| WHY? Why not? Cyberspace is chock-full of usueless websites so why not a Silvertone/Danelectro appreciation page? Sometime in the late 80's I became obsessed with Danelectro guitars. Thanks to prolonged exposure to Link Wray records this obsession became quite complete and resulted me in scouring every local music store for a Danelectro guitar. When I would finally find one, usually in a pitiful and abused condition, I would be amazed at the high price tags - these were, after all, originally inexpensive low-grade instruments made from Masonite. Unfortunately at the time I was blissfully unaware that Danelectro guitars built for Sears under the Silvertone brand name were more common, less expensive, and shared the unique features and sounds of the more familiar Danelectro guitars. I am amazed that even in these times, when everyone and their mother is selling their "vintage" firewood on eBay at inflated prices, the value of 50's and 60's Silvertone instruments and amps remains stupendously low. How long will it stay that way? Hard to say, so my advice is start looking for a Danelectro-made Silvertone guitar before collectors drive the prices up or some MTV celebrity gets photographed with one. |
 |
| So what's so great about these Silvertone/Danelectro guitars? Well if I have to explain it to you there's probably no hope and you're lusting after a Stratocaster or Les Paul. If the names Link Wray, Southern Culture On The Skids, or The Flat Duo Jets mean anything to you then you probably already know what I'm talking about! Don't let the cheaper short-scale student models and the mediocre Korean reissue Danelectros give these instruments a bad name. |  |
| Danelectro's trademark was the masonite construction of the guitar bodies. The bodies were hollow, built around a wooden frame. The bridge was screwed into an internal wooden block that connected the top and back of the body. In earlier models, a piece of wood runs from the neck pocket to the bridge, while later models contain less internal structure. Danelectro's well-known "lipstick" single-coil pickups are a big part of why these guitars sound so good. These are constructed around a single alnico bar magnet, wound to a relatively low (4.75k) resistance, and housed in an actual surplus lipstick tube. Single-pickup long-scale Danelectro guitars originally came equipped with an ingenious three-way tone switch. Like many 50's single-pickup designs, this was intended for quick transitions between rhythm and lead tones, such as the Fender Esquire concept. In the lower switch position, the tone control (which was located where you would expect the volume control to be, closer to the bridge) functions normally. In the middle position, the tone control is bypassed entirely. In the top position, the tone control rolls off lows instead of highs, creating a sound similar to that of a bridge pickup. On guitars with more than one pickup, Danelectro used "concentric" stacked knobs. In order to save money, the same generic three-way toggle switch found in the single-pickup guitars was used as a pickup selector switch. This is the real reason Danelectro guitars had their pickups wired in series, producing a big punchy sound with more output and midrange than individual pickup settings and eliminating hum. Parallel wiring (as used by virtually all other manufacturers) would have required a slightly more expensive switch! |
   |
 |  |  |  |
| Model 1317 c.1957 The "quintessential" Danelectro-made Silvertone U1 - long-scale neck, 3-way "tone switch" and "coke bottle" headstock. These guitars sound rich and multi-dimensional, yet quite twangy and lively - completely unlike the popular Korean reissue Danelectros. The tone switch circuitry on these single-pickup models allows for a surprisingly wide range of sounds. A highly underrated, lightweight and playable guitar with a big tone. |
Model 1303 c. 1958 This is the predecessor of the better-known Danelectro U2 - note the smaller, thinner "C" body style. For some reason the Silvertone versions still haven't caught up to the Danelectros in price, although these pre-"U" models are at the top of the Silvertone food chain. "C" models have a center block to which the top and back were glued, unlike the "U" guitars, which had a thinner brace glued to the back only. This accounts for their tighter sound. |
Model 1416 c.1962 note: refinished These originally came in either a black or bronze (Model 1415) finish. The "dolphin nose headstock" version of the U1. Quite common and usually available for less than a reissue. The headstock configuration makes these later models feel somewhat different from their predecessors in terms of string tension. Slightly slimmer necks than on 50's models. The guitar above is the second version (note rounded cutaway shape). |
Model 1457 c.1964 The long-scale, 2-pickup "amp-in-case" model. Features two series-wired pickups w/ concentric controls. Bigger and looser sounding than the "U" models on account of even less internal bracing - only a block under the bridge. Everything you would expect from a two-pickup Danelectro at a fraction of the price of a Shorthorn. Despite having the same body shape as the short-scale 1448, these are vastly superior guitars on par with other long-scale Danelectros. |
 |
 |
 |
| Like Silvertone guitars, the Danelectro-made Silvertone amps are highly underrated and undervalued, which is great news if you're looking for The Big Tone on a shoestring budget. Danelectro's amp building experience dates back to the mid-30's when company founder Nathan Daniel began building Electar amps for the Epiphone company, long before the first Danelectro guitar was built. When they have been well maintained, Danelectro amps sound fantastic and offer the kind of tone you would expect from high-dollar contemporary "boutique" amps. A wide range of Silvertone amps was manufactured by Danelectro but the ones I am specifically interested in and recommend are the larger pre-reverb, "split chassis" combos made prior to the early 60's. These amps generally sound much better than the more familiar 60's "head & cabinet" Silvertones such as the popular 1484 Twin Twelve and could best be described as archaic. These amps were manufactured from 1953 until 1961 with changes being made only in cabinet construction. In 1957 the cabinets were redesigned with top-mounted controls replacing the older rear-mounted design and the whole line was renumbered. Plywood and composite board replaced plywood and pine in the cabinets. In 1959 the cabinets were redesigned and the models numbers changed once again while the amps remained electronically identical to the previous generation. In 1961 Danelectro finally made, for better or worse, design changes to the amp line which included front-mounted controls for all the "professional series" amps as well as the introduction of built-in reverb and a "head & cabinet" configuration for the larger models. The typical Danelectro weaknesses are the notoriously low quality resistors they used (a common cause for tremolo circuit failure) and, in the post-1957 amps, and the particleboard baffle and cabinet construction which can be rattle-prone and fragile. Danelectro cut corners to keep their prices (and the shipping weight of their catalog brand amplifiers) low, yet displayed odd touches of quality-concious design in the least expected places, like the shock-mounted preamp tube socket on the upper chassis! |
   |
| speaker configuration/ power tubes |
1953 cabinet "style 1" |
1957 cabinet "style 2" |
1959 cabinet "style 3" |
| 1x12", 2x6V6 push-pull | 1334 | 1392 | 1432 |
| 1x15", 2x6L6 push-pull | 1335 | 1394 | 1433 |
| 2x12", 4x6L6 push-pull | 1336 | 1396 | 1434 |
  |
Model 1432 c.1960 The smallest of what I would consider to be "practical" Silvertone amps. Anything smaller would have to be classified as a recording or practice amp. This two-6V6 combo with a 12" speaker in a "style 3" cabinet can be considered the predecessor of the popular (and in my opinion, inferior sounding) 1472 and 1482 "side control" models. The other tubes used are two 12AX7's, a 6AU6, and a 6X5 rectifier. Too quiet for anything but very low-volume giging when used with guitar. Harmonica players seem to love these amps for their heavy compression which occurs at even the lowest volumes. They get very gritty and raw sounding at reasonably low volumes and are fairly quiet for a two-6V6 amp. Like all Danelectro-made amps, they are voiced quite differently than the Fender amps of the era, operate at lower voltages and have a lower gain structure. Along with its larger counterparts the 1432 features Danelectro's "Vibravox" tremolo - the earliest tremolo circuit used in guitar amplifiers c.1947 - and a jack for a tremolo footswitch. Like the other amps described below, the 1432 has very low hum levels on account of Danelectro's focus on low-noise designs. The seperate preamp and power section design was not uncommon in the 50's and contributed to the extremely quiet operation of these amps. 2 channels, 2 tremolo controls, 2 volume controls, 2 tone controls, 3 inputs. Manufacturer's rating: 10 watts. measures 19" x 15" x 8 1/4", 23lbs |
  |
Model 1392 c.1957 This is the predecessor of the 1432 pictured above, the same amp in the earlier "style 2" cabinet, using the same tubes and speaker with a different chassis layout. This particular model was recently purchased by a friend who describes it as "amazing sounding" - particularly remarkable when you consider the vintage Fender and Ampeg combos in his collection. While Silvertone amps still retain some of their old "Can't Afford A Fender" stigma, players in the know still seek them out for their outstanding tone and incredible value. Once the particleboard speaker baffle is replaced with a more appropriate plywood, these pre-reverb Silvertones compare very favorably to any of the better-known amps of the era. Along with the other amps pictured here, it features the fairly mild but distinctive "Vibrovox" output tube modulating tremolo which can easily be modified to provide deeper throb. 2 channels, 2 tremolo controls, 2 volume controls, 2 tone controls, 3 inputs. Manufacturer's rating: 10 watts. measures 19" x 15" x 8 1/4", 23lbs |
  |
Model 1433 c.1960 To me this is the Holy Grail of Danelectro/Silvertone amps. This is a two-6L6 amp with a 15" Utah speaker and a million dollar sound which was marketed as Silvertone's "jazz" amplifier. The remaining tubes used are a pair of 12AX7s, a a 6AU6, a 6CG7, and a 5Y3 rectifier. I am heavily biased in favor of mid-power 15" speaker combo amps and this is one of the best I have ever heard. Loud enough to gig with, highly compressed and full-sounding at all volume levels. The Silvertone catalog boasts a "60 to 15,000 cycle tonal response range" just like the bigger four-6L6 amps below. Extremely effective tone controls deliver a much broader variety of tones than most of the inexpensive amps of the era as it was intended for use with voice, guitar, baritone guitar or six-string bass. Unlike the 1432 above, the 1433 has seperate treble and bass controls for its "instrument" channel while the "mic" channel retains a single "tone" control and offers a little more gain. Like all the amps listed here, the 1433's channels can be "jumpered" for added volume and gain. 2 channels, 2 tremolo controls, 2 volume controls, 3 tone controls, 4 inputs. Manufacturer's rating: 15 watts. Like the other Silvertone amps, the 1433 had a Danelectro-branded counterpart, the "Challenger" model - essentially the same amp in a different cabinet - which boasted a more realistic 30 watt power rating in Danelectro's catalogs. measures 22" x 17 1/2" x 9 1/4", 38lbs |
  |
Model 1396 c.1958 This is the king of the Silvertones - a four-6L6 combo with two 12"s and dual output transformers in a "style 2" cabinet that precedes the 1400 series amps pictured above. The other tubes used are two 12AX7s, a 6SN7, a 6SJ7, and a 5U4 rectifier. Not nearly as loud as you would expect for the number of output tubes (even though all Danelectro amps were very conservatively rated) because Danelectro chose to use a pair of transformers identical to those used in the two-6L6 amps instead of a single larger transformer. Less compressed than the smaller Silvertone amps but still very "brown" sounding on account of the typical (for Danelectro) low voltages that it runs on. Even more so than the 1433 above, this amp boasts a remarkable amount of clean headroom with conventional single-coil pickups, and an extremely broad tonal range. Both channels have individual bass and treble controls. Just like the 1433, this amp's bass control will generate enough low end to put the stock speaker in serious jeapordy when turned fully clockwise. These amps are perfect candidates for speaker baffle replacements - Danelectro's particleboard construction is just a little too flimsy for a two-speaker amp. Considering the amount of material between speaker cutouts it's a true miracle that these amps don't just cave in on themselves. 2 channels, 2 tremolo controls, 2 volume controls, 4 tone controls, 6 inputs. Manufacturer's rating: 50 watts. measures 26 3/4" x 17 1/2" x 9 1/4", 45lbs |
  |
Model 1434 c.1959 note: non-original grillecloth This amp is electronically identical to the earlier 1396 above, the only difference being Silvertone's "new for '59" 3d generation cabinet and sports fewer input jacks. Like Silvertone's guitar line, the amps made the transition from 1300 to 1400 model numbers in time for the Sears Fall '59 catalog. This specific model has a replaced grillecloth and belongs to a friend. 2 channels, 2 tremolo controls, 2 volume controls, 4 tone controls, 4 inputs. measures 26 3/4" x 17 1/2" x 9 1/4", 45lbs Silvertone marketing hype: "Here is sound reproduction at its finest. Two 12-inch speakers fill every corner with rich, full sound. Powerful 50 watt output (manufacturer's rating). Uses four 6L6 tubes in push-pull parallel stage. Total of 8 tubes plus rectifier. Convenient top-rear controls for easier tuning even while playing. Two volume and four tone controls (two channels, each has treble and bass volume). Built-in vibrato with speed, intensity controls. Off-on footswitch. Six input jacks for instrument or mike. Built-in preamplifier in control panel. Pilot light fuse. 10ft cord included. Main chassis is rubber mounted. Chassis and control panel is lightweight, rustproof aluminum. Cabinet is reinforced acoustical panels. Frequency rating of 60 to 15,000 cycles." |
This website is hosted for free by  .
Get your own Free Website now!
|