More modern artists such as Gary Moore had dropped their contemporary slant to focus on blues, and were keen to invite the old American greats onto their albums and live tours.
Meanwhile, people like Eric Clapton, Bonnie Raitt and Robert Cray – always popular blues guitarists – gained additional exposure, and the whole thing developed into a buzzing movement.
This speaker has been used in the Hot Rod Deluxe, Blues Deluxe, Deluxe Reverb and the Twin Reverb, among others. It doesn’t have the deepest bass, however, and the highs can sometimes be “fizzy.” When the cream board tweeds were introduced, Fender chose the Jensen reissue (made in Italy) C12N.
The C12N doesn’t sound much like vintage Jensens, and it can be shrill-sounding. Some people prefer the Special Design and don’t consider it an improvement.
This one’s in near-mint, all-original condition, and that includes the valves. The stuff under scrutiny on Planet Botch is not for sale, and it always gets a completely unbiased appraisal.
So, is the tweed Fender Pro Junior the wonder it’s cracked up to be? Starting with the bad news, the volume control is not well graduated.
Blues Junior history can be divided into two major categories: the early amps with green circuit boards and the later ones with cream-colored boards.
I’ve found nothing relating to a pre-allotted, restricted total of tweed units upon introduction, and as I recall the market at the time, there was certainly no initial stampede to buy these amps before they ran out.
The tweed Fender Pro Junior’s full retail price in spring 1994 was £389.
I'm sure I paid less than £250 for my tweed model, brand new.
The Fender Pro Junior is incredibly simple, its controls comprising nothing more than an on/off switch, a volume knob, and a tone knob.