Plenty of good speaker suggestions here already if you do like the sealed cab, and plenty of great music performed and recorded with the stock Fender piggyback set up, but I’d definitely audition any open back cab before I started buying speakers in pairs if you haven’t already done so.Ĩ ohms is fine for a Bandmaster, it knocks off maybe 30% of your output power and loses some bass and treble, brings the midrange forward, lets you crank the amp a little more for the same volume. My advice would be to try anything open back you can get your hands on at either 4 or 8 ohms and make sure it’s not the cab that’s prompting your speaker search if you haven’t done that already. Even with the back off there are better options. I have a little 2x12 Bandmaster cab sitting empty, I wish I could use it just for the visual of “the set” but honestly it just isn’t that good a cab. I have two Fender piggyback cabs, a 1x15 tone ring Single Showman cab and a 2x15 Dual Showman but they sound way better for Rhodes than Stratocaster. Fender Bandmaster Cabinet 'Blackface' 2x12' Heavy-Duty Enclosed Speaker Cabinet. It was introduced in 1953 and discontinued in 1974. I don’t think either of those typical Fender sealed cabs, big or small, sound as good as a combo and I think the amps actually perform better for guitar with less speaker damping. The Fender Bandmaster was a musical instrument amplifier made by Fender. The fly in the ointment isn’t speakers in your scenario, it’s the cab. Nothing wrong with Celestion’s for a Fender, it’s a great sound, but so are the Jensen’s.Ĭ12N is a personal favorite as are the period correct Altec and JBL upgrades, but I do a lot of Fender/Celestion gigs these days too. The C12n sounds very punchy, wide and deep in a 2×12 cabinet. Personally we favor the Jensen C12n for their natural and transparent Fendery tone and, most importantly, for not being to bright and harsh. It won’t hurt the amp and it’s worth investigating if you wish you could get into the sweet spot a few dB earlier. The Bandmaster’s 2×12 speaker cabinet was from the Fender factory loaded with either Jensen C12n or Oxford 12T6. Leans the whole amp more in the direction of singing single note line playing as opposed to the stock louder, cleaner, scooped thing. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.Click to expand.8 ohms is fine for a Bandmaster, it knocks off maybe 30% of your output power and loses some bass and treble, brings the midrange forward, lets you crank the amp a little more for the same volume.
Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand.
These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. Loaded with a vintage set of Celestion G12k-85 speakers, so you can get crystal cleans and fat chunk. This is a great chance to bid for this amazing fender bandmaster for sale. New large rubber feet on two sides so you can lay it down or stand tall. Fender vintage bassman/bandmaster speaker cabinet. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. 70s Fender Bandmaster Reverb 2x12 cabinet. By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price).
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