Fender 30

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Oops! TYPO: I meant that I replaced the 12AT7 with a N.O.S. JAN-5751 for the phase inverter. BTW - I play various Fender Stratocasters and Ibanez guitars (JS100+ & RG565). I also have a new 65' reissue Super.

Year: 1980-1981
Config: Combo, design by Ed Jahns but looks more like early Rivera
Control Panel: Black forward facing w/ white vertical labels
Front Conrol Layout: Normal: 2-jax, Bright Sw, Vol, Treb, Bass -Reverb: 2-jax, In, Channel Sw, Preamp Gain/Boost, Treb/Boost, Mid/Boost, Bass/Boost, Reverb, Vol - Standby Sw, Power Sw, Pilot Lamp
Rear Conrol Layout: AC Outlet, A-center-B Ground Sw, Fuse (2A), Speaker Jack, Extension Speaker Jack, Level Pot, Line Out Jack, Channel Pedal Jack, Reverb Pedal Jack, Reverb Out Jack, Reverb In Jack, Hum Balance Pot
Knobs: Black skirted w/ chrome center, numbered 1 - 10
Cabinet: 1 x 12": 24 1/2" x 18" x 8 3/4"D
Cab Hardware: Black strap handle, chasis straps, black metal corner protectors, glides
Covering: Black Tolex
Original Grille: Fender all black nylon weave w/ metalic silver trim
Logo: Grille mounted, raised, chrome & black script "Fender?" w/o tail (late Silver-face style).
Weight: ~40 lbs.
Speakers: 1 x 12"/8 ohms
Speaker Model: 12" Fender Special Design 005379
Output: 30 Watts
Bias: Fixed Bias
Rectifier: 5U4GB
Phase Inverter: 12AT7 (long tailed)
Other: Reverb Driver: 12AT7
Reverb Recovery: ? 7025
Power Tubes: 6L6GB (not 6L6GC's, current 6L6GC production is crap!)
Totally stock I gave it a 5,... but I couldn't leave it that way!

As purchased: (I would not dignify it with a positive rating) mushy, flatulant, overdrive sounded like trying to crank an old boat.
After gutting the channel switching, reverting to standard blackface and recapping with Mallory 150 orange caps, and bumping the preamp voltage from +245 to about +300v... I would give it a 10. (The Mallory caps are harder to find than the Sprague, but they are true polyester/film with a circular wind (like paper/oil types) and sound clearer. They also have the outside foil indicated which when connected to the low-impedance side of the circuit further tends to eliminate hum, crosstalk and noise). They sound GREAT!

It has undergone 6 major revisions by my hand since it was purchased in late 1997. There have been countless minor tweaks allowing time to examine the results of little things (example: using .047 or .022 bass-rolloff caps in the tone-stacks). Final mods were completed late in 2002 and no further changes are necessary. I could rebuild it in my sleep if I could find reliable sources for all of the parts. I document everything ever done to any amplifier I work on, and I trust my build quality second to none. Tubes will wear out.

Fender has been berry berry good to me!
One of my friends was an authorized Fender repair technician and he and I swap circuits from time to time. Fender is always responsive when I order Fender specific parts, schematics and speakers. Most everything else I get from various distributors.

CON: Channel switching is extremely primitive for the available technology (LDRs!) and no consideration was given to lead layout and excessive capacitance of the many coaxial signal cables from various points to the externally mounted switching circuit. True to CBS's intentions much of the circuit contains many "silverface" mods to neutralize various triode circuits and thus eliminate harmonic content. I couldn't stand the black grill cloth, either. In short, this amplifier sucked like a hoover.

PRO: This was almost a true AB763 blackface circuit although it lacks a tremelo circuit and includes channel switching. The voltages were relatively low, 410v on the plates of the output tubes putting it in the same category as a "Deluxe" but using 6L6's for output instead of 6V6s (good medium power amp). It was the last production amplifier made by Fender using a wax-impregnated eyelet board and hand-wired circuitry. It was RIPE for a rebuild! Although it was a KLUDGE of mismatched design goals and manufacturing compromises, it did have the potential for conversion back to a truely useful amplifier.

MODS: I removed all of the channel switching and modified the various gain-boost circuits, tweaked the EQ in the tone-stacks and reverted the horrible reverb back to standard blackface style 2.2k bias on a 12AT7 & removed the current limiting resistor in series with the reverb transformer primary. I changed the BASS-boost switch to cut the negative feedback by 2/3 and changed the TREBLE-boost switch to bypass the master-volume with a switchable 47pf capacitor. The mid-boost was left as is - it added 10K in series to the ground side of the REVERB tone stack, eliminating much of the losses (bumps up the mids but the BASS and TREBLE have less effect on the overall EQ). All coupling capacitors were changed to polyester-film at 600v. The original capacitors are made in Japan by Xircon. These were smurf turds with wires attached. The phase inverter was replaced with a 5671 instead of a 12AT7. Same gain, no microphonics, sweeter drive and absolute balance between the phase inverter stages. The reverb recovery used 1/2 of a 12AX7 (V4) and 1/2 of a 12AX7 (V5) for 3rd preamp/mix. I combined these into V4 and removed one 12AX7 (V5). Lead dress was vastly improved, all neutralization capacitors were removed, and all coaxial signal cables were replaced with open 600v white insulated wire (lazy spiral wound around B+ or ground wires when appropriate to provide "phantom" shielding & physical support). All preamp plate load resistors were changed to 100k 2w metal-film to reduce circuit noise. Several small disc ceramic capacitors were changed to silver-mica types to improve harmonic clarity. Any common preamp cathode circuits were made separate to eliminate coupling between Normal and Reverb channel. The reverb was given a "Dwell" control on the back panel using a hole which was intended to mount a RCA-jack for the footswitch indicator lights. The master volume was changed to a 1-meg hermetically sealed Bourns miniature pot with a conductive ceriamic element to reduce noise & improve low volume response. Precision 1-ohm resistors were placed in the cathode circuits of the output tubes in parallel with 1N4007 diodes to provide test points for setting amplifier BIAS. The bias supply was rebuilt with an extra filtering stage and AC coupled to ground at the junction of the grid resistors with a .1/600v mylar cap (...thus eliminating any cross modulation from one grid circuit to the other). It now has new grille cloth in the traditional early blackface styling mounted on a 9-ply 3/8" laquered frame. The stock speaker was changed to a 100W Eminence (like Fender puts in the TWIN) to tighten up the BASS response. The power and standby switches were changed to newer ones with heavier ratings to eliminate contact noise. Finally, all of my amps get a PURPLE jewel for the power lamp.

Think of it

Rumour has it that only 100 of these were ever built. Ed Jahns was the creator of the 30,75, and 140 series. 1982 is stamped on a red tag attached to the power cord. So I am thinking the amp was built somewhere late 1981-early 1982.When I purchased the amp a few months ago,I was getting a little crapping out..like the input signal was overloading..took to my Tech guys in Clearwater, Florida and the problem was fixed. Something to do with LDR's..Fender was trying to compete with Mesa in having similar technology. I really enjoy the fact you can get a very cool overdrive sound with push-pull switches on the volume, Mid, and, Bass controls. Channel switching is also available. In this mode you lose reverb on the clean channel. However, if you set the channel switch to the off position you get reverb on both channels. But you also lose a bit of output. No big deal. I do play professionaly and use this amp in small to medium size clubs. The amp is rated at 30 Watts RMS using 2 6L6's, 2 12AT7's, and 4 12AX7's. In addition the has Point To Point wiring.I am using Electro-Harmonix preamp tubes and Groove tube 6L6's. I also changed the original speaker to a newer Jensen P12N made in italy. Wow, the Jensen added amazing tone, clarity, and output. I think the amp is very versatile, sounds very good, not too heavy, doesnt have a huge stage foot print. It's about the size of a Vibrolux cabinet with a single 12.

I have a 74 and 76 strat with Bill Lawrence pickups...L-280's. I love these pups. In addition, both strats are outfitted with Callaham trems. I also use a 74 Les Paul with Lindy Fralins, and a 98 PRS Custom 22 with Fralins. Effect wise I use a Boss T-2 tunes (wish it had true by pass)>Vox 847 with true bypass, Fuller pot, Fulltone inductor and circuitry re done by the Tone Man (great job by Don),> Fulltone FDII> Fulltone Fat Boost>Fulltone Supa-Trem>Fulltone Choral-Flange>H&K Rotosphere>H&K Replex. All the inter-connects are George L as are the nmain Guitar Cables from Guitar from pedals to amp. I have used George Alessandro cables..awesome! I play Blues, Rock, and have been doing so since 1964 (wow).I bought this amp to cover small clubs..something with a little more power than a deluxe. I am not trying to emulate a SRV sound or anybodys for that matter. I am doing fine with the guitar sound and voice my equipment gives me. I wanted an amp different than the deluxe just for that reason. My invest was a good one with no complaints. In fact I get compliments on my guitar sound. And people are always asking "what is that?"

Since have the problem with the LDR's fixed no problem.

No experience here.

I have two other Fender amps, 1973 Twin with EV 12L's, and a 1982 Fender Concert II (Paul Rivera design) with newer single Jensen P12N. The Concert is now amazing. I also have a Bogner Shiva which is totaly incredible. I guess I have gotten to point in my playing career that I am not comfortable lugging around a $2500.00 amp. Yes there is a sound quality compromise and its ok. If you can get your hands on one..check it out..a great value, sound, and stage presence.

Plenty of power but not having a reverb on the clean channel really bums me out. What is a Fender clean tone without that legendary spring reverb?

This is where I get confused. I don't know what you guys are raving about. I have been playing for 15 years and i know a great tone when I hear one. I play an American Strat through this amp and it sounds like butt! I can't get a decent tone out of the second channel. I took it to a tech thinking something was wrong with it. And he told me "Nope. That's just the way it sounds." The clean tone is great. Put a reverb in front of it and you've got that tone that can only come from a fender. But the distorted channel is virtually useless.

I have had it for 2 years and it crapped out on me once. -took it to a local guy and he fixed it...no big deal.

never dealt with Fender directly.

I only spent $100 on it. I guess that's worth it just for the one channel that I use. But I am pretty disappointed in the overdrive tone. If anyone has any mods or suggestions, please contact me.

Hy I'm Dries and I am from Belgium so I m sorry for the mistakes

I brought the fender 30 amp I think 2 months ago (i paid like 600$ (thats cheap for europe! an new american strat is like +/- 1500$). It's with two speakers and not 1. I like to play jeff buckley and frustiante shit and it works!

I play on a Fender strat and a Gibson LP, the strat on that amp is really cool. With the LP it's also cool but with some gain it's to much bass.

No idea, i have it for 2 months

I e-mailed fender, they send me a PDF of the users manual

I play for 7 years. I had a laney 100 head with tubes, it was to powerfull and to 'metal'so i changed it with the fender 30 amp.
I know that the amp is very rare, so don't steal it. It sounds great

Quick update for my previous review. BTW, speaker configuration is 2x10.

Today Fender reimbursed the poor quality schematic. There was no hassle, just a very long wait. In all fairness I would like to up the rating of their customer support.

The tube contengency and the features are well described in previous reviews. The only thing that I can add is that the bias adjustment on this amp is not the balance bias type, but stock it is a true bias adjustment. The circuitry, outside of the channel switching, is a very typical SF/BF style, but has stock any mod that you dreamed of doing yourself. It has every thing I need, so for me it would be a ten, but I'll knock a point off because of the lack of an effects loop.

If you play blues/jazz/rock/rockabilly/reggae, this amp will give you the full spectrum. From Joe Pass to Brian Setzer, to Kurt Cobain. It can be sensual when you want it to be, or it can bark like a dog. I play with a telecaster, a strat, and a les paul, and this amp sounds great with all of them.

Don't know yet. But being point to point, and after inspection seeing the quality of the workmanship, I can say that it is a very sturdy amp.

Even though the schematic can be found on page 486 of the Tube Amp Book, I ordered the schematic from Fender. The schematic I received was of very poor quality. I wrote them again (the only way you reach them) this time complaining about wasting my five dollars, and it looks like they are blowing me off. I haven't heard from them. I find this very poor for a world class company like Fender. Out of principle, I fully intend to let them know about it. They should take Music Man's example and post those schematics on the web.

I play blues/jazz/rock/reggae/funk, and this amps *excels* in every single style. I've been playing for 27 years, and I currently have a substantial collection of amps. This amp is a star player. If I had this amp stolen, I would instantaneously be looling for another one. I have paid a lot of money for some of my amps, I can't believe I bought this one for the price I did.

This amp was made in 80-81 and it is dirrerent than any other Fender that I had seen. I play Rockabilly with a 55 Gretsch Country Club and it has plenty of enough power for any gig.I used it when my band opened for Jerry Lee Lewis at the House of Blues in Orlando , FL and I did not need a monitor for my guitar. I could here my guitar loud and clear over the p.a.I had the volume on zero and the gain boost pulled and had it set at 3. This amp also has a decent reverb and it has a line-out.

With my Gretsch,my ES-295, my Strat or my 79les Paul it takes no prisoners.For blues and rockabilly it screams and barks like a rabid dog! If you want more dirt, give it more gain.If you want to clean it up, just drop the gain and crank the volume. I've played in all types of venues and it works anywhere.

I've had the amp serviced when I got it and I've been playing it in clubs and concert venues for 2 years and it is a very dependable workhorse and it has never done nothing but scream.

I never used them. I have an amp tech.

Ive been playing for 20 years and I've had tons of Fender amps and none have stood up to what this amp has done for me I would cry if was to get stolen and I would scroung the earth for another one.I hate that they are'nt more out there!

What a great little amp this is! All tube, 30 watts, two discrete channels, preamp gain and gain for treble, mid and bass give this amp great tone capabilities. I use this amp as an alternative to my twin reverb and am very happy. It's not a chunky Marshall type gain and with a lot of gain my PRS or any other high output humbucker are a bit too much, but other than heavy metal this amp is A-O-K. What a great thick bluesy sound I get from my Strats!

Great overall tones and great flexibility. The clean channel is just great and the gain side throws a wide range of choices at you and the amp seems ready for whatever you may desire (except high output humbuckers as I mentioned). I'm not a pro player, but when I ran the output to the two 12" speakers in my Twin Reverb it made me re-think keeping the twin and maybe look for a second 12" cabinet.

I don't gig, the amp's 20 years old, very dusty and works fine.

The folks at Fender are great and have been very helpful in the past in dealing with technical questions for guitars and amps, dating an instrument and more.

Just a great amp. A nice combination of low power and great tone controls. For $200. (or a bit more!), this is a pure tone amp versus many of the low power amps trying to be something else, ie Blues DeVille, Blues Jr...

Was looking for a smaller practice amp that wouldn't blow the windows out, and found this one in the classified section. Never heard of a Fender 30 before, so I had to go to the book. They were manufactered from 1980 - 1981 (could explain why there aren't many around.) Its all tube using two 6L6s, six 7025s (12AX7), and one 5U4 rectifier tube. Has two discrete channels; Normal and Reverb; switchable with a foot switch. The Normal side has Volume, Bass, and Trebal controls, two inputs, and a Bright switch. The Reverb channel has two inputs, Preamp Gain, Bass, Mid, Trebel, Master Volume, and Reverb controls. All of the controls on the Reverb channel are push/pull types that boost that particular control; and its this feature that makes this a very versatile little amp. You can get a wide variety of tonal characteristics using combinations of boost and tone settings. Not to mention it does a great clean thing too. Would be perfect (for me) if it also had Vibrato and maybe an effects loop.

As I mentioned before, this amp offers a wide variety of tonal possibilities. The reference book said that this line was one of Fender's first attempts at channel switching high gain amps. At 30 watts RMS, its great for practice and small clubs. Clean channel will stay clean up to about 7 (depending on the guitar's pickup.) Great full tone and gentle breakup blues. Good for clean jazz. Great for country. With the gain turned up it does good for distorted rock n' roll but will not work for metal. Single coil and vintage humbuckers sound GREAT. High output HBs tend to overwhelm the preamp a bit. Works great with effects pedals. The Reverb is an all tube Fender; what more do I have to say.

This amp was 17 years old when I bought. Except for the tubes, its all original and still crankin'.

Never had to deal with them.

Great overall little amp. I've been playing about 30 years and would be hard pressed to find something today that sounds this good for what I paid for it. Don't know how many of these things are still floating around, but if you see one for sale, I highly recommend you check it out.