I seldom use bright switches, don't often vary the EQ a long ways from mid-point in many amps. Perhaps I expect different things from an EQ. At least that seems to me to be what's going on? It's definitely NOT the regular small Fender style EQ, ala the tweed Princeton, which is sending highs to ground thru a traditional low pass filter. The other effect this has is that turning down the guitar volume seems to have a disproportionate effect on EQ-dropping it just a hair loses the hum and buzz from single coils, whereas leaving it up fully makes the amp almost unbearably bright unless the tone control is WAY down. In addition, the tone and volume controls should be interactive-the more signal you're sending thru the volume knob the less effect the tone control has. If I'm reading that correctly, then phase cancellation will cause highs to be lost depending on how much you send thru. It appears to be a high-pass filter that uses a voltage divider to determine the voltage going thru the 0.02 mf cap, which reverses polarity, and is then mixed with the unfiltered signal. It's not an old-fashioned tone control in the sense that it passes highs to ground thru a cap (a low pass filter with a fixed frequency and Q and variable gain) and uses a voltage divider after the cap to determine how much goes to ground. All in all this little gem is certainly worth seeking out! And in this day of $500 Champs and $600 Vibrochamps, you can still find them in the $400 range.
Fender musicmaster bass full#
The MM does NOT have that problem-it's louder, sounds like a full 10W, and it's gainier. The complaint with the GA-5T has always been that it's just too anemic and clean for a 10w amp. The GA-5T doesn't have the clean resonance of the MM but I think sounds better fully cranked and pushed with an overdrive. I suspect this results in more gain loss because it's both quieter and less crunchy when cranked than the Musicmaster is (part of that might be down to the 10" vs 12" speaker I guess). The GA-5T, while the input circuit is identical, has a more traditional treble/bass tone stack. Since it's doing it without a cap in the tone circuit, I have NO idea how it works.
It mostly leaves the mids alone, to the left cuts a bit of treble but emphasizes bass, to the right cuts bass and emphasizes treble, almost more like a tilt EQ than a traditional tone stack. I've heard folks love these with overdrives, but i'm going to have to experiment a bit to find the right one, just grabbing the recently acquired Rocktron ODB wasn't the right match (although it sounds really good with EL84 and with the GA-5). I initially played it with a mini-hum equipped Crestwood reissue, but trying a few other things I think it like low output pickups, particularly single coils best! The overdrive tones have a little harshness in the decay, and some fizziness on the top, although just a touch of hair sounds good and cleans up with the volume pot really well. The closest I can think of to this is what a Dumble ODS set clean will do, or perhaps the ClusterFuzz if it did clean.
Sort of a mid-heavy ringing, almost like a microphonic tube but not annoying like that. Why do I mention the GA-5T? Because one version of that amp came with a dual 6AQ5 output section that was transformer coupled to the power tubes! They are pretty different sounding amps, though.Ĭlean, the Musicmaster has a sustain that's really interesting. Only amp with transformer coupled push/pull output section. To save money, there's no fuse, the power switch is built into the volume, and there's no top back panel. It's a seriously weird amp for something from Fender (I'm betting that Leo had nothing to do with this design) for the following reasons:ġ. This Musicmaster amp wasn't on the list, but we reached an agreement on price and I brought it home. I happened upon a small store with an owner that had decided to sell a few of his own things.
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