Fender manufacturing nomenclature...

[Bob M.]

Hi all,

I hope I posted this in the proper forum?

I'm interested in knowing about all the stamps and codes and whatnot I see inside Fender amp chassis. Today, I have a silverface Twin Reverb on my bench, master volume, pull boost, probably mid 70s.

This amp has some large ink stamps around the power transformer that say 'T-4', 'W-2' and 'W-4'. These obviously have to do with maunfacturing nomenclature. Also, there is also a stamp that says 'Insp 28' which I guess is pretty self-explanatory. Now, I've seen these in Fender chassis for years but I'm not really sure what they indicate. Is anyone out there intimately familiar with the Fender manufacturing procedures during the 60s and/or 70s (did you work there, perhaps?) and could you possibly focus some light on some of the manufacturing codes Fender used within the plant.

And, no, I'm not interested in dating this amp. I know all about pot codes, transformer codes and speaker codes so that's not what I'm asking about.

Also, this amp has an unusual serial number stamped in the usual place on the rear of the chassis. The stamp typeface seems normal and consistent from what I'd expect to see from Fender in that era except the serial number is B xxxxx. I'm used to seeing A xxxxx but I cannot say I've ever encountered a 'B' serial number in the mid 70s on a Fender amp and I've seen hundreds of Fender amps. What does that mean - is this a second? or an amp given to an artist endorsee or Fender employee? I don't recall ever seeing export amps with any variation like this in the serial numbers. Who might know definitively about this?

I don't have to know about any of this stuff but I'm just naturally curious. I have my guesses, like most of you do, but I'd like comments from people who are in the know, who worked there or who will be revealing all things Fender in their upcoming book.

Thanks for reading my post,

Bob M.

[DrGonz78]

Also, this amp has an unusual serial number stamped in the usual place on the rear of the chassis. The stamp typeface seems normal and consistent from what I'd expect to see from Fender in that era except the serial number is B xxxxx. I'm used to seeing A xxxxx but I cannot say I've ever encountered a 'B' serial number in the mid 70s on a Fender amp and I've seen hundreds of Fender amps. What does that mean - is this a second? or an amp given to an artist endorsee or Fender employee? I don't recall ever seeing export amps with any variation like this in the serial numbers. Who might know definitively about this?

Just by looking at this page here>>> Superior Music - Fender Amp, Amplifier Serial Numbers

The Bxxxxx serial code was between 1975-1976 as per this author on that page says. I would bet that is correct.

[Enzo]

I seem to recall entering lots of B serial numbers on warranty claims within the last few years, for what it is worth.

Bob, I have no specifics, but stamps like that are often assembler IDs. QC IDs, and like that. Joe, MAry, and Ralph each have a number, and as they wire the sockets, or install the pots or whatever they do, they stamp the chassis.

We have a member, I cannot recall who now, but seems to me his mother worked the line at Sunn (I think it was Sunn) and they signed their names. So if we ever saw an old Sunn with that name in it, it was built by his mom. I may have confused the details.

[Enzo]

I seem to recall entering lots of B serial numbers on warranty claims within the last few years, for what it is worth.

Bob, I have no specifics, but stamps like that are often assembler IDs. QC IDs, and like that. Joe, MAry, and Ralph each have a number, and as they wire the sockets, or install the pots or whatever they do, they stamp the chassis.

We have a member, I cannot recall who now, but seems to me his mother worked the line at Sunn (I think it was Sunn) and they signed their names. So if we ever saw an old Sunn with that name in it, it was built by his mom. I may have confused the details.

[Bob M.]

Yes, Fender in it's early days signed the chassis, sometimes in pencil on a piece of tape. Later, certain assemblers had their own rubber stamp with their names on it (saw one of those recently, late 60s). As Fender moved deeper into the 70s and the CBS corporate culture got a greater stranglehold on the oldster outlaw Fender do-it-yourselfers, the factory codes became more corporate and codified. They probably had a time and efficiency expert roaming the factory floor.

I remember being in the Fullerton factory in the 70s and was watching neck manufacture for guitars (Strats, I think on that day). A guy walked up to the suit who was taking me around with the most beautiful bird's eye maple neck, really stunning and unusual. The suit said put it in the wood chipper and I asked him why. He said, "We want all Fender necks to look exactly the same". Obviously, the corporate culture had taken such a deep hold that they didn't realize that cool things like an outstanding bird's eye maple neck on an instrument does alot to advance the brand.

But it wasn't all bleak; there were holdouts in that factory from the Leo days that never really 'bought into' the CBS idea of management or manufacture. Of course, we now have hindsight to interpret the past and to the victors goes the ability to tell the story as they see it. OTOH, I don't think there much of a defense for the CBS strategies concerning Fender. They had no clue how beloved Fender was as an american icon by the musicians who bought and used their gear. They saw Fender as a cash cow. And that is exactly what happened at CBS in the mid-60s. Their business consultants said diversify and the big money will be in entertainment related businesses in the future so CBS bought Fender and the New York Yankees, both of which they badly mishandled. They almost choked all the life out of Leo's wonderful little business but smarter minds prevailed.

DrGonz78, that's a good website with alot of good Fender info, thanks.

Enzo, That's a good educated guess on the amp codes. I guess we'll have to wait for that book on Fender factory nomenclature.

Bob M.