I think it's relevant to note that Leo was late in the hum bucking pickup game. Even by years. Most of his early circuits were example circuits from tube guides. Later circuits were not designed by Leo exclusively. He was a smart man that knew what he wanted to achieve based on what had gone before. Not an innovator in anything but his greatest claim to fame. Making the electric guitar a manufactured product. That was his greatest stroke. The amps, of course are amazing. his was the good fortune to be on the ground floor. This takes nothing away from his ability to read the market and locate areas of growth for the amplifier end of Fender. Much of that was in the hands of hired individuals.
Leo did always keep to his own ideals though. Not much known is that the designers of the dreaded first series post CBS changes to Fender amps were in fact employees hired by Leo. With Leo out of the picture they were free to pitch their upgrades at CBS management and thus the changes. Leo may or may not have eventually given in to these supposed upgrades. It's impossible to know now.
In short I'm just saying that Leo was the right man for the job. But the companies success and relative goodness of the amps is more about the timing and the fact that those are the amps that guitars were designed around and then more amps were designed around the new guitars and then more guitars were designed around current amps, etc. ad nauseam. In other words, the amps sound good because that's what we know amps to sound like. It's hard to imagine a world without the BF Fender paradigm. But if it hadn't been Leo, we might have a whole different ideal for what vintage amps should sound like.
Leo did always keep to his own ideals though. Not much known is that the designers of the dreaded first series post CBS changes to Fender amps were in fact employees hired by Leo. With Leo out of the picture they were free to pitch their upgrades at CBS management and thus the changes. Leo may or may not have eventually given in to these supposed upgrades. It's impossible to know now.
In short I'm just saying that Leo was the right man for the job. But the companies success and relative goodness of the amps is more about the timing and the fact that those are the amps that guitars were designed around and then more amps were designed around the new guitars and then more guitars were designed around current amps, etc. ad nauseam. In other words, the amps sound good because that's what we know amps to sound like. It's hard to imagine a world without the BF Fender paradigm. But if it hadn't been Leo, we might have a whole different ideal for what vintage amps should sound like.
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