Written by: Mark Ware
Revised: v1.13 - 4/23/2004

Serial number that is stamped on the right rear of the chassis - Those numbers are posted below. A=1951, B=1952, C=1953, D=1954, E=1955, F=1956, G=1957, H=1958, I=1959, J=1960, K=1961, L=1962, M=1963, N=1964, O=1965, P=1966, Q=1967,R=1968, S=1969, T=1970A=Jan, B=Feb, C=Mar, D=Apr, E=May, F=Jun, G=Jul, H=Aug, I=Sep, J=Oct, K=Nov, & L=Dec. The serial number associated with it of BM00816 puts it in the range of a 5E6 or 5E6-A from 1956. Note though that this is just specifies when the amp was paid for. H may have in fact had it sometime prior, as is evidenced by photos from August of that year though one is pictured onstage as early as April 20, 1956 in Fort Worth. Apr 26, 2010 The serial number of BP11058 is a in the range of valid serial numbers for a 1964 Bassman. To really date the amp, you need to show pictures of the transformer end bells that show the model numbers and EIA date codes, as well as the numeric codes on the backs of the pots.

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This document is intended to answer some of the most common questions that people ask concerning Fender amplifiers. It applies mostly to dating, identification, amp cosmetics and other (mostly) non-technical stuff. If you have any additional information that you would like included or if you have any additions/corrections, please contact me at steve@mojotone.com.

New/Updated this version:

Added expanded EIA codes section.

Contents:

What is meant when an amp is referred to as a 'black face' Fender?
2.1. Woodie
2.2. TV Front Tweed
2.3. Wide Panel Tweed
2.4. Narrow Panel Tweed
2.5. Brown
2.6. Blonde
2.7. Black Face
2.8. Silver Face
How old is my amp?
4.1. Date Code
4.2. EIA Source-Date Codes
4.2. Dating By Serial Number
4.3. Circuit Revisions
4.4. Misc Dating Info
Where can I find out more about Fender Amps?
7.1. On the Web
7.2. USENET
7.3. In Print

1. Why isn't my Fender amp listed in the Field Guide

If you're Fender amp isn't listed in the guide it is most likely because it is a solid state amp.I like to build/restore/repair tube amplifiers as a way of excaping the pressure of daily existence. The guide is an extention of this fascination with tube technology so I have chosen to ignore the models that do not make use of thermionic phenomena for amplification. As for the qustion of tubes vs. solid state, my opinion would obviously be skewed. My advice is to use your ears and play/buy what you think sounds best. Serial

2. What is meant when an amp is referred to as a 'black face' Fender?

Contrary to what you might think, this term is not politically incorrect and has nothing to do with Al Jolson. The term 'black face' refers to the color of the amp's contol panel. Fender typicallychose a cabinet style, covering, and grille cloth and used it across the entire amp line. Therefore it is a convenient way of refering to an amp of that particular era. (in this case 63-67)Below is a listing of some other terms you might hear when people refer to Fender amps.

Woodie: This refers to amps produced between 1946-1948. They are called woodies because of the uncovered wood cabinets and matching wood handles. These cabinets came in three finishes: mahogany, maple, and walnut. The baffle was covered in either a red, yellow, or blue fabric with three (sometimes only two) chrome 'slats' running from top to bottom. The controls were mounted on a rear facing control panel. At this time Fender only had three models, Princeton, Deluxe, and Professional.
TV Front: These amps are recognizable by the shape of the speaker baffle cutout. The cutout is rectangular with rounded corners and looks like an old fasioned TV screen. These amps were produced between 1948-1953. The cabinets were constructed in a new way with the corners of the box 'finger joined' which gave a much larger gluing surface and as a result, more strength. Unfortunately the new joinery isn't very nice to look at so Fender covered the cabinet in a very durable tweed material that was popular for covering foot lockers and suitcases. The early tweed was light colored and had a vertical pattern. Later this was changed to a diagonal pattern with more contrast between the light and dark fibers. Conrol panels on the TV front amps were located on the top rear, facing up. (except the Champion) and had a chrome finish. The baffle of TV Front amps are covered in brown mohair.
Wide Panel: From 1953-1955 Fender used a new style of cabinet which had a rectangluar cutout for the baffle with the corners squared. When viewed from the front, there are two wide panels above and below the baffle while only the ¾' edge of the side panels shows on the left and right. The chrome, top facing control panel, tweed covering and brown leather handle are the same as the TV front amps, but a dark brown linen material replaced the brown mohair grille.
Narrow Panel: Cosmeically these amps are almost identical to the Wide panel amps, with the exception of the top and bottom front panels. These were narrowed considerably so that the front was almost completely grille. These amps were produced between 1955-1960. (the Champ went to 1964) Early in this era the linen grille was replaced by genuine brown grille cloth. The narrow panel amps were the last of Fender's tweed amps. (until the reissues)
Brown: Big changes were made with the new decade. The amps produced between 1959-1963 were completly redesigned with an angled, forward facing, brown control panel and round brown knobs. (replacing the old black pointer control knobs fender had used since the woodies) The tweed covering was replaced with a new, brown, fabric-backed vinyl material called Tolex. The brown Tolex was reserved for the smaller fender ams such as the Deluxe, Princeton, and Super while the larger amps had a differnt color scheme. Most of these amps retained the leather handle of the tweed amps. Early brown Tolex amps had a pinkish hue, while the later amps had a truer brown color.
Blonde: These amps were produced at the same time as the brown amps, but were covered in a white (more like biege) Tolex and had round white knobs. This color scheme was reserved for the new 'piggyback' amps (Showman, Bassman, Tremolux, Bandmaster) and the Twin combo. Early blonde Tolex had a rough texture while later amps have a smoother surface. Grille cloth varied with early amps having the brown grille cloth of the tweed amps. Later amps had maroon grille cloth, and the last having a wheat or gold sparkle color. The handle was changed to a brown plastic strap which held up a little bit better than the leather handles Fender had been using for over a decade.
Black Face: Amps produced between 1963-1967 retained the cabinet style of the brown/blonde amps, but were covered in black Tolex. Also new was a new reinforced black strap handle, and silver sparkle grille cloth. The control panel was changed to black with white labels and fitted with numbered, black skirted knobs. Many consider the amps produced durring this era to be the best ever produced by Fender and are sought after by players and collectors alike.
Silver Face: In late 1967 the color scheme was changed once again. The black Tolex remained, but the control panel was changed to a dull chrome with blue labels. The gille cloth changed to blue sparkle (some late 70s silver face amps have orange sparkle grilles) and for 1968 and 1969 there was an aluminum frame around it. From 1980-1982 Fender reverted to the black face era cosmetics, but since these amps share the same circuits as the silver face amps, many people will refer to them as silv

Fender Bassman Serial Number