The #2 input has no reverb, no tone stack, and has higher gain than input #1, because it does not lose gain to the reverb circuit. The #1 input has reverb, and no tone stack. The VLG channels (Bandmaster Tremolo inputs) are very low gain and well-behaved.
The Bluesmaker endeavors to be the penultimate guitar amplifier – A Fender and a Marshall in one amp. In between these setting, you get a blend of both tones. Only the Channel 1 Volume and the Channel 2 Treble and Bass controls and Bright switch retain their original function as on the donor 1965 Fender Bandmaster.Ī simplified way of describing the performance of the amp’s High-Gain channel is this: with the blend pot all the way CCW, you have a very Fender – like clean tone with the pot all the way CW, you have a very Marshall – like crunchy distortion. (These are in addition to the “normal” Bluesmaker modifications). The unique features of this particular Bluesmaker are: E元4 power tubes, Reverb control, Master Volume with push/pull Bypass, Pentode/Triode switch (on the back of the chassis), and the Very Low Gain channels, each of which is voiced differently. These were the features of the original Bluesmaker as described in the Guitar Player article of 1993. The high gain channel incorporates a Deep switch, Preamp Balance, a Mid control with push/pull Boost, and a Presence control with push/pull Response Shift. Here is the control layout of this Bluesmaker amp. (for posterity, if not just out of curiosity). I have endeavored to reverse engineer this amp in order to document its unique features and provide an accurate schematic. I suspect that this amp may be a very early application of John McIntyre’s low-power amp design. These VLG (Very Low Gain) amps would eventually become the Lexicon. This is interesting because this was about the time that John McIntyre was developing his Bluesmaker II stereo guitar amps for studio work. While it still incorporates the trademark parallel gain stage with “Tone Blend” pot, it also includes E元4 power tubes, reverb, a master volume with bypass switch, a Pentode/Triode switch, and perhaps most interesting, two Very Low Gain inputs taking the place of the Vibrato channel inputs, which on the original Bluesmaker were simply disconnected. John McIntyre deviated from the Bluesmaker circuit in several important ways with this amp. The inscription, on the inside of the chassis, signed by John McIntyre, reads: 1993, was titled “ Turn a Humble Fender into the Ultimate Blues Machine” this is the origin of the Bluesmaker.Ĭameron sent his Bandmaster to John McIntyre in Calgary to be modified in 1995.
#Fender bandmaster schematic mods
His articles in Guitar Player magazine on amplification mods have set standards in tone excellence. This amp has been modified to the “Bluesmaker” circuit designed by John McIntyre, who has been modifying and building guitar amplifiers for years.
#Fender bandmaster schematic serial number
The chassis serial number has been ground off (hmm…), but I figure it is a 1965 Bandmaster, probably late 1965, because it is an FMIC amp, after Leo sold the company in January of 1965. This is Don Cameron’s 1965 Fender Bandmaster.
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