Our columnist shares a love story about his longtime passion for the 1965 heavyweight that’s his No. 1.
Let me tell you the story of my first vintage Fender amp, which I call “No. 1"—the 1965 Super Reverb that I consider the greatest guitar amp I've ever heard and played.
When I was a teenager, in the late '80s, I had a 25-watt Fender Sidekick and a bigger, 2x12, 40-watt Marshall Valvestate. They worked well for the Gary Moore and Jeff Healey blues-rock licks I was into then. When I moved to Trondheim, Norway, in 1998 to study at the university, I went back in time and listened to classic blues from Muddy Waters, Buddy Guy, Albert King, B.B. King, and Freddie King. I learned they all played Fender amps, at various times, and when I saw Stevie Ray Vaughan's legendary Live at the El Mocambo concert film, where he played a Vibroverb and a Super Reverb, I knew I had to get a black-panel Super Reverb. So I got in touch with a local guitar shop called Tre45, and they helped me find a Super Reverb in the U.S.
A few months later, I paid €1,400 for a beat-up Super Reverb dated January 1965 that came via boat. The amp looked real rough and had large cuts in the aged brownish grille cloth. It had replacement Mojotone speakers with weighty ceramic magnets and large speaker coils. The shop installed a heavy-duty step-down transformer in the back to cope with 230V, making the amp extremely heavy. Despite the weight and rough looks, I loved it. It played twice as loud as my brother's 1968 transition-era Super Reverb with original square-magnet CTS alnico speakers. Back then, volume and punch meant everything, and I hadn't yet developed an appreciation for the CTS alnicos, which later became one of my favorite speakers. Neither did I have much experience with how speakers affect tone. My No. 1 sounded louder, more mellow, and creamy compared to a typical black-panel Super. Because of my amp, my brother sold his precious, vintage-correct '68.
Twelve years later, in 2010, I started trading Fender amps on a larger scale, finding them on U.S. eBay and importing them to Norway, where I swapped power transformers and did basic service like tubes and cap jobs. I eventually developed a taste for vintage-correct tone and pursued amps in original or mint condition. I was eager to learn, and systematically A/B-tested all black- and silver-panel Fender amps, with all possible speakers and circuits. I also experimented with newer replacement speakers from Weber, Jensen, Eminence, Celestion, and WGS, and tried all kinds of circuit mods.
"Because of my amp, my brother sold his precious, vintage-correct '68."
I decided to replace my Super's Mojotones with a set of vintage-correct speakers for an authentic pre-CBS sound. I found a 1965 Super in really poor technical condition and swapped the grille cloth and the factory-original CTS ceramic speakers into my No. 1. Now my amp was restored to original condition, with speakers with matching manufacturer date codes, and, more important, it sounded better! The new-old speakers added more clarity and crispness, which I particularly enjoy with a Strat's out-of-phase, quacky tone in the in-between pickup positions.
Other amps have caught my affection, too. Not surprisingly, I find the narrow-panel Fender Bassman a great amp, but unfortunately it lacks reverb, which is a big deal to me. Same goes with the Marshall JTM45 and JMP50 amps from the '60s. They have great crunch but lack some transparency and clarity when used with closed-back 4x12 cabinets. I've also had the pleasure of owning and playing some popular boutique amps, like the Two-Rock Custom Reverb, Victorias, Headstrongs, Bad Cats, and others. Compared to vintage amps, they are more robust and have high quality materials and components that survive longer on the road. I also like how the solid, thick cabinets in some modern amps produce a tight low end. All the boutique amps I've tried sounded good, different, and had more tone options than my Super Reverb, but when I played those amps for a long time or at gigs, I found myself confused with all the tonal options and I end up dialing in a sound as close as possible to a Super Reverb. I can't help it. That is how a guitar is supposed to sound, in my ears. And nothing sounds more vintage Fender than a black-panel Super Reverb, in my humble opinion.
If you haven't played one, try the huge tone and dynamic response within the big and airy 4x10 speaker cabinet of a Super. It offers a pure, natural, and transparent tone and connects with your guitar in a physical way when you crank the amp a few meters behind you on a larger stage. If you need a little more crunch and early break-up, add an Xotic RC Booster and see my April 2020 column, "How to Get Big Tones on Small Stages."
[Updated 9/3/21]
A vintage-style, scatterwound pickup.
Taylor, TX (May 2, 2017) -- Geppetto Guitars is happy to introduce its new humbucker pickup, The Nomad, a vintage-style, scatterwound pickup. The Nomad is the first pickup to pay homage to the Dry Z pickup. The Nomad is the result of cracking the code to the infamous Dry Z pickups that were used in Japanese copies of American guitars produced by Greco and Tokai in the late 1970s and into the 1980s. It's another slice of the PAF pie that represents the lowest strength magnet but a slightly higher resistance than our Camelot humbucker resulting in the clearest voicing possible. The Nomad proudly wears an aged nickel cover with double black bobbins. The Alnico 3 magnets have been slightly discharged so that it will perform like a vintage pickup. The DC Resistance is approximately 8.0K in the neck pickup and 8.7K in the bridge. Wax potting is available upon request.
Geppetto Guitars Owner, Mike O’Donoghue, worked on the development of The Nomad for almost a year. The result is a visually beautiful and audibly stunning finished product, not a work in progress. This is a pickup that will leave both your eyes and your ears happy. “We give your guitar its voice, but you make it sing.”
The Nomad, along with all of their other pickups are For sale directly from Geppetto Guitars via telephone (512) 630-8423, online and at Austin Vintage Guitars. Geppetto pickups are available Japan exclusively from Koiz Guitar Japan. For Geppetto pickups in Europe contact our distributor at www.mij-guitars.be
The Nomad pickups are $110 each /$220 per set.
For more information:
Geppetto Guitars
This month we dive into the basics behind speaker manufacturing, magnetic motors.
This month we’ll continue discussing ceramic, Alnico and neodymium magnetic motors. In the early days of speaker manufacturing, Alnico was the magnet of choice, but increased costs forced manufacturers to seek cheaper alternatives. It was also not as critical to have as tight a magnetic gap on a ceramic motor. This was a big plus because it made manufacturing easier. Alnico has a much lower coercivity; which is easier to demagnetize and it requires a stronger field to keep it magnetized.
The lower coercivity is also the reason Alnico exhibits natural compression. As you push an Alnico, the speaker heats up and temporarily loses some magnetism; the result is a compressed sound. Don’t worry; permanent damage to the magnet only occurs beyond the temperature that the voice coil and adhesives could withstand. You will damage your speaker from overpowering before you harm the Alnico. Permanent demagnetization can also occur from a drop or by removing the magnet from the magnetic circuit.
Figure 1 shows another commonly used motor. This is an Alnico slug housed inside a rectangular yoke. The top and bottom of the yoke act as the top plate and back plate. The core, positioned above, is glued to the magnet. Note that the magnet is beneath the voice coil on this design. A dust guard between the core and the top of the yoke is used to keep debris out of the magnetic gap.
Like Alnico, neodymium is also available in different grades. Manufacturers must consider price, strength and operating temperature when selecting the grade of neodymium.
A neodymium motor is shown in figure 2. The neodymium magnet is a slug similar to an Alnico motor. A shell pot houses the motor assembly. In order to achieve higher power ratings, optimal heat dissipation must be achieved when designing the shell pot. The core, also referred to as a core tip, is a slug much like the magnet, and is positioned above the magnet. This design features the magnet inside the voice coil.
The biggest affect of this design is a decrease in inductance (or Le) that lends a brighter speaker, a bit more extended in the top range. This is not intended to imply that all neodymium speakers are inherently bright; it is just brighter in comparison to a similar design with a ceramic magnet. There are plenty of design options with other components one can use to compensate for brightness.
One drawback of neodymium guitar speakers is that there are not a lot of component options available. Neodymium is fairly new and more expensive, and manufacturers must weigh demand versus tooling costs. The toolbox for neodymium designs in regards to cones, voice coil diameters, magnet sizes, etc. remains fairly small right now.
One major point I want to convey is when you compare speakers using different magnetic materials, there are likely several other significant differences that attribute to the overall sound as well. This makes generalizations nearly impossible. In order to make a fair apples to apples comparison, you would have to compare two speakers with the same cone, spider, voice coil, dust cap, etc., but with different magnetic materials having the same flux.
As we’ve discussed and seen, magnet placement can vary from one design to the next. Also, magnets vary in strength from one material to the next. They even vary in size and possibly grade when comparing two of the same material. If you could compare speakers that have the same magnetic flux but are generated from different magnet compositions, you probably wouldn’t notice a difference in tonality. Differences in tonality that are often attributed to the magnet material probably have more to do with the positioning of the magnet and resultant differences in magnetic flux within the motor structure.
In conclusion, prices on Alnico speakers are already a lot higher; due to recent and imminent price increases on the materials used to produce Alnico, especially cobalt, such speakers are expected to increase further in price. If you are convinced that you can only achieve “that sound” from an Alnico speaker, then be prepared to pay dearly for it. You probably should not consider a neodymium speaker unless you are looking for weight savings. You will spend a little more to get it and your options will be a bit limited. Yes, more designs with neo will certainly hit the market, but I don’t think the feeling that more horsepower takes more cubic inches will ever go away. There’s still a pretty good market for tube amps! Ceramic magnet speakers are the most cost effective approach and there are many more tonal options available.
Anthony “Big Tony” Lucas
is a guitarist and Senior Lab Technician at Eminence Speaker LLC, where he specializes in guitar-speaker design and customer support. Big Tony has been with Eminence for over 10 years and is responsible for many well-known guitar speaker designs.