Mic it up onstage and it will absolutely slay at your next grunge or garage-rock gig. And in doing so, its sound is utterly rock and roll. So many guitarists’ tone quests these days are about achieving snarling overdrive at reasonable volumes, and this Silvertone combo gets there much quicker than most of its similarly rated competitors from the era. But fold in the tube-driven tremolo, selected with a foot switch made from a simple wedge of wood, and there are plenty of rootsy atmospherics to be had here.Īnd therein lies much of the charm. Many guitarists have noted there is not a lot of treble response in this circuit, which some have sought to improve with simple modifications, and the inefficient, lo-fi speaker doesn’t help on that score either.Īdd the small rectifier and slightly undersized output transformer – both of which contribute to a characteristic softness and compression in their own different ways – and it’s a pretty raw, browned-out amp overall. So many guitarists’ tone quests these days are about achieving snarling overdrive at reasonable volumes, and this Silvertone combo gets there much quicker than most of its similarly rated competitors from the era Still, it’s worth noting a few crucial differences between them.ĭespite the lower voltages on the 12AX7 preamp tube that comprises the first gain stage on each of the 1482’s two channels, these are biased pretty coldly, and there’s no bypass cap around the cathode-bias resistor to fatten up the voice tweed-Fender style. Fiberboard cabinet and baffle constructionĪside from the Silvertone’s addition of a tremolo effect and individual tone controls on each channel, the circuits in the 1482 and the late-’50s 5E3 Deluxe are roughly similar.
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