Fender Super Reverb

I rate this a 10 only because the features it has works perfectly.
It has the basic few features, the only ones you'll ever need - eq, vloume contols, and reverb.

This is a 1964 blackface super reverb with stock speakers replaced and 2 12"s and 1 horn put in. I'm going to order 4 10"s to bring it to stock specs, but it still sounds great as is.

I'm using this with an epiphone sheraton II, and it sounds awesome! Thick, creamy tone on one setting on the guitar,and the exact opposite - twangy country tone on another.
Any style of music sounds great, but to drive this to distortion, you have to play LOUDLY. And I mean loudly. This amp will shake the walls and anger the nighbors. (the natural distortion produced sounds great though! Smooth and creamy)

The amp came to me with a bunch of buzzes and hisses, but it had beed sitting in someones attic for some time, so once I get it tuned up, I expect it to run for another 40 years!

Fender probably doesn't support this amp anymore since it was made 40 years ago, and before cbs bought fender.

So, luckily enough, this is my first amp. (I'm 16) I know not many 16 year olds get a super reverb as their first amp, so I feel pretty lucky.
For 50 dollars, this is an amazing deal! These go at up to $2000, so if you see a good deal, snatch it up!
I could not be happier with this amp, and once I put some weber speakers in it, it should shine like it's 1964!

Pretty basic - no master volume - 3 band EQ - Reverb and Tremelo on board. Really hard to get a bad tone out of this amp. If you like a lot of whistles and bells (channel switching, effects loop, etc.) this is probably not the amp for you, but it suits me fine, as it seems that most of the time amps that are loaded with features seem to compromise tone in order to offer them.

If you are looking for the "Fender Sound", here it is. No, it is not a Marshall, or a Vox, or a Hiwatt, or anything else. Its not a clone, its the original - accept no imitations. Starts breaking up early (around 4-5 on the volume knob), but never gets into heavy OD territory. This amp takes to pedals like a duck to water, and that is where magic happens. I have bought and sold over 70 OD and distortion pedals over the last several years, and I can count the ones that just didn't work with this amp on one hand. Pedals designed to sound like a Marshall will make this amp sound like a Marshall - for real. I have A/B'd my Super against a JCM 900, 800, and JPM through the same cab and have been able to nail the Marshall tones by using various pedals. If you like a lot of heavy bottom end (ala something like a Boogie set up for metal), this is not the amp for you. The bottom end is very tight and big, but not so much so that you can achieve crushing guitar tones. But prsence, sparkle and balls it has for days. And it is loud! I use a Hot Plate nowdays to tame the volume, and before that a Power Soak, but if you need volume, it is there. Final note - I built a 2x12 cab loaded with Celestion Greenbacks (which really helped with the Marshall thang). IMO, the Greenbacks really helped to increase the versitility of the amp. All the clean tones are still there, but a little thicker (which I like - YMMV), and the heavier tones are way better - thicker, deeper, meatier, and the Greenbacks tend to breakup earlier than the original Jensons the amp came with. FInal note - this amp works extremely well interacting with a guitar's volume knob - I can run the amp at "10" and still get clean tones just by rolling my guitar's volume knob back.

FWIW, and in case anyone cares, I have used HB equipped guitars, Strats and Teles, as well as my personal favs, P-90's into this amp - all with great success.

As good as it gets. Yes, it is an old tube amp, so I take it to a shop every couple of years to have the tech go through it and replace tubes or caps as needed. Most of the time it doesn't need anything. I bought this amp in 1982, and played it 4-6 nights a week for over 20 years on the road and in house gigs. The only time it ever failed was one gig where a bandmate dropped it out of the back of a van, where it was on top of everything, so it fell 6 feet or so, and it landed on its side in the parking lot. Even with that, it made it to almost the end of the first set before it crapped out. Turns out that both power tubes (the 6l6's) were cracked at the base. So 27 years and couting is pretty good in my book.

Who knows, who cares. it is a 44 year old amplifier - I think the warranty has probably expired by now. But there are plenty of techs who dig old tube amps around, so service is not a problem.

I love this amp. I have owned a couple doxen amps in my day, most of them since I bought my Super, and not one has come close. I have played in country bands, metal bands, top 40 bands, blues bands, hard rock bands, classic rock bands, funk bands, and even a couple of short-lived jazz bands, and I have always been able to easily achieve suitable tones for whatever venue and style was required. Its a reliable workhorse and has the added "cool" factor of being vintage (I especially enjoyed it when Fender reissued the amp - I played a couple of gigs through one of those - nice amp, but not really in the same ballpark IMO).

FWIW - I bought the amp out of a retail guitar store in 1982 for $350, and the salesman threw in a brand new Power Soak to make the deal. That shop was really pushing Peavey amps at the time, and in hindsight, I think they just wanted the amp out of the store so they could sell more Peavey's without players coming in and comparing the two. Now these amps go for big $$ on eBay, so I am very happy I got in before the rush! But, knowing what I do about this amp, if someone stole it, or it was destroyed somehow, I would scraped up the $$ and buy another without thinking sbout it. It really is that good.

I have either a '79 or '80 silver face Super Reverb. I know it's either one of these two years as it has 4 pots in the normal channel and the pull pot on the master volume. It's the 70 watt version(which I think is a little bit overated; it sounds more like 50 watts). I've owned this amp since about 1983 and it has been my prized possession in life. I wish I could have found something much lighter and smaller, like a grandfather's old watch, to lug around with me for the rest of my life but I just can't seem to part with this old workhorse. Being a very linear CBS amp it has never had the nice warm tone of an old blackface Fender but I have always found some flavor of the day effect pedal to put in front of it to make it sound good. This amp has never given me any trouble ever. I have never even turned it on properly. I just flip the standby switch and on switch at the same time to my friends utter horror. I tell them I've never let this amp warm up and it has never failed me. I just had the power tubes changed today (for the 1st time in 15 years) and it sounds sweet as it can for what it is. I paid $250 for this amp when I was 14 years old and I have never owned another amp since. I used to use the vibrato channel but as I've grown older I have found that I like the normal channel better( I don't like reverb or "vibrato"tremelo and the normal channel is a little less brittle as it has the only original tube in it-a 7025). I'd love to get my hands on some old genuine 7025 tubes and get rid of all the 12ax7 tubes.

I use a Les Paul and a Strat with this amp. The Les Paul has 81/85 emgs and the Strat is a HSS Deluxe. This amp has never suited my style of music so I put effects in front of it. When I was a teeneager I used a DOD FX57 American metal pedal to get that Dokken/Ratt/Ozzy 80's metal tone. Now I use a Radial Hot British Tonebone to get more of an ACDC tone. The clean tone of this amp is loud and noiseless but lacks a little of the warm character of a Blackface amp. As far as the distortion this amp produces naturally it would probably suit a blues player better than what I want. But as long as you put a good pedal in front of it you have a nice tube power amp to amplify the pedal's sound.

This is a beast. It has never needed any major work on it and I definitely neglect it. Like I said earlier I never let it warm up properly or shut it down properly. We took it apart today and looked at the filter caps(original to the amp) and they aren't even beginning to bubble. I've lived all over the country and have left this thing in non climate controlled storage in the summer heat and humidity of southeast Louisiana without even worrying about it. I do clean it up and it looks much better than what you would expect for how I treat it. I don't throw it around, but I used to roll it down the street in the middle of winter with 2 feet of snow on the ground in Erie,Pa to band practice a block away.

N/A

I've been playing guitar for 29 years. If it were lost or stolen I would be real depressed but I would buy something that suits my playing style(metal) more closely. I just love it because it's an old friend of mine. I don't hate it I just wish it had some kind of a high gain stage to it, but that's not what kind of amp it is. I wish I had a Mesa Boggie Road King. That amp is the end. Once you have it there really isn't too much else as far as versatility you could get.

This is an original (except for new caps/tubes/grounded three-prong power cord)August, 1967 Blackface Super Reverb with original Fender speakers that I picked up from a "little old lady" who had it in her basement for years. It was her dad's, and he used it to play pedal steel through in a church group(?!) I have been playing everything from jazz to country to rock for 37 years and have used a Jordan Trooper, a Fender Twin, a Traynor bass head, a Kustom Twin, a Peavey Bandit, and a Peavey Delta Blues (my current backup)over those years. None of them hold a candle to the Super Reverb. It can be everything I want it to be. I use a GNX4 in the reverb channel, and via an A/B switch, a Cry Baby and a Ibanez TS808 in the other channel. I purchased a Georgia Cases road case for it and I gig all over the place with it. It can fill a garage our an auditorium. Truly a great amp!

I play a 1974 stock Strat, a 2007 Fender Thinline, and a Larrivee LV-10E though the Super Reverb. (I run the acoustic into the reverb channel via a Zoom A2.) Overall, I get the variety of sounds I need. However, this isn't a Marshall, so you really can't G-R-I-N-D. But, for what I play, I don't need to be able to. If you crank this amp just a little, it will squeal with delight when you lean into it. I set the Treble at "4", the Mid at "6", and I crank the Bass on the reverb channels. I set both the Treble and Mid at "5" on the other channel, and the Bass at 10.

I have taken this amp all over the Mid-Atlantic for the past three years and it has been a rock. I keep the Peavey Delta with me in the trailer, due to the age of the Fender. However, I will continue to play the Super Reverb until it turns to dust.

I have never called upon Fender. I have only let the pros at AL&M in Norfolk, Virginia work on it to date. However, they are going through some transitions, so I am thinking about going back to Backstage in Richmond, Virginia for any future service. We shall see...

I have been offer $2,500 for this rig, but I made a promise to the little old lady who I got it from that I would love and cherish it as much as her father did. AND I DO! If someone stole it, I would hunt them down and beat them like a rented mule. However, if it ever dies, I will do my best to find another one.

Este amplificador es un Fender Super Reverb del a??o 1974 Silverface, trae parlantes 4 x 10"/2 ohms (8 ohms each in parallel), dos canales con 4 entradas, el primero Normal: Brillo Sw, Vol, Treb, Bass - Vibrato: Bright Sw, Vol, Treb, Mid, Bass, Rev, Speed, Intensity - Pilot Lamp. No posee ning??n de cuestiones modernas como Effects loops o salida balanceada. Son 40w de puro sonido Fender. Creo que s??lo le faltar??a un switch para cambio de canal pero no es necesario ya que ambos canales son iguales salvo por el vibrato. Un control de Master o boost como otros modelos ser??a ideal.

No hay mucho que pueda decir de este equipo salvo que es el mejor equipo para tocar blues y rock. Poniendo el vol??men a partir de 8 en el canal de vibrato solo se necesita un cable para tocar. La reverb es celestial, muy ambiental como cualquier Fender y el vibrato suave y profundo a la vez. He tenido varios Fender (The Twin, Bassman) y Mesa Boogie (Mark II), he probado equipos de amigos de todas las variedades y creo que es el mejor. Con sus 40w se puede tocar en cualquier tipo de escenario, desde bares a estadios, no se necesita mas. Un equipo de 100w para tocar en un bar de 200 personas no se puede poner a mas de 2 de vol??men y esto significa no aprovechar en su totalidad el equipo. Poseo una Fender Strato Custom Shop ??56 y una Gibson Les Paul Standard plus y varios pedales (Wha Wha Vox, OCD, RC de Xotic, TS9 y Danecho) y pr??cticamente no se escuchan ruidos molestos y funciona a la perfeccion con las 2 guitarras. ES EL MEJOR EQUIPO!!!!

Lo he comprado hace muy poco y no he tenido problemas a pesar de ser un equipo de mas de 30 a??os.

Nada que decir.

No le puedo dar menos que 10 creo que es un equipo que sirve para cualquier estilo (sin pedales o con los pedales correctos) recuerden que son s??lo 40w pero con la correcta reamplificaci??n no se necesita mas que eso uno se puede escuchar mas que bien en un escenario por mas que haya 10 guitarras tocando, puesto en 10 de volumen no tiene rival.

1966 Black Face Super
Great for blues guitar
2 channels
Used as a pratice amp in a bedroom but is way too powerful. Should be used in a small club a least.

I just wanted to add my two bits to all of the great reviews on this classic amp. I also have a 1975 Silver Face Deluxe that I am comparing the Super to. The Deluxe is very sparkly but does not have near the bottom end as the Super. My Super starts to break up nicely around 6 which is actually a little too much for a small club. This is definitely a concert, big stage amp. I am using a '57 reissue Strat with Texas Special pickups, plus a 1963 Telecaster with Texas Tele pickups. Both sound fantastic on the Super. The Super takes a little getting used to since the sound is a very tight, powerful clean sound and leaves little room for sloppy playing. If you listen to Luther Allison, I think he is playing a Les Paul through a Super. You can get an idea of the sound. Not a lot of sustain, just clean, clear overdrive. It will start to feedback some above 6. The CTS ceramic speakers are very strong and need a lot of power to drive them correctly. All but one speaker has been reconed. I put in the new cryo treated Tung-sol 6L6 STR's and they seem to add power. My preamp tubes are a mixture of JJ's (with balanced phase inverter in V6), and old NOS RCA 12AT7's, with a NOS Seimen's (supposedly Mullard made) rectifier.

I am a little concerned about moving this old amp a lot but it should be sturdy enough to take it. It had one bad 6L6 tube socket when I got it but I was able to make it work. I would definely take the Deluxe for back-up to serious gigs.

Will never use Fender customer support. Just find a good amp. tech.

I've been playing for 37 years and just starting looking for some serious gigs in the New Orleans area. This amp is THE stage amp for just about any venue. I've seen some players put baffle boards in front of them because they are so loud. I have compared this to my Deluxe and I would use this one at big gigs. Actually I get an amazing sound when I play both amps together. They seem to blend perfectly into a different sound that is like neither one but a great combination. It's just a pain to haul both around. I would be very distraught if this were ever stolen. Luckily there are still plenty to go around but finding a good sounding one can mean trying several to find the right one. Put it this way, when I evacuate for a hurricane, the Super and the Deluxe are definitely going to be in the trunk even if I have to leave my family's clothes.

This amp made between 1978 and 1981. It features the much boo-hoo'd ultralinear design with no tube rectifier. 70 watts instead of 40, line out, etc. However, the previous owner "blackfaced" it--modded the tone stack, removed the Master Volume, and so on. It breaks up between 3 and 4 like it should. Wicked loud and present, but perfect for a nice 200-capacity room upon breakup. Reverb, Trem, two channels. It's everything I need. Can't wait to play with the "line-out" in a studio situation. The tone knobs TOTALLY matter on this amp and radically alter your sound. I love that.

I'm moving to Nashville to do session work, and this is a nice chimey amp for the country lick, but it can get dirty and nail that Big Star 70's sound. The 4x10 config is ballsy here! When I bought this thing, it had some Jensen P10-R reissues installed by the previous owner; most of the late 70's Supers have some sort of replacement as Fender was really using crap stock speakers by this point. Anyway, the Jensen reissues are not recommended for this amp, or any other for that matter. I put some Eminence Legend 102's in their place. These are 20 watt AlNiCo's that compress really nice and make my Super the best amp I've owned in my 28 years of playing. At 3 or 4 with the Mids cranked and the Bass pretty moderate, I get a "dirty clean" that jangles with midrangey beef. At 10? Goddamn. I'm floored. This is what a loud tube amp should sound like when it's breaking up to the max. The reverb can go from subtle atmospheric juice to soaking wet Dick Dale to completely out-there ambient mush--perfect for recording. The tremolo is interesting--it's post-reverb so if you set speed on 1 or 2 and intensity on 9 while the 'verb in going strong, you can create the impression of a delay effect. Really cool. Again, can't wait to record with this thing!

I haven't had this guy for that long, so I can't really comment. But it's point-to-point. No circuit board madness like today's Fenders (even the reissues) but I still can't comment.

N/A...it's waaaaaaay used, and modded at that.

I've been playing for 15 years. I own a Strat, a Danelectro, a First Act piece of shit that I got for free which I've been trying to unload on craigslist for, oh, I don't know, 4 months? Anyway...This is my main amp right now. Heavy as hell, but it's got wheels. I used to own a Hot Rod Deluxe...did the job, didn't break, but it was just a midrangey workhorse, not a real amp. I had a '65 Bandmaster--not my amp. Didn't have the jangle of this guy, and there was no reverb. Those things are cheap for a reason--they just don't feel as good as a Bassman or a Super. I've tried the new Fender Super Reverb '65 reissue--not happening. Crap speakers, and the sound is all wrong. Plus, the reissue is circuit board and lists for what, $1100, new? People rag on the 70's silverface amps, but a) they are point-to-point wired, b) they're vintage but still cheap enough that I'd take it to a gig without worrying about my museum piece getting stolen or jizzed all over by guy in the next band. (I'm that good.) And c) clearly, if you know what you're doing, you can transform even the least desirable silverface Super Reverb (which this undoubtedly was at one point) into a bitchin', loud 60's style amp for all seasons. In retrospect, I wish I'd talked the guy down a couple hundred if only for cosmetic reasons. But I still got a better value than the suckers paying 1200 or 1100 dollars for their new "vintage" Bassman or Super Reverb reiusses, to say nothing of the insanity of shelling out $1900 for a JCM800 reissue head! If you're going to pay 600 bucks for a Fender Hot Rod Deville 4x10, do yourself a favor--save a little longer and find a 70's super that's been "blackfaced."

1966 anystyle- classic rock to jazz- I use an A/B box to make this channel switching- I keep a Tubescreamer on all of the time in the B coutput of the box and that goes into the first channel of the amp- when I step on tha A/B box it just like having a clean/overdrive channel switching amp and they each have separate EQ

clean souds are legendary with my A/B set up it is very modern every style is awesome through this if you can play loud enough to just turn it up to 7 or 8 it is ridiculously good- loves strats but is great with tele's and humbucker equipped guitars as well as my 59 Gretsch 6120

change Power tubes evry 200-400 or so playing hours and it is very happy- never needed anything else

why would I contact Fender?this amp is 41 years old I don't expect anything from them but that says it all

playing over 40 yrs- I shave every cool guitar and a room full of Vintage amps as well as newer Marshalls & Boogies- I love this amp- I don't gig with it that much anymore but miles of smiles everytime I plug into it

My Super Reverb was made in either 1966 or 1967. 100% American made and 100% all tube, tube reverb and tremolo and a tube rectifier. It was probably a closet piece or has been redone as none of the pots are scratchy and there are no funky noises coming from it. SR is two channel but I use the vibrato channel. As far as features are concerned this baby has all I need, reverb and vibrato (really tremolo). The EQ is very sensitive and the bright switch gives a humbucker guitar some nice high end. No effects loop, no headphone jack no crap. Plenty of power for small to medium club gigs, stick a mic in front for a big room. I see myself getting alot of use out of this old girl for gigs, practice and definetly recording

This amp can pretty much cover all the bases from pristine clean to raunchy overdrive. Thats overdrive of the highest order like when you hit a minor 7th you hear every note without mud. Metalheads and shredders won't like this amp as it doesn't have that kind of gain. Amp starts to breakup around 5 on the volume and I've found the "sweet spot" around 7 where she gets super touch sensitive. Hit a note easy its clean, dig in hard and she gets real warm and fat. I've played alot of high end amps while I was shopping for my ultimate blues amp and this one comes through 100% I may try some NOS tubes and a bias adjustment to see if it makes much difference but I'm very pleased with tones I'm getting from a Strat and Les Paul. The tone is very airy and warm with a Strat and my Les Paul can get pretty raunchy and fat with the volume turned up.
SR is very compatable with my analog effects but it sounds equally good with just a cord and guitar. I play blues and some classic rock and its perfect for my style.

Dependable I hope but I do have a Peavey Classic 30 for backup. Its not got quite the tone of the Super but its a great amp. When I play out it will be onstage for stereo effect

Never dealt with Fender. Guitar Center gave me a 30 day warranty that I hope not to have to use

I'm 35 and been playing since I was 15 I did take a 12 year break in there and been back playing about a year and a few months. I own a USA Fender Strat, a Epi Les Paul Standard+, a no name SG copy, and a 1967 Coral Hornet. As far as effects go I have a Voodoo Lab Sparkle Drive, Superfuzz, MicroVibe, a Keeley Java Boost, Ibanez AD-9 reissue, Boss Rotary Ensemble, and a Dunlop Classic Crybaby w/Fasel Inductor (highly recommended) all running through a Ernie Ball Volume.
I compared this to a Fender Bassman, a Vibrolux, Marshall Bluesbreaker, and a JTM 45 head. I could get all the bluesbreaker sounds pretty much with the Super but couldn't get the Super's cleans with the Bluesbreaker. Still want a bluesbreaker though for the look if nothing else.
If my Super were lost or stolen I'd scour the earth to find the perp. But I'd buy another in a heartbeat.

I'll make this brief. I submitted a full review that got rejected because the program thought I was a robot. I'm not crazy, and not given to effusive reviews about anything. I've played onstage for years, in many bands, many many amps, vintage, new, big small, modded, or not. THIS IS THE BEST AMPLIFIER I'VE EVER OWNED OR PLAYED. It isn't even close. Sell the Honda, make ebay your homepage, and GET ONE! I've played in big jazz bands, combos, modern and classic rock bands, blues bands, zydeco bands, you name it. It's simple, point to point, old stock tubes, all original from 1964. WOW!

It's good with pedals, even those crappy digital effects. It's incredible for blues, and though a little noisy, wonderful for jazz. Suggestions: play with the knobs, they actually make a tone difference with this beauty. So does guitar knob twisting. Unlimited varieties of tone. If you can't sound good with this amp, its time for lessons, or a different instrument.

I've gigged with it twice in the month I've owned it. It was great with that big face and 4 Jensen C10Rs. It's very present without sounding brittle or steroidal (probably not a word). I always take a backup, something small, and pray I don't have to use it. These are all original tubes, so I expect some future problems. I couldn't care less. I'll gladly pay to maintain this jewel.

I don't know, so I won't provide a rating. The folks who sold it to me didn't misrepresent this amp though. Guitar Center was fair and not flaky.

35 years. I own a 58 stratocaster, a David Gilmour strat, a 53 les paul, 3 teles, a Heritage H-575 a Fullerton 57 reissue from 84. Amps include JCM 800 Marshall, Matchless Chieftain (2x10) Carvin Legacy 100 watt with 2x12 box. A whole studio of other stuff. I can't print what I would do to anyone injuring, or god forbid, taking this amp. As great as the Chieftain is, it's really no comparison. You owe it to yourself to find one, and try it. DON'T MOD IT. They did it right the first time. You might want to try new old stock tubes. Also Joe Torres looks like he has a recommended tube set you can by for one.