differance if you use a highresistor value. (Using a .01 F cap is also recommended to minimize the difference a little bitbetween NBF on and off).

4. Use the ground switch or foot pedal to make the NBF switchable. If you remove the death capand free up the ground switch by removing existing wires to it (if youre wondering what theground switch does, you dont need it). Then wire the ground switch in series with the NBFresistor. If youre using a cap in the NBF loop this goes across the switch allowing treble tobypass independant of the switch. When the ground switch has disconnected the NBF loop thehigher frequencies are still fed back through the cap. In practise you solder each the two cap legs



to at each side of the switch between speaker terminal and NFB resistor.

Where to install footpedal or switch? The ground switch is easy available if you disable the powersupply wires and death cap. For amps with reverb you could use the reverb footswitch phono plug ifyou are not using it.

Logical schematics (for Deluxe Reverb, but similar with Pro Reverb)

Layout (for Deluxe Reverb, but similar with Pro Reverb)

Click images for full size versions.

Mulitiple and flexible speaker output impedances (built-in attenuator)

This mod requires the knowledge of how to replace a transformer in your amp. The mod will giveyou mulitiple and flexible speaker output impedances where the external speaker output jack serves as asecondary independently speaker output. This flexibility is desirable for both 112? or 210? speakerconfigurations together with extension cabinets.

The original OT in a Pro is sized for a 4 Ohm speaker impedance (212? @ 8 ohm). It will make surethe power tubes see the correct impedance and can operate at optimal conditions in termsof clean headroom potential and frequency response. If you were to replace the original OT with a 2ohm OT, the tubes will be pushed harder since they see a bigger load than expected (the tubes see thespeakers through the OT). Both the volume and clean headroom will be reduced, yet the tone staysfairly the same (some clarity may be lost). This effect is similar to an attenuator, which is very nice whenyou want to achieve the amps sweet spot at a lower volume.



In a 212? @ 8 ohm speaker configuration, we recommend 4 ohm + 2 ohm output impedances.In a 112? 2 8 ohm speaker configuration, we recommend 8 ohm + 2 ohm output impedances.

Go to Mercury Magnetics web site. Order the Pro Reverb multi-tap OT with 2, 4 and 8 ohm taps.Remove the original OT carefully and store it away. Install the Mercury Magnetics OT.Wire the OTs primary circuit just as before. Clip the cables nicely and twist them as LeoFenders gently old ladies did. Insulate the unused ones with tape.The OTs secondary circuit will be wired differently. Wire the 4 ohm tap to the main speakerjack. Then wire the 2 tap to the ext speaker jack. You must first remove all existing wiring on theexternal speaker jack so that it is totally separated from the main speaker jack.Now you have two speaker outputs; 4 ohm + 2 ohm. You may use them independently and theext speaker jack does not require the main speaker jack to be plugged.

We like this mod a lot. Especially since were using the original jack outputs. Choosing the 2 ohmoutput with two 8 ohm speakers (4 ohm) in will attenuate the volume a lot at practise and gigs.

Questions and comments are welcome at the bottom of this page.

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45 Responses to Pro Reverb

Older Comments

1. Soporifix says:September 25, 2013 at 6:45 pm

I just replaced my BF Pros Ot with a Bassman OT. I love it. Hasnt changed the character of theamp I find it still starts to break up around the same place on the dial. It just has more fullnessand the bass sounds overdriven instead of farty.

Reply

2. Alexandre says:October 11, 2013 at 8:24 pm

And what about the Pro Reverbs 50W, made in mid-2005,2006?

Reply

hsoj says:October 29, 2013 at 4:02 pm

Completely different amp with a pcb

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3. Marshall50w says:December 12, 2013 at 11:53 pm

Hi,Thank you to Fenderguru, a great resource of information that has fuelled my desire to purchasemy first fender amp an unfashionable 1974 SF Pro Reverb. I believe Fender started to move thespec back to blackface on this model.The amp is in mint condition with every cap etc original, all checked over by an amp tech. I havechanged what were the original valves and re biased although the original RCA 6L6s test strongand in NOS condition. I dont like the V1 pull sound so V1 Mullard ecc83, V2 Mullardecc81, V2 Mullard ecc81(my amp tech reckons putting ecc82 in increases voltage and could blowthe reverb tranny) V4 JJ ecc83s, V5 ecc83, V6 ecc81. The amp sounds well balanced not overlytrebly or bassy and starts to breakup around on 5/6. Predominately I use my 1963 FenderStratocaster which is fairly beefy yet pretty jangly on the bridge (a good thing).The speakersOxford 12L6 are in great condition but I think that these are the weak link and want to changethese. I dont particularly like speaker distortion and prefer this coming from the amp/pedals. Thesound I am chasing is touch sensitivity with classic fender sound to my ears Lenny/Alchemy/Bold as Love/Castles Made of Sand/Little Wing for clean (as everyone else) andthen use a TS808/Klon to get a bolder and bigger clean drive lead sound or alternatively usingvarious Fuzz boxes to get that Hendrix Voodoo/haze/foxy sound. So what speakers would yourecommend ?

Reply

Jens Mosbergvik says:December 15, 2013 at 11:28 pm

Hi. Most modern speakers will give you more firmness and less speaker distortion than theOxford 12L6. Try the WGS G12c/s to achieve the vintage Jensen C12n character. Or theNew Jensen C12n is not bad either, a bit more sparkle though. The WGS Veteran 30 (12)is also a great speaker with good Fender tones.

Reply

4. Marshall50w says:December 16, 2013 at 10:11 pm

Hi Jens,thanks for taking the time and trouble in replying.I run my Pro Reverb through the Vibrato channel,Bright Switch definitely on, volume 6, treble 7,bass 3.Of your videos I like your SRV Little Wing Super sound, Jensen vintage C12N & especially theWeber 10A125/10F150 in the speaker shoot-out.The Warehouse G12c is on my shortlist, do you suggest the S version with a Pro ? or either ?The other speakers I have shortlisted are the Gold Celestions I have the budget but is this movingaway from a traditional classic Fender sound ?I understand that I have to make the choice in the end Many Thanks Simon

Reply

Jens Mosbergvik says:December 17, 2013 at 12:11 am

Hi Simon. WGS G12c with the s-option har slightly less sparkle. Sort of how a 30 year old



speaker with an old, dusty cone will sound after soaking in humidity and dust in dark andmysterious club environments. Most people I hear from prefer the s-option, but when I seeYour EQ settings on your amp, I think you could like without the s. Why not try one ofboth? Nobody has told me that the G12c/s is too dark, and I doubt you will either. The CelAlnico Gold has good sparkle, and I like it a lot. It has mids too, and of course the Alnicocompression. But I think everyone deserve to play an amp With Jensen C12n style speakersfirst. So my recommendation is either WGS G12c/s or hunt down some vintage C12n.

Reply

5. Marshall50w says:December 17, 2013 at 1:32 am

Jens, thanks again,I know talent has much/all to do with it and these are EL84 amps but fitted with Cel Gold & CelBlue what do you think ?http://youtu.be/MxqXyWbwUHk

and this one

http://youtu.be/TeXVHhN2I-U

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