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]
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
For more articles like this one as well as other tips, online tools, and guitar/amplifier information please visithttps://www.amplifiedparts.com/
Why don’t master-volume Twin Reverbs get any respect?
Hello Jeff,
I just got a '70s silverface Fender Twin Reverb that needs a little TLC. Surfing the various forums, I've learned that this master-volume edition of the Twin is one of the most (unfairly, to me) maligned designs. The only indication of power is the "300 watts" label on the back.
I've wanted a silverface Twin or Pro Reverb since I was a teen. To me they are loud, clean, blank slates to color with different guitars and pedals. I'd appreciate any thoughts you might have on this amp.
Thanks, John Gilbert
Matt Alcott
Hi John,
The Twin Reverb design has been through many iterations since its 1963 debut. The amps Fender produced between 1963 and 1967 are known as "blackfaces" because of their black control panels, and their designs remained largely unchanged during this period. Blackface Twin Reverbs are the most coveted versions of this amp. With their stated power of 85 watts, they are the most powerful Fender amps of the era.
In 1968 Fender changed to the "silverface" control panel. The circuitry was altered as well: There were changes to the bias and phase inverter circuits and, most important, the output stage. For whatever reason, the engineers at Fender added seven additional components to the output stage, effectively turning it into a semi-cathode-biased output. While these amps were supposedly rated at 100 watts, they are nowhere near as potent as their predecessors. Some players actually prefer these models, however, because they tend to compress more easily than any other Twin. According to the dates on Fender schematics, these "improvements" only lasted for a year. You can easily identify these 1968 amps by the silver-metal band around the perimeter of the grille cloth.
The 1969 schematic revision shows a return to the standard fixed-bias, 100-watt output-stage configuration, though the bias and phase inverter changes remained. An additional change occurred in 1970 with the addition of a capacitor to eliminate "ticking" in the tremolo circuit. The next change was the addition of a master volume control in 1972. This brings us to the era of your amp.
Now, having a master volume control on a Fender Twin Reverb, or most any other Fender amp of this era, seems like a useless addition. Master volumes are generally associated with and necessary in amps that use considerable front-end gain to overdrive the preamp section. The signal level can then be reduced prior to the output stage to control overall amp volume. There is not a huge amount of gain in the preamp stages of a Twin Reverb, at least not enough to achieve significant overdrive. So why incorporate a master volume?
Most post-black-planel "improvements" can be returned to pre-'68 specs, yielding a pretty toneful amp.
One explanation might be to allow the amp's preamp section to be overdriven by an external gain-boosting device, such as the Electro-Harmonix LPB-1 or the Dallas Rangemaster, both popular in the late '60s and early '70s. Turning up the channel volume allowed increased overdrive in the preamp section, with the overall volume of the amp controlled by the newly added master volume. Okay, now it makes a little more sense. But the engineers at Fender took it a step further, adding the ability to access more gain internally. This boost is activated via a master volume control with a push/pull switch.
So where did this extra gain come from? From the most unlikely of places: the reverb drive signal! The reverb drive circuit in most tube-driven reverb amps is actually similar to a small, low-power, single-end output stage. The tube is fed a signal (from channel 2, or the "vibrato" channel, in the case of Fender reverb amps). The tube's output connects to a transformer, exactly as in a single-ended amp like a Champ. But instead of being connected to a speaker, the output of the transformer in the reverb drive circuit is fed to a transducer in the reverb pan. It's similar to a speaker, except instead of driving a cone, it drives a spring. As you can imagine, a signal derived from this circuit could have substantial level, which could easily overdrive a preamp tube—and since the overdrive comes from a little tube power amp, it should sound pretty good.
Yeah … in theory.
In reality, the result was far from stellar, and I'm not sure I know anyone who actually uses this feature. I've never ascertained if this is because the reverb drive signal simply doesn't sound as good as you'd expect, or because of where this signal is applied in the amp. Either way, this under-whelming overdrive tone—together with the master volume and other post-1967 circuit changes—is why your amp is, in your words, maligned. But don't lose sleep over this, as most post-blackface "improvements" can be returned to pre-'68 specs, yielding a pretty toneful amp. Hmmm—food for thought for my next column.
I hope that sheds a little light on your amp, but remember: It's only a bad amp if you don't like it!
[Updated 11/8/21]