Our columnist shares a love story about his longtime passion for the 1965 heavyweight thatās his No. 1.
Let me tell you the story of my first vintage Fender amp, which I call āNo. 1"āthe 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 ā¬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]
The PG Mad Professor Super Black review.
Finland-based pedal builder Mad Professor has invented a stompbox that can dial up a range of classic black-panel Fender sounds. It's called the Super Black. Unlike a vintage amp, it won't break the bank or your back. And in a blindfold test, it might just blow the minds of hard-core Fender freaks.
At $299, the Super Black ain't cheap, but it also includes Mad Professor's Sweet Honey Drive circuit, which is about $150 on its own and can be used in combination with the Super Black's tone shaping tools or in standalone mode.
Into the Black
Here's the concept: Mad Professor says it's recreated the topology of Fender's famed AB763 circuitā the foundation for the black-panel Deluxe, Twin Reverb, Super Reverb, and Bassman, among othersāwithin Super Black's 4 Ā½" x 3 Ā½" x 1 1/2" enclosure. Skeptical? I was, until I plugged in my Stratocaster and started playing. In no time I was conjuring spot-on duplicates of Deluxe, Twin, and Bassman tonesāmy favorite Fender flavors. (I run through those three voices in the demo video, using a Carr Vincent amp.)
The control set for the Super Black is simple. On the top row, there's a 3-band EQ and a gain dial. Under that are volume and presence knobs. For the Sweet Honey Overdrive section of the circuit, there's volume and drive (the āfocus" control from the full-featured Sweet Honey has been omitted here). There's also a very effective bass cut toggle for moments when more chime is in order, and another toggle for compression. The compression switch is the source of my only issue with the Super Black because flicking the compressor on or off emits a popping sound. Otherwise, it's a blast to use. The Super Black can be powered with a 9V battery or DC.
Spanning the AB763 Family
The Super Black's ability to approximate the dynamic range and characteristics of low- to high-powered black-panel circuits is remarkable. The pedal's most Deluxe-like tones (attainable with EQ controls at noon and volume and presence in a tight V) have lots of boxy, small-combo definition. In a more Bassman-like mode (bass and mids cranked, a little less treble, and the compression on) the mellow lows and hard-punching midrange are prominent. And as a stand-in for a Twin (which you get by backing off the gain and keeping the EQ controls between 11 and 2 o' clock) it was a dead ringer for the beloved 1966 black-panel I parted with last year, as a gift to my back. It's articulate and rich, with beautifully crisp mid range, clarion highs, and wonderfully fast response. It made me sentimental. If I'd been able to fit that amp in the palm of my hand, I'd still own it today. Toss in the Sweet Honey's growling overdrive and the age-old problem of pushing a high-powered Fender hard enough to get amp breakup is solvedāall at very civilized volumes.
The Honey Drive, by the way, is a sweet deal all by itself. It's a medium-gain OD that is touch-sensitive and really shovels on dirt the harder you dig in. When its drive dial is cranked, that's an estimable amount of soil, and it's good at getting loud and filthy. But blended with the Super Black section's control set, however, there are lots of possibilities for fine-tuning the balance of clarity and distortion.
The Verdict
Sure, it's costly, but the Super Black lets you carry the taste of about a half-dozen classic black-panel Fenders to a gig or the studio with one hand. And with the Sweet Honey Overdrive included, it's a two-fer that solves the too-much-headroom issues of bigger Fenders while putting a great overdrive at your disposal. Needless to say, you need a relatively clean amp for this pedal to do its job right. Gainy or grainy amps don't let the Super Black's palette breathe its own rich voices. But the richness of these sounds proves there's genuine method in the madness of this pedal's creator.
Watch the Demo:
If you own a vintage Fender amp with reverb and vibrato, you've probably had those moments where you think the vibrato has stopped working, only to realize that you forgot to plug in the footswitch. Luckily, there is an easy way to eliminate the need for a footswitch.
What you'll need:
- A soldering iron such as S-TWLC100.
- Some solder. We use S-T9000 on almost everything.
- Helping hands or a vice. S-THHM is a simple but useful one for this.
- Wire cutters. You can't go wrong with a pair of the Xcelite S-T170M.
- Some wire. Solid core is a good choice. We use S-W429 for this one.
- An RCA plug. The W-SC-3501MX is ideal.
Getting Started
First, cut a piece of wire that is longer than the RCA plug. We cut it to about 2 inches but the length is not important as long as there's enough wire to stick out of each end of the plug. Then bend the wire at a right angle leaving enough wire on one side of the bend to completely pass through the tip of the plug. Now is a good time to heat up the soldering iron.
Next, set up the plug with the helping hands. The tip of the plug should face downwards and the back end will point up. The wire is then inserted into the plug. The right angle bend should stop the wire from falling through and there should be some wire sticking out of the tip. Touch the soldering iron to both the back of the plug and wire so both begin heating. After a few seconds, start applying the solder. There should be enough solder to cover the hole on the back of the plug. If solder is falling into the cavity of the plug, remove the iron, let the metal cool down and then begin the process over. When done correctly, the solder will spread across the hole and slope onto the wire.
After the joint cools, flip the helping hand clip over so that the tip is facing up and the back is now pointing down. When looking closely at the tip there will be a small gap between the hole and the wire. Place the tip of the soldering iron towards one side of this gap leaving some of it exposed making sure that there is contact with both the wire and the plug tip. Feed some solder in at the gap. Try to be careful not to solder to the outside of the plug's tip or else a solder blob might form making it difficult to plug it into a jack. Don't sweat it too much if there is a little bit on the outside, though; RCA jacks can be pretty forgiving.
Now is a good time to check the solder joints. The end should have the hole filled with some solder sloping up the wire. The tip should have the gap filled with solder also slightly sloping up the wire.
When the joints look good, it's time to cut the excess wire from the plug. Be careful not to cut into the tip of the plug itself. For some finishing touches, brush the plug with a flux remover. We used Caig Flux Wash,
S-CDFW-V711, and a small brush from Caig, S-CAB-25. Cleaning the flux is sometimes not important and other times very important. Be sure to check the specs on your solder. Cleaning the flux will always give a more finished look though.
The plug is finished and ready for use. Simply plug it into the vibrato footswitch jack and the front panel controls will now operate as if the footswitch is plugged in and switched on.
The original article can be found athttps://www.amplifiedparts.com/tech-articles/diy-vibrato-shorting-for-blackface-silverface-amps
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