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One thing that the 6G6,6G6A and 6G6B amps have is a tapped treble control in the Normal channel. The pot has a 4th lug that is tapped at 70K. This yields a midrange that I don't hear in any brown, black or silver panel Fender that doesn't have this pot. The 6G BAssman amps always had this pot. Other brown amps had it added to their circuit in the brown era. Take a look at the schematics, and you will see the changes to the 6G_ circutis over the course of the era.
I have a '63 prototype BF Pro that is a BF circuit in all respects except this one thing, It has these tapped treble pots in both channels, and it yield a different midrange than the pure BF circuit.
IT is difficult to get 'that' Seltzer sound without using exacctly the same equipment. An attenuator will change things sonically, also, imho. HE runs that 6G6B at 5-6 on the dial, and that is where the amp really starts to work and is dynamically flexible. IT is the moving air that makes things happen, to a great degree.
IF I wanted a little house amp to play that music, I might go for a 6G2 Princeton and run it into a closed back cab. IT is still going to be loud by the time you move some air, but it won't be as loud as the 6G6B pushing 2X12's.
Then, there's another side to the coin. I once read on a 45RPM record label...volume is a state of mind. TO some extent that is true. However, another record said "Turn the volume up all the way" LOL Tonal richness at any volume....that's the quest, eh?
Oh, and where do I get a set of Brian SEtzer's ears and fingers? LOL
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