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KENDRICK 2410 Guitar Amplifier w/ Reverb
Estimated price for orientation: 1 745 $
Category: Electric Guitar
Class:
Description Condition: New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition Brand: Kendrick Type: Electric guitar amplifier made in Texas Amplifier Type: Combo Suitable For: guitar or harmonica Impedance (ohms): 2 Ohms Model: Kendrick 2410 re-issue w/ reverb & tremolo Amplifier Technology: Vacuum Tube Country/Region of Manufacture: United States
A few words from tube amp builder Gerald Weber.. When I introduced to the world the first authentic 5F6A Bassman reissue in 1989, I had no idea that I would sell thousands of them over a span of over a quarter of a century. Besides building them, many collectors sent their original 5F6A Bassmans to me for overhaul. Over a period of years and literally thousands of hours of research, and thousands of hours playing and testing originals and the ones I built, I eventually discovered everything that was good about that amp and everything that was bad. I kept refining what I built and today I have what I would consider the ultimate 4X10 5F6A Bassman amp. It is called the KENDRICK 2410 amp and it has features that no other amp has. I would put it against any original 5F6A Bassman in the world and believe me, mine is hands down better. There are many people building clones of this legendary Fender amp, but the clone builders copy the mistakes as well. They just copy the schematic and call it a day. Here is what sets the KENDRICK 2410 apart from everyone else: · Antique pine wooden finger-jointed cabinet. Other builders use (green, non-resonant) Home Depot/Lowes/grocery store pine. I found that the resonance of the wood makes a huge difference in the fullness of the tone. I use only 100 year old antique Northern White pine which is super lightweight and super resonant – just like the original vintage amps of the 50’s. This stuff is so resonant that when cutting it and a piece falls on the shop floor, you can hear it ring.· Void less Baltic Birch baffleboard. The amp has a floating baffleboard, which means there is sound coming from the baffleboard as well as the speakers. The Baltic Birch is clear and focused. Cheap plywood sounds muddy and lacks definition. Plain and simple, the Baltic Birch is superior in tone.· Custom-wound Paper bobbin interleaved output transformers. I actually sacrificed an original 5F6A Bassman output transformer to the tone Gods to find out just exactly what was the Mojo behind this incredible sounding output transformer. I found that the seven interleaves were not evenly spaced as one would normally expect. Instead, the seven interleaved windings were deliberately not symmetrical, which is part of this legendary sound. My output transformers are turn for turn exactly like the original and the core material is M-18, just like the originals. Other clone builders use an off-the-shelf generic transformer which doesn’t sound like the original. Their interleaves are wrong and the plastic bobbins lose efficiency and just don’t sound the same.· You gotta give Leo Fender credit because at the time he was at the leading edge, but he made numerous lead-dress and grounding mistakes. We know about this because we are blessed with 56 years of hindsight and thousands of amps later. In the KENDRICK 2410, you will find about 3 or 4 feet less grid wire than what is in an original. Grid wire causes noise, hum, radio signal interception, and instabilities. By re-routing certain components and putting the grounds in the correct places, we have refined the layout and lead-dress so that the KENDRICK 2410 has less noise, less hum and rock-of-Gibraltar stability not found in clones or originals. · Original Bassmans use fish-paper for the component board. This proved to be a disaster because fish-paper can absorb moisture which can cause noise and even sometimes conductivity. The KENDRICK 2410 component board is made from Epoxy glass laminate (Garolite), which is the absolute best material for this application (as used by the military). It cannot become conductive and will not absorb moisture. · Original Bassmans lacked shielded input grid wires which made them noisy, and contributed to hum. The KENDRICK input grid wires and volume control grid wires are double shielded silver coax. I obtained this wire as scraps from a lab that had contracts with NASA for the space shuttle. No telling how much the government paid for this double-shielded silver wire! It doesn’t get any better. · We custom make our speakers using the original NOS Donal Kapi 3KSP 92 lb paper cones that were used in the original 5F6A Bassman. No other manufacturer has access to these cones because I bought the last 13,000 of them just three weeks before Donal Kapi was shut down by the IRS in May of 1993. These speakers are used by many of the top session cats in Los Angeles, including Scott Henderson, Michael Landau, John Fogerty, Joe Walsh and many others. It makes a huge difference in the sound. · Custom-made non-etched plate filter capacitors. Other clones builders are using foreign made etched plate caps. Those would work OK in a transistor radio or other low voltage application, but only a full-size non-etched plate capacitor will do its job in a high-voltage tube amp. Why is this important? Because our amps will play in tune when playing in the key of B or B flat. Clone builder’s amps will sound out of tune in those two keys because the 120 Hz AC ripple current will modulate the B or B flat and sound warbly out of tune. · Carbon Composition resistors are used in the signal path. We found out years ago that the carbon composition resistor (which was used in the original Bassman) has a tone that is far superior to carbon film or metal film or Metal oxide resistors as used by others. · Bias trim pot added. Originals didn’t have this feature so new output tubes might sound good and maybe not. With the trim pot, the output stage bias can be set for optimum performance. Other upgrades include: · A 20 foot 3-prong 16 gauge AC cord. You will never need an extension cord.· Custom-made hook-up wire. It is Teflon insulated (best insulator known to man) tinned copper but with a cloth covering (looks vintage) and the cloth covering is lacquered to prevent fraying. · Lacquered Tweed covering. No one has more experience with covering an amp. Our amp coverings are impeccable. Stripes go the correct angle, corners perfect, lacquer job is perfect. · Porcelain ceramic tube sockets. Superior to the Bakelite sockets of the original, which was just an early form of brittle plastic.· Export primary on the power transformer so the voltage can be set for any voltage in the world ( 100v, 110v, 120v, 220v,230v, 240v)· Improved Presence circuit. On the originals, the presence pot had DC on it by design, so it was always scratchy and always sounded like it was dirty. By substituting a load resistor for the pot and placing the pot in series with the presence cap, we take the DC off the pot, which eliminated the noise and scratchiness and improved the range of the presence control. · Better Leather-look handle. Original handles always broke and they hurt your hand. We use a steel reinforced handle that won’t break and it is comfortable on the hand. · Option of tremolo. Since the ground switch isn’t needed on a 3-prong AC design, we use the ground switch hole to mount a dual concentric pot (speed and intensity). This type of tremolo has no effect on the original tone and is one of the best tremolo circuits you will ever hear. · Option of reverb. Most people like a little reverb on their guitar tone just to make it more velvety. The optional reverb circuit is in parallel with the preamp and injected back into the output stage, so it has no effect on the dry signal of the amp, which is dead-nut the same circuit as the original. Originals had four output jacks, which are not needed. We just use one output jack for the speakers and the other three are converted to 1) a stereo footswitch jack to control tremolo and reverb, 2) a reverb control knob, and 3) a stereo jack for the reverb spring pan send and return. Now you know the difference in terms of quality, workmanship, design and features. But there is something you get with the KENDRICK 2410 that you can’t see. It is the feeling you get from playing this fine amp. I don’t know what else to compare it to, and this may sound like hype, but it feels like the amp “knows” what you want it to do. That’s right. It is so responsive to your picking nuance that you can go from bell-like clean tones, to slightly growling overdrive, to screaming overdrive by altering your pick attack. I could compare it to the sense I had when driving my Porsche 911 or riding a good spirited horse. When you play this amp, it will affect you emotionally and it will affect what you want to play. You may find yourself playing slower and enjoying it more as you milk the mojo out of this tone beast. An original 5F6A Bassman in good condition would sell for anywhere from $5,000 to $10,000 and it is not nearly as good as the new KENDRICK 2410 amps I build. Plus, an original will always be a service problem because it is 56 years old. So the new KENDRICK 2410 amps have an extra 56 years of life in them because they are brand new. You can own this fine amp for only $3,395 plus $95 shipping = $3,490 out the door. I require a $1745 deposit and the balance is to be paid when it ships in approximately 6 weeks (each one is hand-built one at a time and it takes me 6 weeks to build one). So to be clear, the “Buy It Now” is for the $1,745 deposit. The balance of $1,745 will be payable when it is ready to ship in approximately 6 weeks.
Description
| Condition: | New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details. See all condition definitions- opens in a new window or tab ... Read moreabout the condition | Brand: | Kendrick |
| Type: | Electric guitar amplifier made in Texas | Amplifier Type: | Combo |
| Suitable For: | guitar or harmonica | Impedance (ohms): | 2 Ohms |
| Model: | Kendrick 2410 re-issue w/ reverb & tremolo | Amplifier Technology: | Vacuum Tube |
| Country/Region of Manufacture: | United States |
A few words from tube amp builder Gerald Weber.. When I introduced to the world the first authentic 5F6A Bassman reissue in 1989, I had no idea that I would sell thousands of them over a span of over a quarter of a century. Besides building them, many collectors sent their original 5F6A Bassmans to me for overhaul. Over a period of years and literally thousands of hours of research, and thousands of hours playing and testing originals and the ones I built, I eventually discovered everything that was good about that amp and everything that was bad. I kept refining what I built and today I have what I would consider the ultimate 4X10 5F6A Bassman amp. It is called the KENDRICK 2410 amp and it has features that no other amp has. I would put it against any original 5F6A Bassman in the world and believe me, mine is hands down better. There are many people building clones of this legendary Fender amp, but the clone builders copy the mistakes as well. They just copy the schematic and call it a day. Here is what sets the KENDRICK 2410 apart from everyone else: · Antique pine wooden finger-jointed cabinet. Other builders use (green, non-resonant) Home Depot/Lowes/grocery store pine. I found that the resonance of the wood makes a huge difference in the fullness of the tone. I use only 100 year old antique Northern White pine which is super lightweight and super resonant – just like the original vintage amps of the 50’s. This stuff is so resonant that when cutting it and a piece falls on the shop floor, you can hear it ring.· Void less Baltic Birch baffleboard. The amp has a floating baffleboard, which means there is sound coming from the baffleboard as well as the speakers. The Baltic Birch is clear and focused. Cheap plywood sounds muddy and lacks definition. Plain and simple, the Baltic Birch is superior in tone.· Custom-wound Paper bobbin interleaved output transformers. I actually sacrificed an original 5F6A Bassman output transformer to the tone Gods to find out just exactly what was the Mojo behind this incredible sounding output transformer. I found that the seven interleaves were not evenly spaced as one would normally expect. Instead, the seven interleaved windings were deliberately not symmetrical, which is part of this legendary sound. My output transformers are turn for turn exactly like the original and the core material is M-18, just like the originals. Other clone builders use an off-the-shelf generic transformer which doesn’t sound like the original. Their interleaves are wrong and the plastic bobbins lose efficiency and just don’t sound the same.· You gotta give Leo Fender credit because at the time he was at the leading edge, but he made numerous lead-dress and grounding mistakes. We know about this because we are blessed with 56 years of hindsight and thousands of amps later. In the KENDRICK 2410, you will find about 3 or 4 feet less grid wire than what is in an original. Grid wire causes noise, hum, radio signal interception, and instabilities. By re-routing certain components and putting the grounds in the correct places, we have refined the layout and lead-dress so that the KENDRICK 2410 has less noise, less hum and rock-of-Gibraltar stability not found in clones or originals. · Original Bassmans use fish-paper for the component board. This proved to be a disaster because fish-paper can absorb moisture which can cause noise and even sometimes conductivity. The KENDRICK 2410 component board is made from Epoxy glass laminate (Garolite), which is the absolute best material for this application (as used by the military). It cannot become conductive and will not absorb moisture. · Original Bassmans lacked shielded input grid wires which made them noisy, and contributed to hum. The KENDRICK input grid wires and volume control grid wires are double shielded silver coax. I obtained this wire as scraps from a lab that had contracts with NASA for the space shuttle. No telling how much the government paid for this double-shielded silver wire! It doesn’t get any better. · We custom make our speakers using the original NOS Donal Kapi 3KSP 92 lb paper cones that were used in the original 5F6A Bassman. No other manufacturer has access to these cones because I bought the last 13,000 of them just three weeks before Donal Kapi was shut down by the IRS in May of 1993. These speakers are used by many of the top session cats in Los Angeles, including Scott Henderson, Michael Landau, John Fogerty, Joe Walsh and many others. It makes a huge difference in the sound. · Custom-made non-etched plate filter capacitors. Other clones builders are using foreign made etched plate caps. Those would work OK in a transistor radio or other low voltage application, but only a full-size non-etched plate capacitor will do its job in a high-voltage tube amp. Why is this important? Because our amps will play in tune when playing in the key of B or B flat. Clone builder’s amps will sound out of tune in those two keys because the 120 Hz AC ripple current will modulate the B or B flat and sound warbly out of tune. · Carbon Composition resistors are used in the signal path. We found out years ago that the carbon composition resistor (which was used in the original Bassman) has a tone that is far superior to carbon film or metal film or Metal oxide resistors as used by others. · Bias trim pot added. Originals didn’t have this feature so new output tubes might sound good and maybe not. With the trim pot, the output stage bias can be set for optimum performance. Other upgrades include: · A 20 foot 3-prong 16 gauge AC cord. You will never need an extension cord.· Custom-made hook-up wire. It is Teflon insulated (best insulator known to man) tinned copper but with a cloth covering (looks vintage) and the cloth covering is lacquered to prevent fraying. · Lacquered Tweed covering. No one has more experience with covering an amp. Our amp coverings are impeccable. Stripes go the correct angle, corners perfect, lacquer job is perfect. · Porcelain ceramic tube sockets. Superior to the Bakelite sockets of the original, which was just an early form of brittle plastic.· Export primary on the power transformer so the voltage can be set for any voltage in the world ( 100v, 110v, 120v, 220v,230v, 240v)· Improved Presence circuit. On the originals, the presence pot had DC on it by design, so it was always scratchy and always sounded like it was dirty. By substituting a load resistor for the pot and placing the pot in series with the presence cap, we take the DC off the pot, which eliminated the noise and scratchiness and improved the range of the presence control. · Better Leather-look handle. Original handles always broke and they hurt your hand. We use a steel reinforced handle that won’t break and it is comfortable on the hand. · Option of tremolo. Since the ground switch isn’t needed on a 3-prong AC design, we use the ground switch hole to mount a dual concentric pot (speed and intensity). This type of tremolo has no effect on the original tone and is one of the best tremolo circuits you will ever hear. · Option of reverb. Most people like a little reverb on their guitar tone just to make it more velvety. The optional reverb circuit is in parallel with the preamp and injected back into the output stage, so it has no effect on the dry signal of the amp, which is dead-nut the same circuit as the original. Originals had four output jacks, which are not needed. We just use one output jack for the speakers and the other three are converted to 1) a stereo footswitch jack to control tremolo and reverb, 2) a reverb control knob, and 3) a stereo jack for the reverb spring pan send and return. Now you know the difference in terms of quality, workmanship, design and features. But there is something you get with the KENDRICK 2410 that you can’t see. It is the feeling you get from playing this fine amp. I don’t know what else to compare it to, and this may sound like hype, but it feels like the amp “knows” what you want it to do. That’s right. It is so responsive to your picking nuance that you can go from bell-like clean tones, to slightly growling overdrive, to screaming overdrive by altering your pick attack. I could compare it to the sense I had when driving my Porsche 911 or riding a good spirited horse. When you play this amp, it will affect you emotionally and it will affect what you want to play. You may find yourself playing slower and enjoying it more as you milk the mojo out of this tone beast. An original 5F6A Bassman in good condition would sell for anywhere from $5,000 to $10,000 and it is not nearly as good as the new KENDRICK 2410 amps I build. Plus, an original will always be a service problem because it is 56 years old. So the new KENDRICK 2410 amps have an extra 56 years of life in them because they are brand new. You can own this fine amp for only $3,395 plus $95 shipping = $3,490 out the door. I require a $1745 deposit and the balance is to be paid when it ships in approximately 6 weeks (each one is hand-built one at a time and it takes me 6 weeks to build one). So to be clear, the “Buy It Now” is for the $1,745 deposit. The balance of $1,745 will be payable when it is ready to ship in approximately 6 weeks.