Fender tweed bandmaster
I wound up selling mine mostly because I prefer exploding tweed deluxes for the slide-based stuff I do, and super reverbs/pro reverbs for the soul jazz/funk stuff. I found the slight decrease in perceived low-end compared with a bassman made it easy to work and sound great in a band context, especially where there was a second guitar, keys, and/or horns. The bigger cab and extra speaker made for a bigger sound than say, a tweed super, but not as big as a bassman.īottom line - it was a really nice amp (and I probably should have kept it and continued to break in the speakers).
![fender tweed bandmaster fender tweed bandmaster](https://guitars.azureedge.net/aza/user/gear/1954-fender-bandmaster-tweed-4-wREksQh.jpg)
The cleans and overdriven sounds are certainly tweed, but not identical to a bassman (or a deluxe, for that matter). Used in Bandmaster Reverb Blackface, AA763. Certainly less overall volume than a tweed bassman. Power Transformer Domestic/Export 120/210/220/230/240V, 50/60 Hz.
![fender tweed bandmaster fender tweed bandmaster](https://cdn.shopify.com/s/files/1/0202/0250/products/1956Bandmaster_Angle.jpg)
Hitting the mark between the two, plenty of blues. This is a reproduction of the Narrow Panel. In the beginning Fender paired small combo amps with lap steels and electric guitars aimed at student players, but word of the superior tone and build quality. There are a lot of things to like about that amp - it had a bassman-sized cabinet (but still just 3x10's), was surprisingly light weight and easy to carry (especially compared to my Super Reverb), was very responsive, and had great clean and overdriven sounds. Two decades ago, when renewed appreciation of Fender’s narrow-panel tweed amps of the late ’50s really started to boom, the Bassman was generally considered king of the heap, with the 5E3 Deluxe winning fans among players who wanted to crush it in smaller rooms. Narrow Panel Tweed Bandmaster (original size) 3×10 Guitar 5E7 Amplifier Combo Speaker Cabinet.