Of course, the MMB is, dimensionally, not such a "little" amp. I will buy a dog like the MMB, and for less money than I would invest in the core over-priced amp, I create a "little" amp suitable for my needs - as a little amp. I don't buy over-priced amps that will still need a cap-job, tube-rolling, and a speaker swap to get them into what I consider gigging condition. They worked for my purposes.lower volume hot guitar with lively cleans and good, clean, low volume Bass for practice. So, for $600-700-parts and labor- I can have a really nice new build of say a 6G2 or 5E3.something like that, which I would rather have than a MMB amp. I value my time.and account for it when I tally things up. I won't give this kind of money for one if that is what I am going to do, though. I like little amps, and I like big amps.I like some of those in between things, too.īut.I suppose the argument can be made that if one has one of these, one needs to gut the circuit and build something of use there.with a tube phase inverter, even. I also don't buy big amps and try to make little amps out of them. I don't buy little amps and try to make big amps out of them. But, then.I am a pragmatist.bring the amp that does the job, imho. Will it sit on stage without a mic and e useful? NO. Yep.like a eless for REAL guitar playing.?ĭifferent strokes, I suppose.but I can get good sounds out one of these in stock form.if it brought up to proper playing condition without making any circuit changes. What would you do? I'm thinking of going back this evening with some spare tubes to pop in and see if there's a significant volume/breakup increase. The speaker is original and has light rust on the frame as does the chassis straps. The grill cloth is clean and not damaged. Cosmetically the amp is in fair condition. I told the guy I'd get back to him this afternoon. All the demos I've watched it seems like these amps tend to break up nicely and have plenty of volume for rehearsal or even a small gig. I suspect it might need tubes (they are original) and also know it would need a cap job which I can do myself. It is pretty quiet, and no breakup at all. I plug in my tele and ease up the volume. Here's the deal, it's got a little hum on warm up that fades away after warm up is complete. I was quite excited at that price so I arranged to demo the amp. The seller is asking $250 and is firm on the price. It is an early 70's version, one owner, and is the model with 6V6s. Strong enough, loud enough, but more of a vehicle for pedals than something with enough character to carry its own.I came across one of these little guys yesterday afternoon. It's also a bass guitar and I don't have a bass to put through it unlike the amps that I enjoy most that are a musical end in themselves, this one isn't. I tried to get him to audition my Jensen P12N in it - that alnico and 6V6s were alchemy. Anyway, it isn't for me, it has plenty of volume for his needs, and he has pedals that convert it to what he wants it to do. He sticks a pedal in front of it, and he's Ted Nugent, in part because he can play like Ted Nugent. He's a strong musician and adept recorder so the application is different. Paul has a couple of pedals that Marshallize the amp. I turn it to 4 and I either like it or turn it off it's designed for loud, clean, and later breakup but I like dirty early breakup. Gotta remember other than turning up the volume, I'm pretty much a doofless toe-tapper of a musician. but I thought it a little limited or pinched sounding. Hi Walter Plenty of signal, good enough sound-stage as the stereo geeks would say. Every Fender Bassman has a 50uf cap in the same location. The preamp cap acts like a low-pass filter it prevents higher frequencies from passing while allowing the lower ones to pass. The Musicmaster schematic below showing a large value 50uf cap on the left bypassing the preamp cathode resistor and a conventionally sized 25uf cap bypassing the output tube's cathode resistor on the right. In LTG's Voicing Amps thread, there's a lot of discussion about the effects of cathode bypass capacitors on tone and frequency response. In this discussion of the differences between Black and Silverface Fender amps, they say the Musicmaster is a 'tone monster'! Additional Musicmaster specifications at Ampwares According to them, this is the only Fender design with a coupling/inverting transformer and explains why there is only one preamp tube, rare for a twin or push/pull amp. They go on to say that the function of the transformer is to couple the audio stage to the output and achieve phase inversion without the use of another tube and its necessary sidekick resistors and capacitors that, in most amps, act as the phase inverter. According to Teagle and Sprung's Fender Amps, the Musicmaster was in production from 1970 to 1982.
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