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By most guitarists the Oxfords are considered weak and they fart out in the lows when being pushed hard.Because of the low efficiency you’ll have to turn up the amp and push the tubes harder to get any volume.First in 1978, when the push/pull volume boost was introduced, there was a significant difference from the traditional blackface circuit. Due to its small size many players want to increase the power, volume and clean headroom.A few also wants to change the distortion characteristics. Just because many people does so, it doesn’t mean it’s right for you.The Oxfords have gotten a bad rumor, not rightfully deserved in our opinion.Players who play clean will experience a well balanced and “vintage fender correct” clean tone.You’ll need schematics to implement some of these mods. We usually start with explaining a mod from a functional perspective where we relate to components in the logical schematics diagram.Finally we point out location of components in the physical layout diagram.

They do have some vintage vibes and a nice musical voice.The Oxford speakers are known as relative inefficient speakers (not loud) with moderate bass response.They’re not as punchy as the Jensens, CTS and Utah speakers from the time, not to mention the modern speakers of today’s world who are much louder. The Oxford speakers are Fender correct and will give you decent cranked tones at moderate volumes. Among the original speakers in the blackface and silverface amps we personally favor the vintage Jensen C10n speakers due to the huge clean tone and big bottom end caused by the large magnet and 1,5″ voice coil.We’ve seen no other amp that has been analyzed so thoroughly in terms of mods and tricks to make it bigger. In general we don’t recommend the mods that increase the power and clean headroom unless you actually have experienced the amp to be too small at gigs.If you are using your amp at home or in recording situations you should appreciate the early breakup of the original 6V6 power tube circuitry, the ineffective phase inverter, a smaller output transformer and a low-medium inefficient 10″ speaker. If you’re micing the amp the audience should have no problem hearing a stock PR (we know: it can be hard to trust the sound engineers).

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