“N” was the highest-rated guitar amp speaker for 10” and above; “R” the lowest.The ratings were lower still (T, U, V, etc.) for 6”, 8”, PA and other small or light-use speakers.I eventually traded it in for a used blackface Showman with a 15” JBL.That amp worked pretty well with my Rick 12-string.
This amp has its original 15” Jensen P15N Bluebell speaker and its original 6SC7 preamp tubes. This wide-panel tweed amp has a 12” Jensen P12R bluebell speaker. Perhaps the Ivy names were designed to appeal to the “advanced” student player. I couldn’t decide which one to include, so they both made the grade. The cabinet is nearly as large as that of a Deluxe, though it only has an Oxford 8” speaker and is a low-powered 5 watts, same as the Champ.I have included the date code (where available) following the description of each amp below.1948 Dual Professional Super Amp.This amp has been restored with new professional re-tweed of the cabinet, new mohair grille cloth and metal “V” frontpiece, while retaining the original electronics and tubes.Many years later, in the ‘80s, I was back into playing and recording and looked in the want ads for a Fender tube amp. That amp turned out to be an early-production 1960 Pro-Amp.I started to investigate the world of pre-CBS Fender amplifiers.Tweed amps can be placed in three general categories by the styling of the front of the amp: “TV”, “wide-panel” and “narrow-panel” tweed.The tweed amps depicted below are all one-speaker combo amps – not exotic, but very desirable even today for their tone. The alnico magnet was designated by a “P” in the speaker code; thus, a P12R is a 12” alnico speaker rated “R” as to its output capability.The general information provided was obtained from books, online sources or personal observation.Other than the tweeds, where I am missing some of the high-end models, I believe you will find here a fairly good representation of Fender amp models in the brown, white and blackface eras. Back in the day, tweed was considered a pretty durable material.The heavy transformers and copper chassis assembly were placed on the bottom of the amp cabinet.An internal “umbilical cord” linked the chassis to the volume and tone controls at the amp top.