I have the Blues Junior IV. Great cleans, and it roars with a tube screamer and big muff. Neighbors can hear it a block away even when it's not maxed.
3 года назад
I purchased a new Fender Blues Junior IV Tweed amp in June of 2020 I then purchased a set of Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod My Fender Blues Junior IV Tweed amp has a Clean Bright sound and with the Ibanez Sonic Distortion Mod this rig is a must if you are serious about Blues music and Blues guitar I have been practicing and studying and playing since I was in Junior High school went through a lot of Amps and I will be Brutally honest this Fender Blues Junior IV Tweed amp hooked up to my Fender Mexican Stratocaster with Fender Hot Noiseless pickups and a Ibanez Sonic Distortion Mod is all I need to do serious gigs with easy to transport and carry and setup on stage and the price was just Perfect for my wallet it has all the power I need plus the small compact amp is Perfect for my bedroom practice and study sessions I'm certainly proud & pleased & Happy with my Fender Blues Junior IV Tweed amp plenty of Creamy Heavy sustain
I have a bjr3 and really like it after swapping out the speaker, but now I shop for used deals on old hardwired amps from the 60s, if you look hard enough you can find stuff that just needs recapped and it's amazing for less than what a bjr costs now
This is one of the shittiest circuits Fender made. It is the so called greenboard-type. When you turn the reverb up - you WILL hear an annoying hiss. The Billmods-page gives detailed information about this. Fender used 5 tubes in total for this urban legend amp. It is okay for clean playing - you get a tone that is a bit bassy, middy, but never really clean. The amps overdrive (single channel, you have to turn the volume up) sound is more some bad transistor amp's overdrive - electric shaver sound. The EQ circuit's treble part is just bad; it is quite inactive up to 7-8. The amp takes pedals well though. I bought this amp 25 years ago - I did not know much about amps back then and Fender was like a religion to many players. Confirmation Bias rules. I would not buy any instrument/amp by Fender anymore - for more than 7 years now. Because they are overpriced - especially the US-made (and the Mex' are as good/as bad) ones. Fender continued this amp - in spite of it's faults. The following generations of it are much better. This first BJ is .... a boring amp. It is not hand made - and even if it was, that is not a criteria for a good amp. It is obvious that you are a decent player. You should play through a decent amp. Go for a blackstar Studio 10 for example - you get a transatlantic full of sound with only one pre and one power amp tube. The transistor-based Roland Blues Cube and Boss Nextones sound much better. F.ck Fender.
With a name like that you ( anti fender)wouldn't say its a great amplifiers. As for myself I think its a pretty decent amp better with a strat but good for everything
I like this one better. The newer one is too bright and too trebly, the reverb is useless after pass 3.
3 года назад+3
I purchased the Fender Blues Junior IV Tweed amp and I hooked up my Fender Mexican Stratocaster with Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod All I know is I got Massive Amounts of Heavy Sustain and then when you clean it up I get Smokey Bluesy tone Neck pickup and Clean Chimney Bell tones from the bridge pickups I have had a few Fender amps I'm 64 years young I started out when I was in Junior High school maybe before I have gigged in a couple of bars and parties as far as this Fender Blues Junior IV Tweed amp it has been very dependable and all the gear I use for Blues music and Blues Guitar is one Fender Mexican Stratocaster with Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod and the Fender Blues Junior IV Tweed amp it's all I need and it has made me a couple of dollars playing so I'm sure satisfyingly Pround of it plus just 3 pieces of gear is all I have to pack for a paying gig
oh man - i guess everyone is just so different - so funny - I've been playing for over 30 years through just about every amp imaginable but had never plugged into a blues jr until i was doing an out of town gig last month and so a guy lent me a blues jr (this usa one here) and i was so instantly hooked that when i came home i traded in my princeton (yes i really did) for the tweed nos version of the blues jr - and then 2 wks later traded one of my peavy classics for another one (blues jr Mark II) - and i am obsessed with the unique sound of these amps - oh and by the way i absolutely LOVE the way it farts out on the low end - dyno mite to my ears! Yep, I understand most would think I am crazy but it matters not to me - just love the blues jr - i think it is utterly astonishingly perfect - for me
I've been getting blasted, carressed, melted, fondled and clobbered by all the classic tube amps for 40 years. In my travels, I have run into as many "Antifender" folks as I have "Antivox, Antigibson, Antipeavey, etc...". Everybody hears things differently and most serious guitarists are "tone chasers" at heart. That's why we have 15 guitars, 67 pedals, 9 amps, 23 mics and a thousand miles of cable in our possession at any given time. This is the way of things and it is good and wholesome. I own a Blues Jr. IV and a Peavey Classic VT with access to dozens more. There is a time and a place for every amp, even those crazy-assed Pawn Shop series Fenders, such as the Vaporizor (best live grunge amp ever made). The Blues Jr. has two specific uses: bedroom blaster and studio workhorse. It's a good amp for all things, but it really shines in the studio when you let a mic-master work their juju. Combo amps need special attention, but they will reward you with incredible tones once you learn their quirks. I'll give you an example: The setup that I used with Blues Jr's in the studio and currently my home studio is simple. Two sm57s (everybody should have a few of these). Put one in front, 1" away from the grill. Set off axis by 10ish degrees, pointing at 1" away from the edge of the dome. Put the other 57 in the back of the cabinet, on axis, 3" from cone, approx 1" from edge. This does two things: it evens out mid and highs on the front, while still giving you all the ring and pluck from your single coils. The back mic will expose the Blues Jr's fat ass. Yeah, she has one, but she wears her cloths well. The back mic, on axis can give you the "farty" lows some guys like (I'm not one of them). Shortening the distance from the speaker will make it more flatulent. Make sure you adjust your phasing. I almost always have to flip the back mic. If you are using a closet or an iso box, I recommed a room mic. I use one or two AKG C3000s and set them at level with the top of the amp, about 4 inches away with the plane angled to match the angle of the cone, roughly. This will give what I call seasoning. All cabs have a flavor that gets lost when close micing. A good mic will pick up those subltle harmonics that only resonate from a cabinet. It's OK to hate on Fender. They are not without their shortcomings, but lets be fair and consider how all the classic makers have let us down at one time or another. There's a reason that these Fender amps have been around so long and have been used in some of the most historic riffs ever recorded. Some turds can't be polished with mic placement and effects. We know this. Don't play through a turd. A Blues Jr is by no means a turd, although Fender has sent us a few over the years. They all have.
I have the Blues Junior IV. Great cleans, and it roars with a tube screamer and big muff. Neighbors can hear it a block away even when it's not maxed.
I purchased a new Fender Blues Junior IV Tweed amp in June of 2020 I then purchased a set of Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod My Fender Blues Junior IV Tweed amp has a Clean Bright sound and with the Ibanez Sonic Distortion Mod this rig is a must if you are serious about Blues music and Blues guitar I have been practicing and studying and playing since I was in Junior High school went through a lot of Amps and I will be Brutally honest this Fender Blues Junior IV Tweed amp hooked up to my Fender Mexican Stratocaster with Fender Hot Noiseless pickups and a Ibanez Sonic Distortion Mod is all I need to do serious gigs with easy to transport and carry and setup on stage and the price was just Perfect for my wallet it has all the power I need plus the small compact amp is Perfect for my bedroom practice and study sessions I'm certainly proud & pleased & Happy with my Fender Blues Junior IV Tweed amp plenty of Creamy Heavy sustain
could you do a comparison with the two rock studio? WOuld be really cool!
Sounds more bassy than the recent BJRs.
Your video is not nearly loud enough. Wide open and cannot tell what you are saying.
Wonderful, affordable tube amp.
Is this the 3 or 4 ?
I think it was a 3
If it’s American, it’s neither
I wish these amps were still worth 300 or 500$ now they are over 1000$ new
I have a bjr3 and really like it after swapping out the speaker, but now I shop for used deals on old hardwired amps from the 60s, if you look hard enough you can find stuff that just needs recapped and it's amazing for less than what a bjr costs now
I can't hardly hear your voice.you need o speak clearly my friend.
What ? I cant hear a thing your saying speak up
いいぞもっとやれ
OmG!
Creepy
This is one of the shittiest circuits Fender made. It is the so called greenboard-type. When you turn the reverb up - you WILL hear an annoying hiss. The Billmods-page gives detailed information about this. Fender used 5 tubes in total for this urban legend amp. It is okay for clean playing - you get a tone that is a bit bassy, middy, but never really clean. The amps overdrive (single channel, you have to turn the volume up) sound is more some bad transistor amp's overdrive - electric shaver sound. The EQ circuit's treble part is just bad; it is quite inactive up to 7-8. The amp takes pedals well though. I bought this amp 25 years ago - I did not know much about amps back then and Fender was like a religion to many players. Confirmation Bias rules. I would not buy any instrument/amp by Fender anymore - for more than 7 years now. Because they are overpriced - especially the US-made (and the Mex' are as good/as bad) ones. Fender continued this amp - in spite of it's faults. The following generations of it are much better. This first BJ is .... a boring amp. It is not hand made - and even if it was, that is not a criteria for a good amp. It is obvious that you are a decent player. You should play through a decent amp. Go for a blackstar Studio 10 for example - you get a transatlantic full of sound with only one pre and one power amp tube. The transistor-based Roland Blues Cube and Boss Nextones sound much better. F.ck Fender.
With a name like that you ( anti fender)wouldn't say its a great amplifiers. As for myself I think its a pretty decent amp better with a strat but good for everything
I like this one better. The newer one is too bright and too trebly, the reverb is useless after pass 3.
I purchased the Fender Blues Junior IV Tweed amp and I hooked up my Fender Mexican Stratocaster with Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod All I know is I got Massive Amounts of Heavy Sustain and then when you clean it up I get Smokey Bluesy tone Neck pickup and Clean Chimney Bell tones from the bridge pickups I have had a few Fender amps I'm 64 years young I started out when I was in Junior High school maybe before I have gigged in a couple of bars and parties as far as this Fender Blues Junior IV Tweed amp it has been very dependable and all the gear I use for Blues music and Blues Guitar is one Fender Mexican Stratocaster with Fender Hot Noiseless pickups with a Ibanez Sonic Distortion Mod and the Fender Blues Junior IV Tweed amp it's all I need and it has made me a couple of dollars playing so I'm sure satisfyingly Pround of it plus just 3 pieces of gear is all I have to pack for a paying gig
oh man - i guess everyone is just so different - so funny - I've been playing for over 30 years through just about every amp imaginable but had never plugged into a blues jr until i was doing an out of town gig last month and so a guy lent me a blues jr (this usa one here) and i was so instantly hooked that when i came home i traded in my princeton (yes i really did) for the tweed nos version of the blues jr - and then 2 wks later traded one of my peavy classics for another one (blues jr Mark II) - and i am obsessed with the unique sound of these amps - oh and by the way i absolutely LOVE the way it farts out on the low end - dyno mite to my ears! Yep, I understand most would think I am crazy but it matters not to me - just love the blues jr - i think it is utterly astonishingly perfect - for me
I've been getting blasted, carressed, melted, fondled and clobbered by all the classic tube amps for 40 years. In my travels, I have run into as many "Antifender" folks as I have "Antivox, Antigibson, Antipeavey, etc...". Everybody hears things differently and most serious guitarists are "tone chasers" at heart. That's why we have 15 guitars, 67 pedals, 9 amps, 23 mics and a thousand miles of cable in our possession at any given time. This is the way of things and it is good and wholesome.
I own a Blues Jr. IV and a Peavey Classic VT with access to dozens more. There is a time and a place for every amp, even those crazy-assed Pawn Shop series Fenders, such as the Vaporizor (best live grunge amp ever made). The Blues Jr. has two specific uses: bedroom blaster and studio workhorse. It's a good amp for all things, but it really shines in the studio when you let a mic-master work their juju. Combo amps need special attention, but they will reward you with incredible tones once you learn their quirks. I'll give you an example:
The setup that I used with Blues Jr's in the studio and currently my home studio is simple. Two sm57s (everybody should have a few of these). Put one in front, 1" away from the grill. Set off axis by 10ish degrees, pointing at 1" away from the edge of the dome. Put the other 57 in the back of the cabinet, on axis, 3" from cone, approx 1" from edge. This does two things: it evens out mid and highs on the front, while still giving you all the ring and pluck from your single coils. The back mic will expose the Blues Jr's fat ass. Yeah, she has one, but she wears her cloths well. The back mic, on axis can give you the "farty" lows some guys like (I'm not one of them). Shortening the distance from the speaker will make it more flatulent. Make sure you adjust your phasing. I almost always have to flip the back mic. If you are using a closet or an iso box, I recommed a room mic. I use one or two AKG C3000s and set them at level with the top of the amp, about 4 inches away with the plane angled to match the angle of the cone, roughly. This will give what I call seasoning. All cabs have a flavor that gets lost when close micing. A good mic will pick up those subltle harmonics that only resonate from a cabinet.
It's OK to hate on Fender. They are not without their shortcomings, but lets be fair and consider how all the classic makers have let us down at one time or another. There's a reason that these Fender amps have been around so long and have been used in some of the most historic riffs ever recorded. Some turds can't be polished with mic placement and effects. We know this. Don't play through a turd. A Blues Jr is by no means a turd, although Fender has sent us a few over the years. They all have.