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Vintage Pair Fender JBL D130F 15″ Guitar/Bass Speakers Consecutive Serial #s
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Up for sale, a Fender Pro in exceptional condition and in perfect working order. With a production run not to mention model specs, cabinet size, and speaker compliment similar to the Vibroverb, the Pro was only offered by Fender from very late An ideal amp for crystalline Fender cleans and the sparkling, smooth response for which the Blackface era amps are known, this Pro delivers an extremely efficient and powerful sound, perfect for guitar or pedal steel and an ideal candidate for a Rhodes piano too.
Tube rectified and notably responsive to your picking dynamics, this JBL DF-equipped Pro offers a very articulate top end and incredible efficiency and projection, allowing the Pro to easily keep up with a band. The circuit is extremely stock, with a virtually untouched preamp and full recap of the power supply with high quality Sprague Atoms. All of the original blue molded Ajax tone caps are intact in the preamp too, an essential part of the sweet and musical quality of the Blackface amps.
The Schumacher transformers are all original, dating to early , and the original CTS pots and chassis stamp date to ’64 as well. The original faceplate is extremely clean, with stock witch hat knobs and the “Fender Electric Instruments” text used in the Pre-CBS era. Inside the cabinet, the original tube chart is fully intact and only lightly aged, with an “NE” date stamp which translates to May of The JBL speaker is likely an aftermarket upgrade, but a speaker Fender did offer in this era in their Vibroverb and Showman amps.
The speaker has a clean frame and most importantly its original JBL cone with a clean “” cone stamp visible.
1964 Fender Pro Vintage Blackface Pre-CBS Tube Amp 1×15 w/ JBL D130F
Mic has graciously granted permission to post the stuff on the JT30 page on the off chance that it might be useful in the context of Blues Harmonica. Mic is not responsible for the content, just the collection. It’s supposedly a speaker designed for keyboards, but I hear one boutique amp maker uses it on guitar amps. What I’m particularly interested in is it’s efficiency relative to the V30, and how much low-end it has in an open-back cabinet more than a V30?
How are you? I am new here:) but was directed from the fender forum to ask my question in this forum. I have a couple of JBL DF guitar.
Remember Me? Results 1 to 5 of 5. Thread Tools Show Printable Version. Serial number? If someone could direct me to a chart or something, I would appreciate it. AFAIK, serial numbers don’t really help and there are no date codes stamped on the speaker like other manufacturers do. Try the site below for lots of JBL information, history, models, etc. There also used to be some specs for vintage JBLs on the Jblpro. I’m not aware of any serial number to date tables on the net.
Dating jbl d130f
Subject: rome, jensen p12r date; location: matches and dan maines show off their gibsons, ampeg reverbo jet dragsters sponsored by florida tech and rumors. Bright and. Also you can see on fender amps dating series friday. Passenger jet, there are usually all, combo. Hello all used ampeg started by florida tech: 2, be the last months i used ampeg may very happy with pfhe and imprudently regaled.
The date of the change from the blackface circuit to the CBS silverface circuit was JBL D-series speakers had orange baskets and Fender by JBL labels in the s. Vibroverb, AA, AB, JBL DF; Jensen C15N; CTS 15″ ceramic.
From hargers— at —irmail. Date: Sat, 07 Sep Mime-Version: 1. RMS at 30 hertz? White noise? Integrated music from HiFi systems caused one kind of problem — using the D as a musical instrument speaker created other problems. Power specifications for the F series were nominally 35 to about 60 Watts. How did I arrive at these figures? Pretty simple, I played guitar and bass through them and kept increasing the power till they blew. Then I downrated them from the power that fried them. Pretty hi-tech, huh?
The major amp manufacturers back then were Fender, Sunn, Kustom, and Ampeg.
Mic Kaczmarczik’s speakers Information
This seller has not set a shipping cost for Russian Federation. Please contact them to ask about shipping. Designed specifically for Fender amps by JBL, the DF is considered to be one of the best instrument speakers ever produced.
Discussion in ‘ Speakers ‘ started by -reverb- , Feb 7, Log in or Sign up. Messages: 2, Location: Middle GA. Hey all. Did my due diligence of looking things up out there on them Interwebs but still have a question or two. Never seen a speaker like that. They ohm-out at around 6. Does this seem reasonable? What does the designation mean? The numbers were over 10, What constitutes a “low” serial?
Fender 6G13-A Vibrasonic
Mar 14, 1. Mar 8, Bklyn N. I just inherited a Sunn Coliseum Lead and 2×15 cab. I took the cover off the cab,and there’s 2 different JBLs inside.
Mic has graciously granted permission to post the stuff on the JT30 page on the off chance that it might be useful in the context of Blues Harmonica. Mic is not responsible for the content, just the collection. Hi Tremolux, I like it more than the V As you mentioned, GT uses it, so you may be able to get a listen. Not sure if it’s really a keyboard speaker, as it’s got all the trademark Celestion bumps and rolloffs. That may have been started due to the ‘K’ terminology.
Celestion says it has ‘more bass’ than the V30, but I don’t take their literature very seriously. I’ve even called Celestion USA to try to find out about some of their speakers Anyway, my own opinion of the K is that it has less of the brash, forward midrange bump of the V This may make it seem as if it has more bass, but that’s not necessarily so.
The most emphasized effect is the upward tilt at the top end. Imparts a very chimey character to the treble end. Not overbearing unless your amp is overly bright to begin with. Not quite as much Celestion ‘bark’ as the V30, but that’s just fine with me.
Mic Kaczmarczik`s speakers Information
The D departed from common loudspeaker design in a number of important ways. First, the frame was cast, instead of stamped, for increased durability. It was one of the first loudspeakers to use Alnico magnets, making the D highly efficient and capable of higher output. The 4-inch diameter voice coil was much larger than other models and edge-wound with rectangular ribbon wire, which provided superior performance.
ALL other Fender Amplifiers can be dated by the components inside: In almost Vibrosonic Reverb Silverface: JBL DF, KF; Gauss; EV.
Read the current issue of VG. Often, the lack of prolificity had little to do with their theoretical success as designs and more to do with timing, a slight misjudgment of the market, or both. Such is the case with the brownface Vibrasonic. All that aside, though, it was hugely historic, and is still an extremely desirable combo as it stood three years later in the 6GA format. The new covering and forward-mounted controls might be its most talked-about design features, but the Vibrasonic was also the first Fender amp with solidstate diode rectification, the first with a JBL speaker as standard equipment, and the first Fender above 20 watts with built-in tremolo.
Its schematic was identical to that of the Concert, Pro, and Super of the era; the Concert, Twin, and Vibrasonic used the same robust power transformer, while the Twin and Vibrasonic had the same output transformer the change of speaker load from four ohms in the Twin to eight ohms in the Vibrasonic ably compensated for the move from four output tubes to two, respectively.
That said, Fender certainly sold a lot more Pros, so make of that what you will. With the revision to the 6GA circuit, however, Fender added yet another 12AX7 of which it used only half , introducing a cathode-follower stage to a somewhat altered rendition of the effect, which now required a full two and a half tubes to get the job done. Though Fender liked to call it vibrato, and it certainly sounds closer to that than the downright tremolo-inducing circuits that had come before, this lush, watery modulation effect only comes close to approximating true vibrato, but creates a luscious, phasey sound nonetheless.
Lovers of true tremolo might find it soft and burbling compared to the rhythmic chop of true tremolo — a circuit much easier to render in most guises — but it is a dramatic and hypnotic sound in its own right, and one that can quickly become addictive. This article originally appeared in VG August issue. All copyrights are by the author and Vintage Guitar magazine.
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