These are marked with EIA code “606” which is the company number for Schumacher.
Well, this universal “truth” was debunked when we found a bunch of amps with transformers made by the Better Coil and Transformers company.
New original Fender reproduction, for the blackface era (1960s).
Fender logo with "tail", cast metal, mounting screws included.
New original Fender reproduction, for the CBS era (1970s).
"Tailless" Fender logo, cast metal, mounting screws included. Looks similar to the original Fender part number 0990947000. Black handle strap, metal reinforced, with chrome end caps - two screws in each end cap. See Data Sheet here The result is a T-nut that goes in straighter and holds tighter than ordinary T-nuts. Chrome end hooks - replacement for vintage and modern Fender amps. Does not contain Fender logo, so it may be used on other brands of amps.
Another way of saying this is that the ‘maximum’ plate current is flowing at all times.
The glued and stapled baffles on the silverface amps is to us one of the bigger differences between the blackface and silverface amps, or should we say, the cabinets. A sample question and answer session will be followed a more detailed explanation.By definition, any Class A amplifier draws’ maximum’ plate current at all times, and it should not deviate between idle (quiescent) and full output power.A 1957 tweed Vibrolux was reported with a tube chart printed with circuit “5E3” (tweed Deluxe) instead of the correct 5F11 (see photo).Clearly Fender wasn’t afraid to use incorrect parts when they were in a bind. The 5G12 Concert is the earliest version from very late 1959 and early 1960 so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period.