Blonde by a country mile... particularly clear with the Tele and cranked P-Bass. Way more character, life, vitality, dimension from that blonde beauty-- real music.
the Presence control/circuitry can make a huge difference for guitar. It simultaneously reduces headroom on the amp and adds some boost to mid-high range. The circuitry resides between the preamp and main amp stages, so it was fairly unique. And you can dial-in the amount of effect you want. Neat!
Both sound great but the Blackface wins for me. The Blonde has a bit more character, but the Blackface is more even across different instruments and configurations.
Great vid sir and respect. I love all amps. I got a blackface pro reverb combo I am amazed how sweet it sounds. It was Jim Campilongo's amp that he used to lug around before his back told him to get a Princeton. One thing weird is that it has Pyle speakers and it works.
I am a happier owner of a '63 blonde bassman for almost two years now. It is the bestest guitar sound I ever had, but it doesn't really come alive before 5-6 on the volume. Four will be very quiet, thin and somewhat dull. Took me some time to adjust, tone controls are different from all other amp generations.
Good demo/comparison of two solid workhorses! One tiny nitpick.... Since the blonde's presence control was at 7.5, it might have been a little more accurate had the blackface's bright switch been on during the guitar segments, especially the Les Paul. That said, the blackface was quicker on the attack and scooped in the mids, the brownface sounded a little more saturated and compressed. IMO blackface Fenders (especially the big ones) take pedals a little better than brownfaces, but sound (again IMO) just a little generic. This week's favorite is a reissue blackface Twin-Reverb in a blonde Showman head cabinet through an original blonde Bassman cab with 2 D-120F's. Works great for pedal steel, which I play about 2/3 of the time, as well as for 6 string, currently a Les Paul Standard '60s.
Yeah the blackface does take pedals so well. I love the way the blonde crunches naturally. The presence control does add another factor, although it’s not the same sort of brightness as the bright switch on the black. Its like the presence is an extra tone knob and the bright switch is adding an ice pick to your amp lol
I'm surprised to find I prefer the black panel. It's a little brighter and richer sounding. Peter has amazing gear, he's a friend of mine too! Great playing BTW
Is it just me or are a lot of commenters here also owning a Bassman of similar vintage? We must all really love the amp or else we wouldn't be here watching someone else play theirs and singing praises of it.
Great comparison I've always been under the impression that the Black face Bassman's are Superior to the Blonde Bassman's but I've recently changed my opinion on this...The Blonde Bassman's have so much character and warmth ..To me.. to my ears.. the Blonde Bassman's are more aggressive and gnarly.. I need one in my life. I have the opportunity to buy a 62 Blonde Bassman head with the original cabinet for $1,200 but I'm broke LOL
Yeah they are both great but the Blonde is overall great for getting crunch and character. The blackface is more useable and perfect for clean tones. My most used amp
I still prefer my tweed Bassman reissue, it just breaks up earlier and takes drive pedals pretty well, changed my whole perspective on bass amp and bass pedals.
Cool demo they both sound great, but the blonde has the slight advantage for me… Revolution was played plugged straight into the console without an amp by the way… maybe you know that already😁
I think I like cranked blackface (scooped mids) tones for lead guitars and middier/dirty tones for rhythm (like, tweed tones - I know there's none in the video - for rhythm, and blackface for lead... don't know if any band does that with two guitars interplay, but would be awesome)
That’s a black one right? That’s kind of a transition between blonde and black and very desirable! The Beatles used a 6G6-B circuit like the blonde I’m using
@@sampopkin So it's even MORE complicated than that. The 1964 "Tuxedo" bassmans are often times labelled as 6G6-B circuits per the tube chart. However, as more examples have been examined and mapped by amp techs over the years, you'll find that the "Tuxedo" version is now often referred to as a 6G6-C circuit. There were some very specific changes to the gain structure on both the normal channel and bass channel which makes them unique. Very close generally to the 6G6-B but even tighter with a bit less flubb and more headroom. They THEN changed it even further at the very end of 1964 and created the AA864 circuit. By 1965 they had settled into the AB165 circuit. The amp you have is the 6G6-B version, with the solid state rectifier (main change from the 6G6-A). Every "Tuxedo" I've ever played, could be mistaken for a Marshall with eyes closed when you get past 5-6 on the dial. George continued to use the Tuxedo Bassman throughout his Dark Horse years as well. Tuxedo Bassmans are by far the best amp overall I've ever played straight in, including vintage Marshalls.
The transitional blondes are just so rare, unfortunately the price follows accordingly. These sound pretty similar, but the tremolo circuit on a blonde bandmaster compared to the blackface are like night and day. The blonde being the superior.
Good content and Merry Christmas to you. I have a 1969 gold top les paul deluxe mostly stock, pick ups were changed in 1970 and grover tuning keys added then. Put new grovers on recently. What is a good way to get it appraised? Thanks man Beatle freak here also
Don’t pay too much attention to the numbers on the knobs, this is where the amp starts to sound good but doesn’t distort. Vintage amps have differences in pot values. One bassman could be unbearably loud at 3, and another very quiet
Just curious, why higher volume on the Les Paul? Don't the humbuckers actually have higher output? I have the 64 blond Bassman that my dad bought new and will be rebuilding it over the next few months. Thanks for the review.
@@sampopkin Thanks for the response. I can't wait to get my dad's up and running. I'll be testing it with my Gretsch Super Chet and my custom-made Mike Scaggs Tele. I have the original canvas covers!
THE BEATLES will forever be associated with 'vox' but in reality literally every session they ever did a 'fender bassman' was always right there in the studio and always used fer various things until after their return from india where they mostly switched to 'fender' altogether only occasionally using 'vox' from then on out. i've also heard they would've preferred to tour with fenders but BRIAN E. had already signed an exclusive contract with 'vox' in exchange fer free equipment without really consulting the band first.
@@sampopkin i always heard they were still primarily 'vox' until their return from india. after inida they only used 'vox' occasionally. have you heard otherwise? i know the cream colored bassman was there from start to finish and i believe McCARTNEY still used it after break up. also, do you know how often they used the 'selmer'? or what other amps besides all those they may have used (not including running direct, of course)? we gear geeks gotta stick together.
@@NoirL.A. until rubber soul it was all Vox. Then Paul used the blonde bassman for bass and some casino For Revolver through White Album they used a combination of hybrid voxes and fender amps, including fender showmans and deluxes So during the white album they did use Vox conquerors after India. By Let it Be and Abbey Road it was only fender
@@sampopkin there are pics of them in the studio in 1964 and the blonde bassman is there although how often they used it and when i don't know but i know one particular blonde bassman was in the studio with them at all times and i believe after the breakup PAUL continued to use it. i know they also periodically used 'selmer' and maybe others too but not sure beyond that.
Brownface sounded better than the actual bass... the Tele was best through the blackface and the les paul the brownface...i wish you would played it clean though lol
Maybe a different speaker cab would reveal more, but the two don't sound as different as I imagined they would. Great demo. Very helpful.
They both sound great, but the blond bassman is amazing. I need one in my life, thanks for opening my ears up to this gem.
The blonde one sounds better to my ears. Great playing, Sam. 🤘🏼
I love them both. The black one is my favourite for the Tele and LP. To my ears it's the sound of rock. The blond is particularly nice on the bass.
Yeah, the Blonde sounds like it has more gain.
There's something about a Bassman that just works really well with a Tele on the bridge position. Great demo's!
Blonde by a country mile... particularly clear with the Tele and cranked P-Bass. Way more character, life, vitality, dimension from that blonde beauty-- real music.
They're pretty darn close. If it were a blind test, I doubt I could tell them apart.
I am surprised how good they both sound and how good the 65 sounds. Very close. Maybe the 63 by a hair, but I would be happy with either.
Talking on bass, on Vol 3 i prefer the Black but cranked i love the blonde, omg, what a great video Sam, so great to see a good comparison of amps. :D
I agree! Blonde has such cool character to it when cranked. But I’m glad I own the black
the Presence control/circuitry can make a huge difference for guitar. It simultaneously reduces headroom on the amp and adds some boost to mid-high range. The circuitry resides between the preamp and main amp stages, so it was fairly unique. And you can dial-in the amount of effect you want. Neat!
The blonde was richer and warmer, but the black might cut through better. I'd be happy with either.
Both sound great but the Blackface wins for me. The Blonde has a bit more character, but the Blackface is more even across different instruments and configurations.
Makes me happy to hear. I agree the black is across the board great. The blonde just has this amazing way it crunches up
Great vid sir and respect. I love all amps. I got a blackface pro reverb combo I am amazed how sweet it sounds. It was Jim Campilongo's amp that he used to lug around before his back told him to get a Princeton. One thing weird is that it has Pyle speakers and it works.
Wow nice! I have a 1974 non master vol Pro Reverb that is my favorite amp ever
I really prefer the Bass Channel (for guitar)on my 1962 Blonde Bassman.More balls than the Normal channel when cranked.
Great video Sam always a good watch and I respect your knowledge and playing✌🏻
The cleaner Blackface sounds nice in isolation but I bet the chunky mids of the Blonde sound better in the mix.
Great demo. What do you know... I preferred the 1965 Bassman on guitars and the Blonde on bass.
So glad I found your channel. Righteous tones brother! 🎸 That Steppin’ Out is so nice :)
Thanks man!
I am a happier owner of a '63 blonde bassman for almost two years now. It is the bestest guitar sound I ever had, but it doesn't really come alive before 5-6 on the volume. Four will be very quiet, thin and somewhat dull. Took me some time to adjust, tone controls are different from all other amp generations.
Four is quiet to you? Damn man!
Definitely liked the black for slight breakup tones…blonde for higher gain …thanks!
Good demo/comparison of two solid workhorses! One tiny nitpick.... Since the blonde's presence control was at 7.5, it might have been a little more accurate had the blackface's bright switch been on during the guitar segments, especially the Les Paul. That said, the blackface was quicker on the attack and scooped in the mids, the brownface sounded a little more saturated and compressed. IMO blackface Fenders (especially the big ones) take pedals a little better than brownfaces, but sound (again IMO) just a little generic. This week's favorite is a reissue blackface Twin-Reverb in a blonde Showman head cabinet through an original blonde Bassman cab with 2 D-120F's. Works great for pedal steel, which I play about 2/3 of the time, as well as for 6 string, currently a Les Paul Standard '60s.
Yeah the blackface does take pedals so well. I love the way the blonde crunches naturally. The presence control does add another factor, although it’s not the same sort of brightness as the bright switch on the black. Its like the presence is an extra tone knob and the bright switch is adding an ice pick to your amp lol
I'm surprised to find I prefer the black panel. It's a little brighter and richer sounding. Peter has amazing gear, he's a friend of mine too! Great playing BTW
I’ll tell him you say hi! Glad I own the black one although either would be amazing to have
I use the Bass channel for my Les Paul.
Even though my girlfriend is blonde, I preferred the brunette ;)
Haha nice. you liked the 65?
Is it just me or are a lot of commenters here also owning a Bassman of similar vintage? We must all really love the amp or else we wouldn't be here watching someone else play theirs and singing praises of it.
I don't really see bassists using the bassman amps, but I see tons of guitarists using them. 🤷♂️
These days bassists don’t use many tube amps live. But in the studio it’s a must have
Great comparison I've always been under the impression that the Black face Bassman's are Superior to the Blonde Bassman's but I've recently changed my opinion on this...The Blonde Bassman's have so much character and warmth ..To me.. to my ears.. the Blonde Bassman's are more aggressive and gnarly.. I need one in my life. I have the opportunity to buy a 62 Blonde Bassman head with the original cabinet for $1,200 but I'm broke LOL
Yeah they are both great but the Blonde is overall great for getting crunch and character. The blackface is more useable and perfect for clean tones. My most used amp
This is a year old but you should have sold some tail for that amp at that price.
I still prefer my tweed Bassman reissue, it just breaks up earlier and takes drive pedals pretty well, changed my whole perspective on bass amp and bass pedals.
Cool demo they both sound great, but the blonde has the slight advantage for me… Revolution was played plugged straight into the console without an amp by the way… maybe you know that already😁
Yes, but Revolution 1 was George plugged into a blonde Bassman
Ok, Revolution 1 yea... @@sampopkin
I really liked both amps and i thought the bass recorded really well
I think I like cranked blackface (scooped mids) tones for lead guitars and middier/dirty tones for rhythm (like, tweed tones - I know there's none in the video - for rhythm, and blackface for lead... don't know if any band does that with two guitars interplay, but would be awesome)
Amazing video! Would be lovely to hear silverface compared to these two :D
Black & Tan ? Sounds like a popular beer mix.
I actually think that Blackface is later as the faceplate says “Design & Circuits Patented 66.”
I thought so too, but was able to confirm mine’s a 65 from the tube chart. Apparently that ‘66’ you mentioned is on every amp in that era
I dunno.. Think I prefer the Blackface. Can't go wrong either though really! Happy Holidays 🍻
I would be curious of a blind test, servicing both they are very close at same setting should sound very similar
Oh sick, I have an 1964 AA864 Bassman with the matching cab, I didn’t know that it was basically the same as what the Beatles used
That’s a black one right? That’s kind of a transition between blonde and black and very desirable! The Beatles used a 6G6-B circuit like the blonde I’m using
@@sampopkin Makes sense, I think they’re all great for most classic rock stuff regardless of model
@@sampopkin So it's even MORE complicated than that. The 1964 "Tuxedo" bassmans are often times labelled as 6G6-B circuits per the tube chart. However, as more examples have been examined and mapped by amp techs over the years, you'll find that the "Tuxedo" version is now often referred to as a 6G6-C circuit. There were some very specific changes to the gain structure on both the normal channel and bass channel which makes them unique. Very close generally to the 6G6-B but even tighter with a bit less flubb and more headroom. They THEN changed it even further at the very end of 1964 and created the AA864 circuit. By 1965 they had settled into the AB165 circuit. The amp you have is the 6G6-B version, with the solid state rectifier (main change from the 6G6-A). Every "Tuxedo" I've ever played, could be mistaken for a Marshall with eyes closed when you get past 5-6 on the dial. George continued to use the Tuxedo Bassman throughout his Dark Horse years as well. Tuxedo Bassmans are by far the best amp overall I've ever played straight in, including vintage Marshalls.
Love the sound man! Any plans on riff teaching videos? Would be cool 😅
Thanks! Teaching/lessons are a part of my future, I’m just trying to figure out best how to do that
The Blonde is better cranked but otherwise I prefer the Blackface.
The transitional blondes are just so rare, unfortunately the price follows accordingly. These sound pretty similar, but the tremolo circuit on a blonde bandmaster compared to the blackface are like night and day. The blonde being the superior.
Both sound amazing, but the blonde one wins it for me.
Pretty long list of Beatle tunes where the blonde Bassman was used
Good content and Merry Christmas to you. I have a 1969 gold top les paul deluxe mostly stock, pick ups were changed in 1970 and grover tuning keys added then. Put new grovers on recently. What is a good way to get it appraised? Thanks man Beatle freak here also
Great demo, but setting the bass to 3 for the clean P Bass demo was an odd choice.
Don’t pay too much attention to the numbers on the knobs, this is where the amp starts to sound good but doesn’t distort. Vintage amps have differences in pot values. One bassman could be unbearably loud at 3, and another very quiet
Fun stuff
Just curious, why higher volume on the Les Paul? Don't the humbuckers actually have higher output? I have the 64 blond Bassman that my dad bought new and will be rebuilding it over the next few months. Thanks for the review.
Thanks, I was just running through different volumes on the amp so you could hear it get different shades of crunch
@@sampopkin Thanks for the response. I can't wait to get my dad's up and running. I'll be testing it with my Gretsch Super Chet and my custom-made Mike Scaggs Tele. I have the original canvas covers!
THE BEATLES will forever be associated with 'vox' but in reality literally every session they ever did a 'fender bassman' was always right there in the studio and always used fer various things until after their return from india where they mostly switched to 'fender' altogether only occasionally using 'vox' from then on out. i've also heard they would've preferred to tour with fenders but BRIAN E. had already signed an exclusive contract with 'vox' in exchange fer free equipment without really consulting the band first.
Exactly. Starting with Rubber Soul the Bassman was their main amp
@@sampopkin i always heard they were still primarily 'vox' until their return from india. after inida they only used 'vox' occasionally. have you heard otherwise? i know the cream colored bassman was there from start to finish and i believe McCARTNEY still used it after break up.
also, do you know how often they used the 'selmer'? or what other amps besides all those they may have used (not including running direct, of course)? we gear geeks gotta stick together.
@@NoirL.A. until rubber soul it was all Vox. Then Paul used the blonde bassman for bass and some casino
For Revolver through White Album they used a combination of hybrid voxes and fender amps, including fender showmans and deluxes
So during the white album they did use Vox conquerors after India. By Let it Be and Abbey Road it was only fender
@@sampopkin there are pics of them in the studio in 1964 and the blonde bassman is there although how often they used it and when i don't know but i know one particular blonde bassman was in the studio with them at all times and i believe after the breakup PAUL continued to use it.
i know they also periodically used 'selmer' and maybe others too but not sure beyond that.
@@NoirL.A. I’ve never seen blonde bassman in studio in 64. Maybe you could send a link?
Selmer was used during Pepper but not much else
Brownface sounded better than the actual bass... the Tele was best through the blackface and the les paul the brownface...i wish you would played it clean though lol
You can still find both at very reasonable prices these days, probably because they made so many of
them
Blackface, yes, blonde, no. Check reverb over time.
How loud did they get at max volume?? that must have been insane
Very loud
@@sampopkin how many db? if you know
So now we need a companion video where you step through each A/B and give us your analysis.
Blackface for me.
How do they sound cranked with a Tele
Amazing!
3:21 bro, Is that Shakin All Over?
No but I’m a massive Townshend fan!
@@sampopkinThat bassline sounded like The kinks you're looking fine.
@@bobbystereo936 that's because it is!
and guitar in bass amp??
I did both guitar and bass comparisons in this video. Bassman amps are notoriously great with regular electric guitars
I hear more of a difference during the bass guitar demo. Blonde is fatter.
sell one and fix your bruxism