1961 Fender Concert Amplifier

sunvalleylaw

sunvalleylaw

Yep.
https://reverb.com/item/1634467-fender-concert-1961-brown-tolex

$2,395.00

See listing above. Discount for Weiners. Let me know if you think I am being reasonable or not. I used the Reverb pricing guide to set the asking.

This one is a very nice, clean, working amp. It has been re-capped, has a pigtail plug installed, and has a Mercury Magnetics output transformer. The vibrato sounds wonderful.


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Footswitch and cover included.
 
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Most all my good guitar friends tell me not to sell it, and that it is a "lifer" amp. So I am reluctant. But for my overall needs, I think it is the right choice for me.
 
sunvalleylaw said:
Most all my good guitar friends tell me not to sell it, and that it is a "lifer" amp. So I am reluctant. But for my overall needs, I think it is the right choice for me.
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Actually, if you're mostly playing at home and want a tweed sound I'd go with a 53e tweed deluxe clone of some sort. One of my students had a Richter that was great.
 
Mark Wein said:
5e3
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Cool. The one thing holding me back from any of the smaller options is that I have become accustomed to the more open sound of more than one speaker. Still overkill for home, I know. And this Concert has never gone out with me. Any playing out has been withe my Peavey C-30. That blonde Supersonic I posted in my tweed/bassman thread was interesting for that reason. But I still dig the more open sound. I wish there was a 22W, 2 or 3 speaker version of something with a tweed sound.
 
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sunvalleylaw said:
Cool. The one thing holding me back from any of the smaller options is that I have become accustomed to the more open sound of more than one speaker. Still overkill for home, I know. And this Concert has never gone out with me. Any playing out has been withe my Peavey C-30. That blonde Supersonic 22 I posted in my tweed/bassman thread was interesting for that reason. But I still dig the more open sound. I wish there was a 22W, 2 or 3 speaker version of something with a tweed sound.
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There are a lot of options out there.
 
sunvalleylaw said:
I wish there was a 22W, 2 or 3 speaker version of something with a tweed sound.
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I know I always harp on these, but the Trinity Tramp fits that bill.
Get the head with a 2x cabinet and you've got exactly what you're looking for.

Or get a combo AND a cabinet.
Use the combo at home but use the cabinet when you play out. The speaker jack is easy access.
There is an impedance switch. So, you can use 4, 8, or 16 ohms.

There are options for tubes that will get you up in the 20 to 22 watts.
One is best done with a modification, but works without it too. If you ask for that mod, I'm sure they'll put it in.

www.trinityamps.com


You get a nice tweed tone as well as options for some Marshally 'tude.

I put a ceramic magnet speaker in mine and the chime is fantastic.
 
Here is the "Mojo" mentioned in the ad. Both sides of the top, and one of the overall top for perspective. Makes me think of old bluesmen that may have played this amp before me. Or some Keef Richards type.

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Yeah, if you don't need the money, keep it. You'll regret not having it, and just play it enough to keep it functional.
 
Just looked at some old records and remembered some details on the "re-cap". The power filter caps are Sprague, and Mallory 150 were installed for the tone caps. Not sure if that means anything to anyone. (It really doesn't to me). But it is information.
 
And here is a nice little video (not me) that gives and idea of what the vibrato sounds like on these things, featuring a nice old Guild Starfire. Now there is a vintage guitar I could enjoy owning one day.

 
And a good article on the amp from Premier Guitar: http://www.premierguitar.com/articles/Differences_in_Fender_Concert_4x10_Amps

Mine is the G612-A version described as follows:

The other version of the Concert during this period was produced between late 1960 and 1963. This version utilized the 6G12-A circuit. As with all of the Concerts during this time, it was also a two-channel amp, but the vibrato circuit had been substantially changed and now required the addition of another preamp tube. Looking at the schematic of this amp, it appears the greatest change to the vibrato circuitry is in the oscillator area of the circuit. This part of the circuit became much more simplified than its predecessor, and by the looks of it became the basis for the oscillator found in the popular opto-isolator version used today. While there indeed was another tube added to this new design, the tube was used to take the output of the oscillator circuit and produce two out-of-phase oscillator signals. These were then fed to the modulation part of the circuit, which would modulate the audio signal. The audio signal was split in order to feed two different amplifiers in the modulation circuit, but because the signal was split through different RC (resistor/ capacitor) networks, there was a slightly different signal being fed to each of the two amplifiers. Once combined together again, these slightly different signals being modulated by two out-of-phase oscillator signals provided the resulting pitch shifting aspect of this vibrato circuit. If you see six preamp tubes across the back of the amp, you have this 6G12-A version.
 
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