Dating a silverface amp
This has the benefit of providing ease of access to the inside while providing a strong top.Fender largely ceased the twill covering in 1960, though the Harvard continued until 1963, and the Champ until 1964.
The construction of the chassis was changed as well, mounted to the back with the tubes pointed down, as opposed to having the chassis mounted on the top of the cabinet.
Please note that although the photo below only shows the amp partially, there are photos out there that confirm that this is indeed a Fender Twin Reverb.
Due to copyright issues, we are only allowed to show you the one below, but you’re free to search for ones yourself.
Other things to look for include chasses placed in cabinets from a different year, “doctored” tube charts, non-original control plates (usually reproductions) on silverface amps, original transformer bell ends (they have correct date codes, of course) on non-original transformers, and non-original knobs (either repro or silverface knobs on blackface amps).unusual things can be found such as the empty “Pulse Adjust” hole on the rear of early ’60 brown amps, the “middle” volume control, use of tweed style grill cloth, strange non-documented transitional circuits, and changes in tolex color including the super-rare cream colored “brown” tolex that is found on some late ’60 amps. Given that people may refer to this information seeking specific production quantities of amps they are curious about, it should be pointed out that the serial numbers apply to chassis types, and not specifically to amplifier models.
Looking at serial numbers next to the ’60 5G5 brown Pro Amp for example, we see numbers ranging from 00001 to 02000, suggesting that there are 2000 of these amplifiers made in ’60.
The tolex on the earliest versions in this era was pinkish brown and rough textured.