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One has to wonder where all those factory original export back panels are! Another interesting tidbit is that a lot of Fenders were imported into Australia in the late 1950s and early 1960s that were stock 110-volt (domestic US) units.
The Australian Fender Distributor then installed 240V - 110V stepdown transformers in the bottom of the cabinets.
I promise the tables will still be there after you finish reading.
Okay, I know you’re all just dying to skip ahead to the serial number tables but try to contain your excitement and read through the article first.
Not only that, but to meet Swedish safety codes, Hagstrm removed the external voltage selector switch (fitted to all blackface and silverface export models) and hardwired it internally (see photos).
Notice that the original Fender back panel was removed and replaced with a Hagstrm panel.
Of course I tended to hurry more when they were there, and I would fumble more, too.” Another really interesting fact was that he recalled that the eyelet boards were loaded/wired/soldered in Mexico!
“I remember the circuit boards were pre-made, from Mexico, easy to screw into the chassis. When we had filled our cart we'd wheel it over to the Chicano chicks.
Note the removal of the voltage selector switch and hard-wiring. I just discovered that the silverface Bandmaster speaker cabinet (the big, tall one without tilt-back legs) is ported (see photo). I guess this is what the 1969 catalog refers to as “large, individual specially designed baffles.” And all along I thought the big n’ tall silverface cabs were just a macho thing to compete against the awesome looks of a Marshall half stack or full stack.These are marked with EIA code “831” and are most prevalent during the 1966-68 time period.Some examples include a '66 Princeton Reverb and ’66 Pro Reverb with Better Coil output transformer, a ‘66 Deluxe Reverb and ‘67 Twin Reverb with Better Coil reverb transformer, and a 1968 Vibro Champ with Better Coil trannies. Oddlings – Yet another printing error has surfaced, this time from the FEI (pre-CBS) days. Besides, no article in the Dating Fender Amps by Serial Number series would be complete without some interesting information, n’est ce pas?
There is some debate about how to interpret the production code information on late ‘50s to mid-1967 tube charts and Greg Huntington is still working with those.