Tweed Blues (Nrm & Brt)

Based on the Fender® Bassman®


(No master)

Simply the crème de la crème of vintage amps from the ’50s, the Fender5F6-A Bassman combo with 4×10” Jensen alnico speakers was the amp that started it all – instant rock and roll tone. Originally a bass guitar amp, the Bassman became a blues and country staple for 6-string guitarists. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman. Its 5AR4 tube rectifier aids in its outstanding dynamic response, and it boasts great touch-sensitivity thanks to a highly interactive three-knob “cathode-follower” tone stack.

The Bassman doesn’t have a master volume, so like all amps of this era, you had to crank this mutha up to get that dirty tone revered by all Bassman enthusiasts! As Buddy Guy, Bruce Springsteen, Jimmy Vaughan, and so many others would tell you, when you’re talking vintage amps, the Bassman really is ground-zero for big-combo tone.

Tweed Blues NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.
Tweed Blues BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to the addition of a bright cap across the volume knob.

It has the fat bottom end you’d expect from a bass amp, but also has the Fender® twang on the top.

One of the interesting things about the Bassman is just how interactive the Middle and Treble controls are. The Middle control isn’t a bandpass, as in most tone control setups. Instead, it’s almost like a second treble control. The two are additive, so if you’re running your Middle knob higher than halfway up with this model, you’ll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, you’ll probably want to boost the Treble.

The Bassman®, like many of the amps modeled didn’t have a master volume. So to get the kind of tone that the Bassman® can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at a bedroom or studio level — or even through your headphones! Try a Drive setting of about 4 or 5 — it’s guaranteed to dredge up the best R & B licks you know.

Master 10, Drive 3 to 5 aprox
Try with a Booster Drive (Treble).

Reference Videos


Les Paul through ’58

Room mic, tele