How much for a vintage Fender Pro Reverb nowdays?

eBay Selling Price History for Blackface Pro Reverb (US Dollars)

Average eBay selling prices for amps in very good or better condition and with no or only common maintenance changes (caps, resistors, speakers, wires/cords).

Blackface.

Avg Model Year Price $
Year	Qty sold	Avg Price $
1964	1	662
1965	33	1,647
1966	40	1,495
1967	28	1,450
4 Years	102	1,524

Avg Monthly Price $
Month	Qty sold	Avg Price $
2009-06	4	1,375
2009-05	3	1,200
2009-04	3	1,620
2009-03	4	1,482
2009-02	8	1,234
2009-01	10	1,463
2008-12	2	1,313
2008-11	5	1,695
2008-10	3	1,330
2008-09	3	1,892
2008-08	4	1,480
2008-07	1	1,625
2008-06	5	1,609
2008-05	2	1,713
2008-04	3	1,499
2008-03	6	1,782
2008-02	7	1,764
2008-01	3	1,350
18 Months	76	1,523

Pro Reverb vintage price blackface

Silverface

Avg Model Year Price $
Year	Qty sold	Avg Price $
1967	1	1,192
1968	24	981
1969	8	936
1970	1	999
1971	6	635
1972	10	710
1973	13	787
1974	10	729
1975	5	673
1976	10	646
1977	3	691
1978	22	579
1979	11	566
13 Years	124	746

Avg Monthly Price $
Month	Qty sold	Avg Price $
2009-06	5	768
2009-05	3	783
2009-04	5	752
2009-03	4	784
2009-02	5	806
2009-01	6	714
2008-12	4	881
2008-11	7	698
2008-10	3	729
2008-09	6	728
2008-08	2	700
2008-07	6	677
2008-06	3	763
2008-05	4	837
2008-04	3	764
2008-03	14	793
2008-02	12	652
2008-01	2	1,006
18 Months	94	752

Pro Reverb vintage price (silverface)

prix vente achat fender pro reverb occassion, ebay, revente ampli fender occasion

Owner Manual Fender Pro Reverb 1972

Rare! a full copy of the 1972 Owner manual of the Fender Super Reverb and Pro Reverb amplifiers, which is  very light compaired to today’s specs books!

But just good enough to play isn’t it? Click down here:

• Super_Pro_Reverb_1972_User Manual

Fender Pro reverb manual 1972

If you have any other copy of older issue, drop me a mail, Thousand thanks

source: http://www.thevintagesound.com/ffg/

Gears, guitar & Amps used by Joe Pass

Fender Jazzmaster      

Joe Pass

Joe Pass used to play this guitar during his stay at theSynanon Center in California, where he tried to kick drugs. After 15 months in Synanon Joe Pass recorded Sounds of Synanon in 1961 together with Arnold Ross, another Synanon resident. During his stay Joe Pass didn’t have a guitar of his own, he used this Fender guitar that was owned by the Synanon Rehab Facility.

The Fender Jazzmaster was first introduced in 1958 and was originally marketed at jazz guitarists. The Jazzmaster wasn’t embraced by the jazz musicians however, but it became popular amongst surf rock guitarists.

Gibson ES175

This Gibson guitar, the Es175, was the main guitar of Joe Pass. He got one for his birthday from a guy named Mike Peak in 1963, who saw Joe Pass playing jazz on a solid body (the Fender Jazzmaster).

 

 

Gibson ES175

 

Other jazz guitarist who played the Gibson ES175: Jim Hall, Pat Metheny, Wes Montgomery (in the early days), Kenny Burrell

D’Aquisto Guitars
 In 1970 Joe Pass started using a D’Aquisto guitar. The guitar was built specifically for Joe.

Other jazz guitarist who play a D’Aquisto: Jim Hall.

Ibanez

From 1980-90 Joe Pass was under contract with Ibanez. It is said that Joe didn’t really like the Ibanez guitar and didn’t perform on it that much. Most accounts from people in the United States from this time period have Joe playing the D’Aquisto, but many reports from other countries say Joe played the Ibanez. The speculation is that Joe played the Ibanez rather than travel internationally with his D’Aquisto.

Joe's Ibanez

The Ibanez Joe Pass was discontinued pretty quickly and suffers a reputation for a thin tone due to it’s pickup placement. 

Other Guitars

-Gibson L5
-Gibson Super 400 

 

 

 

 

Guitar Amplifiers

Polytone Mini Brute

 

 

 

Polytone Mini-Brute Amp

A very compact guitar amp, 110 watts through a 12″ speaker.

Other jazz guitarists who this amplifier: Jim Hall, Herb Ellis, George Benson

 

 

 

Fender Amps – Pro Reverb AA165 layout & serial number

Pro Reverb AA165 (blackface) serial number by year
A00100 to A02700 – 1965
A02700 to A09200 – 1966
A07000 to A10200 – 1967

Pro Reverb AA1265, AB668, AA1069, AA270 (silverface)
A10000 to A10500 – 1967
A10500 to A12000 – 1968
A12000 to A13300 – 1969
A13400 to A14500 – 1970
A14500 to A15000 – 1971
A15000 to A15600 – 1972
A15600 to A17200 – 1973
A17200 to A19700 – 1974
A19700 to A20000 – 1975
A20000 to A21500 – 1976

from Greg Galiano

More serial numbers and productions data at 20th Century Guitar Mag

(or here:  Dating Fender Amps )

If you need to change your Tubes…You’ can find all Tube Amps Overhaul Kits at Torres Engineering

Blackface schematics:

Touchstone Tonewoods

 

Guitar pieces and kits
1. Tonewoods 2. Books, cases, strings 3. Bowhair, tools & materials 4. Violin etc. varnishes, preparations & glue 5. Violin makers’ tools 6. more Violin makers’ tools 7. Cutting & filing tools 8. Measuring tools, general clamps & preparations 9. Fret wire & fretting tools 10. Fretting tools, truss rods, supports & protectors 11. Inlays, fingerboards & purfling tools 12. Guitar makers’ supplies 13. Guitar rosettes 13a Fingerboards,tools, inlays and rosettes 14. Guitar purflings & bindings 15. Violin & viola bridges 16. Cello & bass bridges 17. Violin, viola bridges by Aubert, France 18. Cello, bass bridges by Aubert, France 19. Violin & viola pegs 20. Cello pegs, bass machines, violin & viola endpins	21. Endpins & floor protectors 22. Violin tailpieces 23. Viola, cello, bass tailpieces 24. String adjusters and tailguts 25. Soundpost setters, soundposts, fingerboards 26. Humidifiers, pickups, transducers 27. Bow components 28. Bowhair in tails and hanks, P&H bow parts 29. Classical guitar machine heads 30. Acoustic guitar machine heads 31. Electric guitar machine heads 32. Schaller machine heads 33. Schaller locking machine heads 34. Schaller bass machine heads 35. Gotoh machine heads 35a Hipshot machine heads, bridges/tailpieces 35b Artec parts, tremolo units, tailpieces & guitar kits 36. Bridges & tailpieces – acoustic 37. Schaller bridges & tailpieces 38. more Schaller bridges & tailpieces 39. Electric guitar bridges & tailpieces 40. Bridges: parts and saddles 41. Schaller tremolo units

42.	Tremolo units & parts
43.	Tremolo spares
44.	Scratchplates & thumbrests
45.	Transducers – Ashworth & Martin
46.	Transducers – Schaller
47.	Artec transducers
48.	Acoustic pickups
49.	Schaller guitar pickups
50.	Schaller bass guitar pickups
51.	Artec guitar pick ups
51a	More Artec guitar pick ups
52.	Gotoh guitar pickups
53.	Pickup surrounds, screws, jack plates & sockets
54.	Switches, potentiometers, back & control plates
55.	Control knobs
56.	Guitar necks, bodies & fretwire sets
57.	Guitar neck fittings: top nuts, string clamps, guides
58.	Strap locks, endpins, jack socket endpins
59.	Banjo parts & accessories
60.	Banjo & mandolin parts accessories & pickups
61.	Banjo pegs, mandolin machine heads
62.	NEW LINES

Original Epiphone catalogs

 

Epiphone catalog 1961

 I was really pleased to find originals of the Epiphone catalogs, firstly, the 1961 edition: epiphone61_catalog

Epiphone Casino production data

Quantities produced

 

Production Data for the Epiphone Casino

 

Shipping figures for 1960s Epiphone Casinos The earliest Epiphone catalogue to feature the Casino (1961) lists just the single (E230T) and double (E230TD) pickup models – with vibrola as standard. These shipping figures suggest that non-vibrola models were shipped later in the same year. Early finishes were Royal Tan andShaded (sunburst), and figures do not differentiate between the two. From 1967Cherry became available (C), and Royal Tan was given the designation RT. From ‘67 models with no colour code were Shaded

The Epiphone range of the 1960s closely followed the Gibson guitars of the same time; they were both made in the same fatory in Kalamazoo. The Casino corresponds to the Gibson ES330 having the same dimensions and construction, but with different headstock shape and (sometimes) tailpiece. The 1961 models came equipped with the Tremotone vibrato, which was optional by 1962. The Frequensator tailpiece was used on a number of models – the point being that it would lengthen either the three thickest or three thinest strings, maximising treble and bass response.

The most famous Casino users were Keith Richards of the Rolling Stones, and John Lennon and George Harrison of the Beatles, who were given a pair of Casinos in 1965. Both had a sunburst finish, Georges had a Bigsby vibrato, whilst John’s had a stop tailpiece. It was Lennons of course that had the most use; he was widely pictured with it, and used it extensively live and in the studio. He also had it stripped down in 1968. Epiphone make two John Lennon signature Epiphone Casinos - one based on the unstripped 1965 model, and one, the ‘Revolution’ Casino based on the stripped instrument. Epiphone engineers studied the original guitar to get these signature instruments as exact as possible

Liste des guitaristes jouant sur Gibson

It’s here, it’s a wiki

But the ES-335 is here (wiki again)

They played the Gibson ES175 or ES335 or the Epiphone

Liste of guitar players who play the Gibson ES335, the ES175 or the Epiphone

• Chuck Berry: ES-335 stereo
• Larry Carlton: Gibson ES335
• Christian Escoude: Gibson ES175 D
• Green Freddy: Epiphone Emperor
• Peter Green: Gibson ES335, Les Paul Standard,
• John Lee Hooker: Epiphone ES335
• Steve Howe: Gibson 175 t, Showburn Pedal Steel
• Bb King: Gibson ES355 (Lucille)
• Alvin Lee: Gibson ES335
• Pat Metheny: Gibson ES 175
• Wes Montgomery: Gibson ES 175
• Joe Pass: Gibson ES175, D’Aquisto
• Lou Reed: Gibson ES355
• Lee Ritenour: Gibson ES335, Fender Strat
• Otis Rush: Fender Strat, Gibson ES335
• T-Bone Walker: Gibson ES5, ES335
• Izzy Stradlin: Gibson ES175, Les Paul

Gibson ES-335

 

Gibson ES335

Pat Martino’s Gibson

Fender Pro Reverb Amp (Blackface) AA165

Pro Reverb Fender blackface AA165

Fender Pro Reverb (Silverface) AMP AA1069 specs & schematics & serial numbers

Year:	1968-1982
Model:	Pro Reverb
Circuit:	AB668, AA1069
Config:	Combo
Control Panel:	Silver, forward facing w/ blue labels
Front Control Layout:	68-76: Normal: In, In, Bright Sw, Vol, Treb, Bass - Vibrato: In, In, Bright Sw, Vol, Treb, Bass, Rev, Speed, Intensity – Pilot Lamp76-82: Normal: In, In, Bright Sw, Vol, Treb, Mid, Bass - Vibrato: In, In, Bright Sw, Vol, Treb, Mid, Bass, Rev, Speed, Intensity - Master Vol/Boost – Pilot Lamp
Rear Conrol Layout:	68-76: AC Outlet, Ground Sw, Fuse (2A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Vibrato Jack, Reverb Jack, Reverb Out, Reverb In 76-82: AC Outlet, Ground Sw, Fuse (2½A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Line Out, Tube Matching Adj, Vibrato Jack, Reverb Jack, Reverb Out, Reverb In, Hum Balance
Knobs:	Black skirted w/ chrome center, numbered 1 – 10
Cabinet:	68-69: 19½” x 26½” x 10″ (49.5 x 67.3 x 25.4 cm) 70-82: 19½” x 26″ x 10½” (49.5 x 66 x 25.4 cm)
Cab Covering:	Black Tolex
Cab Hardware:	Black strap handle, 5½” Chassis straps, 16″ tilt-back legs, corner protectors, glides (68-71) or casters (72-82)
Grille:	Blue sparkle grille cloth w/ aluminum frame (68-69) or w/o aluminum frame (70-80)
Logo:	Grille mounted, raised, chrome & black script “Fender” w/ tail(68-74) or “Fender®” w/o tail (74-82)
Weight:	58 lbs. (26.3 Kg)
Speakers/Load:	2 x 12″/4 ohms (8 ohms each in parallel)
Speaker Model:	Oxford 12L6, Oxford 12T6, Utah 12″, Rola 12″ ceramic
Effects:	Reverb, Tremolo
Output:	40 or 70 (late models) Watts
Preamp:	Normal: 7025 Vibrato: 7025, ½ 7025
Power:	2 x 6L6GC
Bias:	Fixed, adjustment pot (AA668?) or balance pot (AA1069)
Rectifier:	5U4GB
Phase Inverter:	12AT7 (long tailed)
Other:	Reverb Driver: 12AT7 Reverb Recovery: ½ 7025 Tremolo: 12AX7(photoresistor)
Comments:	The AA1069 schematic shows a Mid control but it did not get installed on producion models. Fender switched back to the blackface era cosmetics some time in 1980. Pro Reverbs produced between late 1980 and 1982 have a black control panel and silver sparkle grille cloth. A Boost switch, master volume, and hum balance control was added before Pro Reverb was discontinued.

See AA1069 Pro Reverb Schematic

See AA1069 Pro Reverb Chassis Layout

Serial numbers for the Pro Reverb AA1265, AB668, AA1069, AA270 (silverface)

A10000 to A10500 – 1967
A10500 to A12000 – 1968
A12000 to A13300 – 1969
A13400 to A14500 – 1970
A14500 to A15000 – 1971
A15000 to A15600 – 1972
A15600 to A17200 – 1973
A17200 to A19700 – 1974
A19700 to A20000 – 1975
A20000 to A21500 – 1976

from Greg Galiano

More serial numbers and productions data at 20th Century Guitar Mag

(or here: Dating Fender Amps )

Epiphone vintage Ads

Epiphone Casino Kalamazoo

Body size at lower bout: 16″. Scale length: 24.9″ Nut Width: 1 9/16″

S/N 334222 Kalamazoo

Avalaible: 1961 – 1968

Finish: Original sunburst finish, nitrocellulose type

Materials: Solid Honduras mahogany neck; maple top back, and sides; solid Brazilian rosewood fingerboard with pearl parallelogram inlay.

Hardware includes original P-90 pickup with original nickel cover, original nickel trapeze tailpiece, original nickel ABR-1 Tuneamatic bridge with retaining wire; original beveled w/b/w pickguard with nickel support bracket; original nickel-plated Kluson Deluxe tuners; original truss rod cover; original gold reflector cap volume and tone knobs

Notes: John Lennon played one. A true child of the ’60’s, the Epiphone Casino (E230T) debuted in 1961, and came to an early end in 1970. Three decades later, the Casino remains one of Gibson/Epiphone’s most popular reissue guitars, with original examples highly prized by players and collectors alike. The most famous Casino users were Keith Richards of the Rolling Stones, and John Lennon and George Harrison of the Beatles, who were given a pair of Casinos in 1965. Both had a sunburst finish, Georges had a Bigsby vibrato, whilst John’s had a stop tailpiece. It was Lennons of course that had the most use; he was widely pictured with it, and used it extensively live and in the studio. He also had it stripped down in 1968. Epiphone make two John Lennon signature Epiphone Casinos – one based on the unstripped 1965 model, and one, the ‘Revolution’ Casino based on the stripped instrument. Epiphone engineers studied the original guitar to get these signature instruments as exact as possible

With its fat P-90 pickup and featherweight slimline body, the Casino has surpassed its 60’s counterpart, the Gibson ES-330, in ongoing favor with vintage enthusiasts. The all-hollow thinline profile and absence of superfluous hardware resulted in one of the most lightweight electric guitars ever produced, as well as producing a distictively warm and woody tone. Combined with it’s super fast sixties neck profile, and excellent original jumbo frets, this guitar is incomparably comfortable to hold and just plain fun to play.

Setup: The frets have been precision leveled, recrowned and polished; trussrod tension and neck relief adjusted; bridge height adjusted; bridge compensation set; string slots at nut and bridge inspected and recut as necessary; bridge foot contour inspected and fit to top as necessary; bridge radius inspected and recurved as necessary; bridge wheels and tuners lubricated; fingerboard and bridge oiled; body and neck cleaned and hand polished.

La Guitare Selmer de Django

Selmer n°503

(publié par cristof)
C’est une des guitares ayant appartenu à Django. Guitare mythique réalisée dans les ateliers d’Henri Selmer en 1940 après que Maccaferri, parti en 1935, en ait développé le concept. Django décédé en 53, elle a été offerte au musée de la Citée de la musique en 1964. Elle a la particularité de porter son nom sur la tête (comme le modèle 504 de Stochelo) et d’être composée de quatre barrages au lieu de cinq normalement sur les Selmer. Elle est visible (normalement) dans l’exposition permanante située à la Vilette à Paris.

Gibson HD 6X Pro Digital Guitar with a Traditional Les Paul design unveiled

Gibson debuts its latest HD 6X Pro electric guitar that is a perfect amalgamation of tradition meeting modern technology. The Gibson HD 6X Pro Electric Guitar sports a traditional Les Paul design so that the musician doesn’t have to compromise on his skills by playing on some weird digital hybrid. The pickups on the HD 6X are a new ‘Hex’ system created by Gibson that uses 6 small humbuckers positioned under each string at the bridge that send 6 individual signals to studio-grade preamps allowing them to be immediately digitized. Gibson HD 6X Pro Electric Guitar ‘Les Paul’ logo These digital signals are then sent to a Breakout Box, known as “BoB,” through a special ethernet port designed by Gibson called ‘MaGIC’ that can carry up to 32 bi-directional channels of audio over a single cable. The BoB can then be connected to a multi-channel sound card where the guitar can be recorded with a piece of professional software such as Cakewalk SONAR which is included with the instrument. Playing the Gibson HD 6X Pro Electric Guitar The new Gibson HD 6X-Pro Guitar System comes with all the equipment and music making softwares needed to explore the limitless sonic possibilities it affords today’s guitar players. The Gibson HD 6X Pro Electric Guitar with a Traditional Les Paul design is available for purchase right away and costs around $5,000.

Pro Reverb specs (silverface) AA1069

pro reverb silverface

Model/Circuit Number: AB668, AA1069 
Years of Production: 1968-1982
Era: Silverface
Configuration: Combo
Controls: Silver, forward facing w/ blue labels
Knobs: Black skirted w/ chrome center, numbered 1 – 10
Faceplate

• Front: 68-76: Normal: In, In, Bright Sw, Vol, Treb, Bass – Vibrato: In, In, Bright Sw, Vol, Treb, Bass, Rev, Speed, Intensity – Pilot Lamp 76-82: Normal: In, In, Bright Sw, Vol, Treb, Mid, Bass – Vibrato: In, In, Bright Sw, Vol, Treb, Mid, Bass, Rev, Speed, Inte
• Rear: 68-76: AC Outlet, Ground Sw, Fuse (2A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Vibrato Jack, Reverb Jack, Reverb Out, Reverb In 76-82: AC Outlet, Ground Sw, Fuse (2½A), Power Sw, Standby Sw, Speaker Jack, Ex. Speaker Jack, Line Out, Tube Matching Adj, Vibrato Jack, Reverb Jack, Reverb Out, Reverb In, Hum Balance

Cabinet

• Dimensions: 68-69: 19½” x 26½” x 10” (49.5 x 67.3 x 25.4 cm) 70-82: 19½” x 26” x 10½” (49.5 x 66 x 25.4 cm)
• Hardware: Black strap handle, 5½” Chassis straps, 16” tilt-back legs, corner protectors, glides (68-71) or casters (72-82)
• Handle: Black Strap
• Feet: Glides
• Corners: Chrome Corners with Lip

Covering Material

• Tolex/Tweed: Black Tolex
• Grill Cloth: Blue White Silver grille cloth w/ aluminum frame (68-69) or w/o aluminum frame (70-80)

Logo: Grille mounted, raised, chrome & black script
Weight: 58 lbs. (26.3 Kg)
Speaker

• Size: 2 x 12
• Impedance: 4 ohms
• Model: Oxford 12L6, Oxford 12T6, Utah 12

Effects: Reverb, Tremolo
~Watts: 40 or 70 (late models) Watts
Tubes

• Pre amp: Normal: 7025 Vibrato: 7025, ½ 7025, Phase Inverter: 12AT7 (long tailed), Other: Reverb Driver: 12AT7 Reverb Recovery: ½ 7025 Tremolo: 12AX7 (photoresistor)
• Power: 2 x 6L6GC

Bias: Fixed, adjustment pot (AA668?) or balance pot (AA1069)
Rectifier: 5U4GB, Some ‘78 and ‘79 models had a solid state rectifier.

Comments: * Some of the PRO RVB AA1069 Circuits (Silverface with the Mid control) came with a solid state rectifier. * Fender switched back to the blackface era cosmetics some time in 1980. Pro Reverbs produced between late 1980 and 1982 have a black control panel and silver sparkle grille cloth. * A Boost switch, master volume, and hum balance control was added before Pro Reverb was discontinued.