Fender Bassman

In the recording of "Drain You" Butch Vig explains that they added two tracks of the Fender Bassman. Time Stamp - 0:23

He used this to record “Father of All...” and ended up blowing it up.

In [this interview with *Premier Guitar* magazine](https://www.premierguitar.com/articles/27660-johnny-marrs-mancunian-charm?page=2) regarding the recording of his 2018 album *Call the Comet*, Marr explains how he got the tone on the track "Hey Angel." He says, "The main rhythm guitar on there is a 1973 Les Paul Custom, like the one James Williamson used in the Stooges. That guitar was running through a Fender Bassman cranked up very hot. The solo and lead parts were done with the Carl Martin PlexiTone pedal, which is a great-sounding thing!"

In "Joe Bonamassa on tone – and how to sound like Clapton, Page and Beck" 2:11 joe talks about his rig and the couples of twins and bassman that he's using

Fender Bassman 1955 4x10

Campbell himself mentions the Bassman in this September 1999 "Spotlight on a Heartbreaker" interview from the official Tom Petty & the Heartbreakers website. > **26) Hank asked: I saw that you use those Danelectro pedals. Can you tell me your settings on the Daddy-O?** For settings on the Danelectro pedal consult Geetartech@aol.com. **27) Randy in NC and Greg asked: What is your stage amp setup and what pedals do you use? I saw what looked like several Vox AC-30's. Are your AC-30's top Boosted?** I use a vintage AC-30 ( with top boost I think) with wah wah Roland delays, Danelectro Daddy-O --- also a Kustom200 and sometimes a Bassman amp. Also on the last tour the soundman had a feed from a Groove Tube preamp for the PA only.

Mentioned in this interview from the October 1987 issue of *Musician* Magazine, as documented in this page from the website Tom Waits Library. It is erroneously transcribed as "basement". > MR (1987): "Not too surprisingly. Waits prefers "mostly tube stuff' to digital equipment. Microphones of choice include a Ribbon ("Dave Garroway") and RCA high-impedance mikes; Waits usually sings through a Shure Green Bullet (used mostly by harmonica players). Also an Altec 21D vocal mike- "because Sinatra used it." On guitar, Waits likes his Gretsch New Yorker "with old strings" played through an old Fender tweed basement [*sic*] amp. When recording, he says he uses a lot of heavy compression with room sound; to do that he'll sometimes push the track into the room through Auratone speakers, and then mike that. It's not his only technique, "but I don't want to give away all my secrets." (Source: "Tom Waits is flying upside down (on purpose)" Sidebar. Musician: Mark Rowland. October, 1987)

> The 4x10s, you know. The classics. I’ve had Matchless amps for years and years. I had a 4x10 and then I had a 4x12 tall combo, and then I had a 4x12 and a head, and I loved those a lot, and I wore them out. And then the company went out [in 1998, before its 2000 comeback], and I couldn’t get those exact components, so when I had them fixed, they changed. So I started fooling around with Fenders again, and that’s when the ’59 Bassman came out, and it’s hard to beat those.

Once Buddy started the larger package shows, he bought a Fender Bassman. 4 10" [4-10 inch speakers]. At 50 watts, it was a powerful amp for that time. It was designed initially for electric bass, but it didn’t take long for guitarists to fancy it. This amp could handle the size of the venues the Crickets were playing by this time, not to mention being capable of overpowering the enthusiastic crowds that greeted them at their live performances. Particular amps seemed to have been used on specific tours. http://www.superoldies.com/buddyholly/equipment.html

I always use different amps. I have a wide selection of old amps, including a lot of old Fender tweed stuff. I have a ’59 Bassman; they have such a one-of-a-kind sound. I’d never played through one before, and I knew Eric would play through something like that. He would play in middle position on his Strat, and I would always say, “How does it sound like that?” I put my Strat in middle position and crank it up and it’s just a little bit clanky. A friend of mine, Danny Nader, who lives in Cincinnati, just gave me this Bassman. He said, “I never use it. Please take it and use it.” I plugged in and I said, “Oh, there it is.” It went ahead and crunched in all the right frequency places that were missing, and it’s an amazing sounding amp.

http://www.amp-fix.com/amps.htm

In [this transcribed interview from the October 1997 issue of *Canadian Musician* magazine](https://octopusmediaink.com/daniel-lanois-on-recording/), Lanois discusses his guitar setup. "Then it just comes down to guitar amps. That’s a huge part of the personality. I prefer old VOX AC30s, but I also quite like a 1959 410 BASSMAN. The tube amps can give pretty good results."

Used for Jones' Wurlitzer 200A on the The Fall Tour, as mentioned by keyboard, guitar and drum tech Futz in this July 9, 2010 *Mix Online* interview. > “We also have a stock ’70s Wurlitzer 200A electric piano going through a Boss BD-2 Blues Driver (for extra crunch) and an Ibanez AD-9 analog delay before going to the bass input of the Fender Bassman,” says Futz.

While hanging out with a band called The Sidekicks, guitarist Mike Burke and I would visit Roy when he played at another club in Wildwood. The three of us would play instrumentals like “Honky Tonk,” by Bill Doggett and Billy Butler. I usually used Roy’s ’53 Telecaster and his 4 X 10 Fender Bassman amp. After ’66 I was touring and was usually out of town when Roy was playing. I’d hear stories from friends about some new technique Roy was doing, and I missed seeing him. When I’d see Roy at jam sessions, I’d sit with his wife, Judy, and his kids. We’ve been friends since those days. Roy was a guitar hero in Southern Jersey and is the reason many of my old guitar buddies play a Telecaster today.

Max as pictured on the right is playing a 1959 Fender Bassman 4x10 Amplifier, most likely a reissue.

Mentioned by Haggard in this Guitar.com interview. > **Guitar.com: What kinds of amps are you using?** > Haggard: I use two Fender Twin Bassman amps, and that's about all I need. My tone is a lot like Keith Richards. I don't use a lot of echo. I use a little dirt and that's about it. I like to make the effects occur on the neck, rather than through some electronic thing.

"One of our engineers Mr. Colson brought this to Smart. He bought it at a pawn shop for $75. He had modified it, disconnecting the capacitor for the bass control, which added like a 10x boost to the gain, so the thing just roared. He also triode connected the power tubes, which lowered the power output and warmed up the tone. We used it on a lot of sessions. I would suggest a band use it if their amps sounded crappy. They would always be dubious… until they plugged it in."

Shea Staduium Concert (i think), image is comparing original Bassman to a reissue one

At 2:00 in this video, Gane says that he uses the Fender Twin, Pro Reverb, and Bassman

On his live setup for resonator guitars: "I just put little cheap mics in there and plug them into a Boss volume pedal, a Boss stereo chorus, and then plug that into Fender Bassman amps."

According to [this interview (transcribed from the February 1998 issue of *Guitar Player* magazine)](http://www.oocities.org/sunsetstrip/backstage/1076/article2f.html), Kevin utilized a '59 Bassman during the recording of Third Eye Blind's self-titled debut album.

> For amps, the liner notes for 88 Elmira St. cite a slew of tweed and blackface Fender beauties, including a ’63 Vibrolux and Super Reverb, a ’58 Twin, ’64 Deluxe, and a ’58 Bassman, many of which had been beefed up with bigger transformers.

the closest thing to a reliable source. I have seen images and everything said here was a fact and this is a direct quote from Ash himself

> "He also had a 1950’s Fender Bassman combo amp that had 4 10’s in it and was loud as hell. The Tele and the amp were stolen out of his mother’s station wagon while Chris was attending a Joni Mitchell concert at the Mid South Coliseum in the spring of 1976 (February 4th - ed.)" -Van Duren

As you can see throught the video, there are many fender cabs lining the walls. they look to be Fender Bassman's because of the coloration and overall look, but i may be wrong.

Juanma uses this amplifier in stereo alongside his Bogner.

Can see the amp on this band's video and many other ones

Al uses Fender Bassman live

This legend always uses his 1959 Bassman amp on stage.

Arjan Pronk confirmed in an interview he uses Bassmans all the time

From 2014 Total Guitar interview: Mike's go-to axe is an Elvis Costello signature Fender Jazzmaster, augmented with a Mastery bridge, paired with a '68 Fender Bassman - "a real workhorse and is really a no-nonsense amp."

Fergus' Fender Bassman can be seen at 1:34 in this video

In a show, you can see a Fender Bassman and Bandmaster

Mentioned in this September 15, 2008 post on the official Allman Brothers Band website forum. > Here is an excerpt from the first draft of Johnny's book: > > "Duane was playing a Telly with a Strat neck and he and Gregg both had super Beetle Vox amps. I had an early '60s Fender Bassman amp Duane really liked so we took it out to California with us. As loud as we were playing at that time, the speakers in the amp were going and not quite loud enough so we put JBLs in it. I kept that amp until my friend, Butch Owens, borrowed it and it was stolen. He later replaced it with something as good as or maybe even better than what I had. It's a good amp and I still have it. I think it was one he got from Joe Walk. Paul played an A-100 with a leslie cut down to be portable. It wasn't a B-2 but it was close to it and we had a Wurlitzer piano that Gregg played. When Pete joined the band he played a Jazz bass with a custom amp. The amp belonged to a guy who lived in Decatur. > We had a Fender 12-string Gregg would use sometimes and maybe an acoustic/electric guitar. Gregg didn't play guitar very often but he wrote a lot of songs on one. He became friends with Jackson Browne when we were out there and Gregg learned a lot from him. I think they learned from each other. Gregg went through a folk phase with his writing but his style changed with different instruments. > I've still got the Wurlitzer from the band and it has a story that came with it. Several of us went to a music store in L.A. and picked out this particular Wurlitzer for Paul to play since he was playing most of the Wurlitzer parts then. Actually, Gregg and Paul set up close together so they could swap between the Wurlitzer and B-3 when they needed to but Paul was primarily on the Wurlitzer. The salesman showed us how to hook it up to an amp which was essential because you couldn't play it off the little speaker that came in it. Once we figured it out, it sounded great. The Wurlitzer is still my favorite keyboard. Duane had borrowed a '59 gold top Les Paul from Tommy Compton, who still lives in Decatur, and he didn't want to give it back to Tommy. And Tommy definitely wanted it back. Eventually it worked around to Gregg trading the Wurlitzer for the guitar. The guitar was worth more than the piano but Tommy had a use for it and was trying to keep Duane from getting busted because Tommy's dad was ready to go after Duane to get the guitar back. So, the piano was sent back to Decatur and Duane kept the guitar. Of course that guitar would be worth a fortune now, certainly more than the piano is worth. Tommy eventually sold the piano to a guy who sold it to Eddie Hinton. After Eddie died in '95, his mother sent the piano back to the guy who'd sold it to Eddie and I bought it back from him a year or so later to use in my studio."

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