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The amps of the ‘68 Custom range (there’s a Deluxe and a Twin, as well) all feature as standard some of the key modifications that amp techs and tech–savvy players have been making to Fender amps over the decades to make them better at roles other than classic ‘Fender clean’.
My favourite gigging amp is an original 1968 Deluxe Reverb that has an uprated speaker, reduced negative feedback and a small tweak to its tone–stack values, but I’ve been looking out for a Princeton to tweak up in a similar way for smaller gigs and recording.
Anything else is at the discretion of the manufacturer.
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Some manufacturers also attached other letters to the end of the date code to indicate day of the week, work shift, serial number, lot number, etc.
The EIA only specifies manufacturer and year/week code.
I say small, because it’s easily overdone, in which case you can end up with an amp that sings at high volume but sounds like mud at domestic levels.
The name is derived from the profile of the aluminium angle used to trim the baffle, which looks like roof flashing used to keep rain water away from walls.
Top–notch Schumacher transformers are used, with three Groove Tubes 12AX7s, a 12AT7 reverb driver and a 6V6 output pair.
The rectifier is the period–correct 5AR4 (later models use 5U4).
The 1967/68 period was when the new owners of Fender swept away the classic ‘blackface’ control panels across the range, replacing them with a new and eye–catching silver livery.
Many models also received an aluminium trim around the speaker baffle to complete the ‘silver’ overhaul, although this element was soon dropped (you won’t find any of these dating beyond 1969).