There is no reliable way to date amps other than to ask Fender customer support to look up the date from the serial number, although you may find a date code on the speaker. Early Tweeds The early green board tweed-covered amps were not lacquered. Once again, only the speaker is different. It is not old stock. It has the same cream board inside with the same components as every other current-production Blues Junior. Other Variants The Blues Junior chassis has also been used in the Two-Tone, a large amp with a inch and a inch speaker. The chassis can also be found in the weird, plastic-cased Deco-Tone and in some Custom Shop amps with exotic wood cases such as bubinga. Other cabinet coverings include blond Tolex, dark brown Tolex with a wheat-colored grille custom for a Canadian music store chain , and the Texas Red Tolex. Stock Speakers Outside the chassis, Fender has used several different speakers in some Blues Junior models.
I promise the tables will still be there after you finish reading. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late and early so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period. Working at FMI — I was able to interview a fellow who wishes to remain anonymous who worked at Fender in in the amp department.
Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built.
This page displays radios for sale at Ben Martin’s Radio Library.
Color artwork of the Grebe MU-1 from the advertising brochure For decades, vintage radio collectors have rated the Grebe Synchrophase MU-1 as one of the best, if not “the best,” Battery-operated TRF-Neutrodyne radio receiver from the mid s, with performance that is matched with timeless styling. However, anyone that has taken a close look at more than a few Grebe Synchrophase MU-1 receivers has surely noted that there are some significant differences between the various MU-1 receivers produced.
This article will attempt to catalog as many upgrades as possible with explanations as to their purpose. This article will also assign a chronological order to the upgrades so the Synchrophase owner might be able to date when his radio was built from certain easily observable construction details. Also, we will attempt to decipher Grebe’s serial letter methods so that dating by this combination of letters may become possible in the future this attempt has actually produced another interesting possibility for the serial letter codes.
A serial letter log has been started and this article will keep track of the information in that log. As with all of our articles, we try to provide the most detailed and accurate information available. Here’s an e-mail link. Grebe was born in and started in the “radio business” at a very young age. He was certainly selling various pieces of equipment he built to radio amateurs prior to WWI, he supplied a “submarine receiver” to the Navy during WWI and continued on building amateur radio receivers after WWI.
Grebe produced a series of ham receivers designated with a “CR” prefix followed by a number to identify the model.
These directories are for years, to Operating instructions, schematics and servicing. It has 23 pages of tube set-ups for the Dyna-Jet Instructions with Tube Chart for setting up a tube test. Original, in very good condition.
DATING FENDER AMPS BY SERIAL NUMBER, PART V by Greg Gagliano. Copyright , 20th Century Guitar Magazine. They said it couldn’t be done Over 6 years in the.
The progress of this type of work is slow, hence the long hiatus, however, a lot of new data have been collected regarding Fender amplifiers, including production numbers. Advances have been made with regards to the production of tolex amps and it appears that much of this information can be applied to late s tweed amps as well. In addition, the dating-by-serial number tables have been revised and are more accurate.
The bad news is that there is still a lot of work that needs to be done on the silverface amps. Unfortunately, there is some sad news to report as well. Fellow Fender amp researcher, Greg Huntington, passed away June 5, after losing his battle with cancer. Greg kept his illness very private, even from this author. His passing is a great loss to this research team and the Fender amp aficionado community in general. Greg was passionate about Fender amps and his knowledge, insight and humor will be missed very much.
Paul Linden has volunteered to fill in for Greg.
Il est impossible de faire une recherche en fonction des animaux de compagnie. The habits should mention the alcohol as is the case on AdoptAGuy. It is impossible to do a search based on the pets.
This page contains a numerical NAICS code list Users can view and lookup an index of NAICS codes in numerical order.
No other communications receiver, even those that are better performers, has such a dedicated following. Certainly, the SX ‘s top performance that combines great audio with an impressive appearance is responsible for the enthusiasm of its fans. Serial number analysis and a serial number log along with a chronological listing of Engineering Upgrades provides tools for accurately dating your receiver. Today, hundreds and hundreds of SX receivers have been restored and are in use in Vintage Ham Shacks around the country still providing great performance with incredible, bass-rich audio.
The SX remains one of the most popular of the “pre-war masterpieces. The receiver’s ultimate design was the result of the analysis of more than requested reports, including input from government engineers. Twelve Hallicrafters’ engineers were assigned the project of creating a receiver that not only satisfied government and commercial users but also gave the hams a receiver that performed better than any previous Hallicrafters.
Additionally, the SX ‘s modern, styling was to compliment the receiver’s great performance. The circuit utilized 15 tubes in a double preselection front-end on the top four bands and single preselection on the lower two bands. The frequency coverage was. The SX would become an all-time ham favorite, famous for incredible audio coupled with amazing sensitivity, stability and selectivity – all at a reasonable selling price.
Shown to the left and below are pages two, three and four of the multi-page advertisement in July QST that announced the SX Page one of the ad states that the SX was “, Typical of a new product advertisement, conceptual artwork is used rather than actual photographs.
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Chinese names starting with Xi like Xiaomi or Xinjiang. In abbreviations, it can represent “trans-” e. XL for extra large, XOR for exclusive-or. Dierckx, Hendrickx, Koninckx, Sterckx, Vranckx. Usage in Danish and Finnish is similar while Swedish , on the other hand, makes frequent use of ‘x’ in native words as well as in loanwords. In German , generally pronounced [ks]; in native words, however,such as Ochs or wachsen, the cluster [ks] is often written chs.
Fender Tube amp codes: – (look for a 2 letter code stamped on the tube chart inside the back of the amp)- the first letter is the year, and the second letter is the amp stamped NA would have been made in Jan. of Here is a list of the first letter showing the year of manufacture.
Return to the Main Index. Sometimes there just isn’t enough information on electric instruments and amps to allow them to be properely dated. And many people ask me to try and determine the year of their old amplifier, or to help them with the year of their older off-brand electric guitar. Since I primarily collect amps by Fender, and guitars by Gibson, Fender, Martin, National, Epiphone, Gretsch and Rickenbacker, I really can’t help them with these other less popular brands.
As you have probably noticed, there is plenty of information here to help date the brands that I am interested in. But where does that leave everyone else? Well I’m not one to leave you out in the informational cold, so here’s something that I use quite often in dating amplifiers and electric guitars. It’s called the “source-date code”, and it can help determine the approximate age of an electric instrument by the date its components were manufactured.
Source-Date Codes On American made vintage gear, the pots and speakers provide an excellent opportunity to date a piece of equipment by referencing their “source-date code”. The source-date code found on pots and speakers gives the manufacturer and date roughly when the components were made. It may have been some time before the part was installed at the factory, but it still provides a good approximation of when the gear was made.
The source-date code will signify the earliest possible date that the instrument or amp could have been made. This isn’t going to be exact, but it will give you a “ball-park” age. And remember, even the dates indicated by the pots aren’t that exact.
Cambridge is the best-paid place in the UK outside London
The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. For speakers this code can be 5, 6, 7 or 8 digits long, and it’s ink-stamped or paint-stamped on the “bell housing” of the speaker. In either case, the code works the same. The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code.
The remaining 3 or 4 digits are the date code. In 3 digit dates code, the 1st digit is the last digit of the year.
Cambridge is the best-paid place in the UK outside London. We’re one of the top ten cities for job vacancies too.
See Article History Alternative Title: The telephone is inexpensive, is simple to operate, and offers its users an immediate, personal type of communication that cannot be obtained through any other medium. As a result, it has become the most widely used telecommunications device in the world. Billions of telephone sets are in use around the world. Alexander Graham Bell, who patented the telephone in , inaugurating the 1, km mile telephone link between New York City and Chicago on October 18, In addition it describes the development of what is known as the public switched telephone network PSTN.
For discussion of broader technologies, see the articles telecommunications system and telecommunications media. For technologies related to the telephone, see the articles mobile telephone , videophone , fax and modem. Within 20 years of the Bell patent, the telephone instrument, as modified by Thomas Watson , Emil Berliner , Thomas Edison , and others, acquired a functional design that has not changed fundamentally in more than a century.
Since the invention of the transistor in , metal wiring and other heavy hardware have been replaced by lightweight and compact microcircuitry. Such advances supplement, but do not replace, the basic telephone design. Alexander Graham Bell demonstrating the ability of the telephone to transmit sound by electricity from Salem to Boston, Mass.
Library of Congress, Washington, D. Working components of the telephone As it has since its early years, the telephone instrument is made up of the following functional components:
From up to , National provided Airways companies with HRO receivers for use at airports and for airway navigation uses. The RCD provided specific airways features like squelch, relay controlled speaker selection and audio bandpass filters and single audio amplifier output sections designed for either Z ohm lines or Z ohm speakers that had internal output transformers.
No S-meters, no crystal filters and most importantly, no external power supply.
General Electric. FM MOBILE RADIO HISTORY. Part One, – Introduction; Prewar Equipment. General Electric was an already well established manufacturer of a broad spectrum of electrical and electronic material when it decided to enter the land mobile (police) radio market in
Part One, – Introduction; Prewar Equipment General Electric was an already well established manufacturer of a broad spectrum of electrical and electronic material when it decided to enter the land mobile police radio market in GE’s initial land mobile radio products were mobile and motorcycle receivers for the AM medium frequency police channels in the and KHz bands, and in the early ‘s the company branched out with an experimental VHF AM two way set, using a super-regenerative receiver, but which was more or less a toy rather than a serious police tool.
Inevitably, there will be “holes” in data coverage in any project like this, and I do not have enough information, manuals or examples of equipment to make this page an absolutely complete reference. For example, I do not have photos or detailed descriptions of the motorcycle and mobile equipment made by GE prior to , other than that below, so while mentioned here, it is not covered in any detail. Equally unfortunate is that I have little information on GE’s line of medium frequency and VHF AM equipment built prior to , hence it is not covered here other than the 2-way item directly below.
This equipment was built and designed at the GE Schenectady plant. The base station transmitter was a 1. From until the end of the ‘s, GE produced a 2-way mobile radio which was, depending on the year, a variation of the original 4GB1 transmitter shown below. This was GE’s last AM VHF two-way police radio, as far as I have been able to determine, and the outbreak of war in probably ended production of this model, which was quite obsolete by that time.
Note the huge dynamotor which GE referred to as an advantage because it offered “continuous duty transmitter operation. The Leece-Neville “flux-cutter” alternator was marketed at the end of the war as a solution to the issue, allowing high current output even at idle. In , the American Bosch company supplied extra large generators to deal with this extra load. This equipment was “Two frequency duplex,” in other words, transmitter and receiver operated on separate frequencies spaced far enough apart that the transmitter could be on the air at the same time the receiver was still listening.
Even after all of this time, modern technology is helping us discover previously unknown “hidden” images concealed in the art. Using art restoration techniques, imaging technology, and even microscopes, art historians have been able to uncover some shocking secrets. People love finding hidden symbols and secret codes in all sorts of objects – including art.
It might be common knowledge that Da Vinci was an accomplished musician, but not many people know about the song he painted into “The Last Supper,” using rolls and hands in the place of music notes. And you’ve probably seen the “Mona Lisa,” but not with a microscope – she has a miniscule code hidden in her eyes. Here are 14 famous works of art that have hidden symbols.
DATING FENDER AMPS BY SERIAL NUMBER, PART VI by Greg Gagliano. Copyright , Vintage Guitar Magazine This article updates information from research started in
The tube charts are not very useful for determining the circuit model. At the Fender factory they used old tube charts when new models came, probably because the tube layout was the same. Determining production date by serial number and transformer codes is better, and you should also inspect the circuit to be completly sure.
The picture below shows a transition model amp. Amp collectors and idealists often prefer the pre-CBS models but if we study the AB circuit it does have something very interesting for guitar players who enjoy cranked Fender blackface tones. The AA is very rare and its circuit and tone is quite similar to the AA We will further focus mostly on the AB vs AA The normal channel in the AA Bassman is cleaner than in the AB since it has no additional gain stage.
We usually start with explaining a mod from a functional perspective where we relate to components in the logical schematics diagram. Finally we point out location of components in the physical layout diagram. Replacing speakers is the easiest and most effective mod of them all. The speaker is the most important component in your amp which physically produces the air waves that your ears detect as a tone. See page How to select speakers for speaker recommendations.
Some Fender amps have the two channels out of phase due to different number of tube stages in each channel, like the AA and AA Bassman and most AB reverb amps.