It still doesn't sound as good as my Silverface Vibrolux Reverb, but it does sound pretty darn nice! but very nice indeed.įor anyone who has a Blues Jr, and is happy, but not overjoyed with the overall sound, try some different (good quality) pre-amp tubes. In an unexpected turn of events, the reverb hiss that's been so annoying since day one is now gone.
#Fender champion lap steel reissue full
Now, it's much more full and shimmery/sparkly sounding. That said, about a week ago, I finally got around to trying some different 12ax7 preamp tubes in it, and I have to say the difference is amazing! I tried a few combinations, but finally decided to stick with a Sovtek 5751 in the V1 position, and a Sovtek 12ax7LPS in V2, and an unknown 12ax7wa in V3, and it's like a totally different amp. and a very affordable, if slightly inferior, alternative to a Princeton Reverb. Although the amp does not have a what you might call a "pro quality" sound, I still feel it is THE BEST all tube practice amp you can find for the money. I've a the Blues Jr for about two years now.
#Fender champion lap steel reissue mods
This guy did some mods on the tubes and solved some of the problems you're talking about. It's a 5 minute $10 job to add the baseplate.I went to Harmony Central to read reviews of the Blues Jr.
If you can pick up one of these pickups, I think you'll get something very close to a tele pickup of the same era.
They didn't even have an inventory system until Forrest White showed up - until then they would just buy more stuff when they ran out. He constantly made changes to the amp circuits, based on whim, tone, and of course the "hey, we just ran out of 500k pots - what can I use" factor. But in the early days, I would GUESS that convenience, cost, and availibility dictated over design, not the other way around. I would GUESS that as Fender turned into a bigger company they would be able to order larger quantities and plan production farther in advance - using exactly what they wanted. And if you pulled a 10k pickup wound with 43 out of a broadcaster, I would not be shocked! The 5.75 pickup in the '52 is in the range of what you would expect to find in a '52 tele. Then maybe realized - "hey these sound better than the ones we did with 43 - sure glad we ran out!" And if the supplier ran out of A2, they could use A3 or A5 and it still sounded good. If they ran out of 43 wire, but could get 42, I would GUESS that they just wound the bobbins with 42 until they were full. WHY NOT? The Champion pickup was good.Īs time went on and Leo tweaked, got different stuff from different suppliers (it was not really easy to find magnets and wire in those days either.) changes to the tele and Champion probably tracked each other. I would GUESS that the same few people did the winding, and that they used the same wire, and pulled magnets out of the same bin. I would GUESS that logically since Leo had all of the stuff and liked the sound he just adapted the pickup to the tele, and added the baseplate for a solid mount to the bridge, and grounding. They had them around and thought they sounded good. The first tele pickups were based on the Champion pickup. My GUESS (it's a guess.yes a guess) based on what I know about Fender, and what I've learned looking at pickups is this. but I'm not going to destroy the guitar to put it in a tele. Impedance is 5.75k, which would suggest something around 7700 turns of 42. I have a '52 champion sitting right here.
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