Fender Super Reverb

Combo Amp, 40watts output power rating. Blackface RCA/Fender circuit.Spring Reverb and tube Vibrato......cool and vintage styling.
Clean sounding amp with nice tone character, and typical Fender sound.
Four 10 inch alnico magnet Speakers. 2 channels...treb,mid and bass tone controls. A classic Amp for Blues and routes styles and even pop and Jazz.

What makes this Amplifier very interesting are the features combined to make a versitile, sweet sounding unit.

A large part of the reason that the Super Reverb (and Tweed Bassman)
sound so good is the output transformer(2 0HM)happens to have an interleaved winding, which produces a high frequency response, so the sonic result is great definition and tone.
Add to this, the clean character of the 12AT7 driven phase inverter in the Super Reverb, and 4x10 speakers....add some tube driven spring reverb.....and there you have it.
40 watts is also great as an output rating, as the 2x6l6 tubes get a good workout...which in turn lets the power section of the amp produce
character aswell.
There`s also a tube rectifier in this amp, which in my opinion really does add warmth and a little "sag" effect if the amp gets pushed hard.

A classic amp with great features.
Some famous players to favour this amp in live performance are:

Steve Cropper, nils lofgren, Robert Cray, Ronny Earl, Duke Robillard,
Wes Montgomery, Danny Gatton, Sherman Robertson, Tony Joe White, Larry Carlton, jimmy and stevie vaughan and countless others......
This Fender amp does alot, and has its tone in spades in my opinion.

Fenders are usually pretty good . A tube amp is always capable of failing though.....Just the nature of the beast.

This reissue is pretty darn good to say the least.
Try one for yourself....just remember that the real test is in a band situation with noise around and the amp has to able to come through in tone, volume and character.
Vintage style Fenders are hard to beat for R&B and routes music etc.
If you want to rock it up...get a good pedal!
If you want British...get Vox or Marshall!!!

This is a 76 silverface in very good condition, with Vibrato, reverb, and master volume with two channels. never been modified.

i designed the webpage for the music store and as a trade he told me i could have anything on the floor. (Price tag on this was $875.) I have never had an amp sound so good and I've owned a few vintage. The store owner had a capacitor job done on it before i got it which i am told really does well with older amps that have lost their "oomph". Still has 1 original power tube working fine, but 2 new GrooveTube 6L6s. 4 original Oxford 10" speakers. Missing the footswitch.

Sounds best with semi-hollow Gibsons, ES135, 335, etc. with P100s pickups. Played my 82 Tele through it and although it sounds great, this thing was made to play a Gibson. All I can say is Wow.

I cant ever imagine needing any other amp- i can get raw as hell or clean as peach. I swear i can hear every individual string resonate when i strike a chord.

No noise whatsoever- no hiss, etc. but may be because of the recent cap job.

Havent used it long enough to tell

Havent seemed to find a problem getting parts (i got casters for it immediately- the thing weighs 86 lbs!!!)

if this were stolen i would hang myself. I used to have a 72 Marshall super lead and it didnt even come close to this. It was a bit grungy when i got it, but it cleaned up very well with dish soap and water, the silverface got shiny again amd the front brightened up with a wet vac cleaning (the amount of nicotine that i lifted off the cloth grille grossed me out- must have been gigged with a lot!)

This Super Reverb was built in 1964. As far as Features, it is pretty basic, althought Reverb w/ Temelo and a Mid Tone knob was pretty good for those old production day's. Since the good music was still formulating....

I play thru a 90's Corona built '52 re-issue Tele with a stock neck pu and a "Muey Grande" in the bridge. However, it doesn't really matter what guitar you play, this amp is the real thing! It must be something about total sq inchs w/4-10 speakers and all that Fender pure tone. I've heard/played on a '66 and evan a '65, but notheing can match this '64.

Hey the thing is almost 40 years old... But other than putting a multi tap output transformer in it, (4-8-16 ohms selector) and nos tubes, nothing else has been done or replaced!

Have no need for the dealer

Been playing off & on for over 35 years have all kinds of old fender amps, have a Reverend 1x12, a Laney 1x12 but this is my favorite. Look for the oldest Blackface you can find, or go back even futher for a Tweed, '59 Bassman you will never be dissapointed!!

72 Silverface with MV, had it about 15 years I guess. Pretty straight foward amp with no bells or whistles, less one considers the tremalo and vibrato features as bells and whistles. This amp is heavy as all get out, and cumbersome, no fun to move around.

This amp does what its supposed to do, a great Fender clean with nice reverb. Mine breaks up around 4 if you dig into it, beyond 6 starts to sound ratty to me, but thats a subjective thing, other may like that sound. I have one of those Line 6 echo/delay thingys (the green one) that couples real nice with this amp. Kinda can dial in a nice Setzerish feel. If you want to play heavy with this amp it wont do it "standalone" You'll need a pedal or pre-amp of some sort to get heavy, though it always will seems to lack that heavy bottom end. This amp wont made for the stuff anyway, it predates metal. Having said that, I found that the old ADA-MP1 will give you what you need to get heavy, there is no effects loop on this amp so you cant toggle out of the ADA to the Fender, which kinda sucks. I tried several stomp-boxes ranging from the TS-9, Marshall BluesBreaker, Fabtone and always wind up going back to the ADA with this amp for the versatility. I've always used this amp with Strat style guitars, 94 40th Ann. Fender Strat, ESP Vintage Plus, some other ESP's and Fenders. Any quality guitar with quality pickups works well with this amp, to me anyway.

Just change the tubes out fairly regular and it should keep ticking, its only crapped out once in 15 years on me, and that was a tube thing.

Never dealt with them

I've played 21 years, country to rock and even metal back in the 80's. Its a one trick pony amp, does the Fender clean thing, can get twangy and will give you some growl around 4-5, well thats 3 tricks, lets just say it does what a Fender amp is supposed to do. If it were stole I'd look into some of the re-issue Fender amps, maybe the re-issue Twin or the Blues Deville, lets just hope it dont get stole.

It's a 1966 blackface Super Reverb, very hard to find here in Europe ...
It's not an amp with 1001 sound possibilities, but it sounds always excellent for any kind of root music at any setting. I use it to play blues, bluesrock, rock, rock 'n roll, ...
Don't use it with digital effects, get some good old pedals instead to keep the typical character of the Super.
It has 2 channels, 2 inputs per channel. Treb, mid, bass, volume, reverb, vibrato, speed. Nothing special, no whistles and bells ...
You can easily play the whole evening with one guitar at one setting.
Mine has 4 10" oxford speakers that sound incredible. I use it for rehearsals, at home and on stage. I don't need any backup. It isn't heavy compared to my silverface twin reverb with jbl's.
Power tubes are NOS RCA or svetlana (6L6 GC). Crystal clear, fantastic amp (think of Stevie Ray's song "Lenny" ...)

I will keep it very short : I can play "Jingle Bells" with this thing and still sound like Stevie Ray Vaughan !!! When I turn the tone knobs on my SRV Strat to 5 - 7 I get the creamiest, warmest jazz tones you could imagine. If I turn the tone knobs back to 8 - 10 it's pure SRV that comes out of this thang !
The ts-808 (original) adds just a little sparkle and bite to the original tone of the super reverb. I only use the ts-808 for a little volume boost (for solo parts) and a little more sustain.
So, If you can get a blackface super reverb, sell your car, your house and your wife and buy it because this is THE KING OF ALL AMPS ! It sounds great especially with single coils (strats), but also sounds very nice with my artcore ibanez guitar (es335 clone) with humbuckers. Definitely the best amp I've ever owned during the 13 years I've been playing. This amp is making jealous every single guitarist in the audience !

Oh yeah, don't even think your silverface sounds as good as a blackface model (even after bllackfacing it), because the real blackface models are i.m.h.o. sounding much better. I've compared my BF to a couple of SF models and they are all blown away by the BF. So, if you have to choose, if you've got the money and if you're lucky enough GET THE BLACKFACE MODEL.

It sounds AWESOME !

Well I've only had it for a few weeks but as many good ol' things, it is built like a rock. I think regular tube changing and servicing will take this baby in good health.

This amp was built in 1966 ... warranty has expired a long time ago.
Luckily I've got a very good amp tech that keeps my amp(s) in top shape !

What can I say more good things than all the other reviewers have done ? No amp on harmony central gets this score (9.7) with this amount of reviews (78) (go take a look yourseld if you've got time) ... it's the #1 amp ... the amp of all amps ... the fender king ! I'll keep this amp for the rest of my life ... it's my pride and joy ! I would kill the thief ... so be warned !

I don't understand why fender isn't able anymore to build amps that sound as good as the old blackfaces. Technology has evolved during 30 or 40 years ... one should expect that also tone has become better and better ... but unfortunately the TONE of the new fender amps or re-issue models is NOTHING - and I really mean NOTHING - compared to the tone and character of the old workhorses (especially the blackface models). I don't understand how fender dares asking 1800 EUR (approx 1800 USD) for a re-issue fender super reverb ...

My advice : Get the real thing for less money and much more tone and pleasure !

My Super Reverb dates from around 1969. I actually found this amp while driving around and scouting for good trash finds in my town. I actually thought it was a large suitcase, then I noticed the knobs, filthy grillecloth and a dirty silver control plate. I, of course, pulled it off the curb (along with a Technics EQ unit) and stuffed it in the trunk faster than you could blink. The amp was originally a butchered-up Bantam Bass amp, with a replacment baffle nailed in from the front, designed to hold a destroyed 15" 16-ohm speaker (a mismatch, of course-the Bantam Bass output tranny was designed to use an 8-ohn speaker). I restored the cabinet, found a complete early-70s Super Reverb chassis for very little money, restored and blackfaced the circuit, put the two together, along with a nice coupling of 2 reissue Jensen P10Rs (for the Alnico warmth) and 2 reissue Jensen C10Qs (for the solid bottom and sparkly highs), a new baffle with aged blackface-era grillecloth and a blackface control panel for that Blackface-era look. It has been making sweet music for me ever since the rebuild.

This amp is extremely versatile for me and my styles. I play surf music, early rock n' roll, 1960s rock, some blues and soul music. This is a very stately-sounding amp, it has so much sweetness to the tone that it makes your skin tingle. And it sounds great with humbuckers (I ran a Gibson SG through it, which mated beautifully with the Super), single-coils, etc.

The amp is a two-channel, real simple and with Fender's easy learning curve. I never understood the concept of over-complicated amp circuitry, especially in guitar amplifiers. I actually owned an absolutely mint condition Fender Super Champ at one time. The amp was an 18 watt powerhouse, it had circuit switching, a real gnarly lead sound, but it lacked one thing: the SOUND. It wasn't just me either; I lent the amp to a friend who is a Fender amp collector, and he essentially could not find the right sound on it, after hours of tweaking the knobs and fiddling. That is my feeling with all the modern amp makers, whether it's Mesa, Matchless, Line 6, what have you, you don't need the complicated circuitry to get an absolutely awe-inspiring guitar tone. I think you actually need a basic rig that won't fail you, that has no extra bells and whistles, and is simple to use. Oh yeah, you also need talent!!

There are no extra features I could wish for. If I ever needed any others, I always say, "GET AN EFFECTS PEDAL!!!" The amp has reverb and tremelo, a bright switch for each channel, and 40 watts that can make your ears ring. I use all the features on this amp nearly all the time, the amp has more than enough power for me, since I use it mainly for studio and small gig use, although it can be easily used in a larger venue with no problems. Let's face it folks, if Stevie Ray Vaughn can use this thing on stage, there is no reason why it can't be used at a coffeehouse gig or at your local bar-band gig. And it's about a 60-odd pound amp, so it's still relatively easy to haul around, at least in comparison to a Twin Reverb (and the Super moves more air to boot, with those four 10" speakers!), so even though it's not as easy to carry as my Princeton Reverb, it sees frequent use.

I'm primarily a Fender guitar player (that is, when I'm not playing keyboards, and this is a great keyboard amp as well!), and my axe of choice is a candy apple red 1962 Strat re-creation (not a re-issue, this guitar was actually hand-built by someone from OEM parts and has patent numbers on the headstock, uses real Kluson Deluxe tuners, etc,-it's about 99% accurate to the specs of a real 1962 Strat-a nice axe). I sometimes run my daughter's 1968 Pink Paisley Telecaster re-issue through it, and needless to say, both guitars have never sounded better. I consider myself a real "single-coil" guitar player, i.e., I play real trebly, old-fashioned music. I'm a big Buddy Holly fan, I love surf instrumentals, the Ventures, yet I play early Who, Kinks, Beatles, so I get a good aggressive tone, yet with that unmistakeable Fender tone. So it really does suit all those styles, and the amp really brings out the best in my instruments, and in my playing.

The amp is not noisy at all, very little hiss (carbon-comp resistors, of course, but you have to get a little white noise to get good vintage sound, especially since the resistors' values have drifted in spots and fatten the tone even more!!) and sits there at idle without a peep. It's got a three-prong plug installed, so no ungrounded amp hum (not to mention SHOCK) and stays quiet on gigs as well as on recordings.

The amp has a wide tone palette. Amazing for such a simple amp, but it goes from crisp tones at lower volumes (up to about four to five), starts breaking up with a nice growl above five, then goes to full-bore throatiness from about seven up to ten on the volume control. Now here's the nice part: my speaker compliment (I didn't worry about originality with this amp anyway, since it was a garbage find, and the original speaker and baffle were butchered up mercilessly) allows the amp to get that nice Alnico speaker distortion without farting out on the bass notes because of the ceramic C10Q pair coupled with the P10Rs. It was a gamble, since I never had a 4x10 combo amp before, but I figured I would have the best of both worlds, and it worked out exactly as I hoped it would. The amp has the classic Fender grind that you expect from the Super Reverb, yet it doesn't give out on the bottom end, which is real important if you're playing heavy surf riffs and you want every note clear as a bell. So it gets the great Fender tone at both ends of the volume spectrum, and the distortion is pleasing to the ears, and very musical.

This amp, since it was an exercise in clever recycling (trash-picking, that is), I had to go over the cabinet a number of times to be sure that all joints were solid and that there was no bad wood (it had apparently been stored in an open garage in a mud puddle, because it was damp, had tons of leaves and who knows what sitting inside the amp. Incredibly enough, the chassis worked fine--I cleaned up the controls, tightened the tube sockets, plugged in another speaker to test, turned it on and voila! worked like a charm. Same with the Super Reverb chassis I installed to make it a Super Reverb--worked perfectly from the get-go. Fender used to make top-notch product, regardless of what was said about the CBS era. Anything you can find in the trash that still works after it was beaten to shit (it looked like some kids owned it, since it had graffiti all over it, which thankfully washed off, and the bottom panel looked like someone hit the pine with a baseball bat), well, they get my vote! Besides, the Silverface amps don't sound bad at all, and with about ten dollars of parts, they sound like the Blackface amps, and are built with pretty much the same bullet-proof construction. I once bought a brand-new reissue Deluxe Reverb, and right off the floor, it needed new tubes!! The tubes were junk Chinese tubes, branded as Groove Tube, and the amp just seemed a little flimsy (pots felt cheap, baffle was cheap plywood, speaker was not as good quality, Tolex was wrong texture and gloss, and not applied as well)compared to the original run of Deluxe Reverbs ('64-82) which essentially sounded the same, and are still cheaper than a new RI. Same with the Supers, you can get a decent CBS-era Super Reverb for approximately half the cost of a reissue, modify it to whatever you like--go whole hog, make it as close to an original issue '65 Super, and you'll still be ahead by a few hundred dollars (at least), it'll be easier to fix (hard-wired, no PC boards in these old babies), and you can drop it off the stage every night for a week and it'll still work (I don't recommend this, though-instruments are for playing, folks, not for abuse, and I know I can't afford replacements, especially in today's economy), not to mention always hold its value. I can truly say I would use this amp without a backup, especially since I went over the circuit with a fine-tooth comb to make sure that all components, tubes, sockets, etc. were up to snuff and were able to get through countless gigs. And I can say that I would definitely use this amp on a gig without a backup because I HAVE NO BACKUP AMPS, unless I can mike my Princeton Reverb, but if not, oh well, air guitar time(or keyboard time, since I also use this amp for keyboards). But so far, so good, it's holding up well, no crankiness, works everytime I switch it on, typical Fender reliability.

The customer support issue is moot with me. I'm my own customer support, I do my own repairs, I wield a mighty soldering iron, if I may brag, and I can handle a VOM without confusing or electrocuting myself. I actually called Fender once (once, only once!) about some amp issue, and the support specialist (it is to laugh...) rubbed me the wrong way with his nonchalance, and called me "dude" in the process! Now, here's the deal. I don't mind being called "dude" or "man" or whatever (no expletives, please, unless they're affectionate ones) when a friend talks to me, but I mean, this guy was on the phone with me representing his company!! So, I don't have a warranty on this amp, since it's about thirty-plus years old, and I'm glad I don't, since I don't have to deal with Fender at all (hell, my guitar isn't even a real Fender, even though you couldn't tell even with a magnifying glass, so I didn't have to deal with those DUDES for my guitar either!!). So, no opinion at all here, just a rant on calling people dude.

I have been playing keyboard since I was four and a half, and I have been playing guitar since I was fifteen (I'm 34 now, so you do the math). I have had a succession of Strats and Teles, and I actually bought and sold (or returned to the store) six strats in one year, that is, until I bought my current (hopefully last) one. I own a number of keyboards, my main one being a '66 Vox Continental, I have two Roland synths, a broken Moog Rogue, an E-MU Vintage Keys module (real nice), a Voce V-5 Hammond organ simulator coupled to a Motion Sound Leslie rig, some effects (a Big Muff, two delay pedals, a Vox wah-wah, an Ibanez flanger), a '68 Princeton Reverb (given the Blackface-era amp treatment as well--makes it easier to read the controls, and looks real nice to boot) and that's about it.

If my Super Reverb were stolen, I'd commit unspeakable horrors unto the thief, wipe the blood and gore off the Super, and take it home and keep playing. If it were lost, I'd probably build another one just like it (more trash-picking, anyone??). The Super Reverb is possibly one of the best examples of the Fender sound. It's thick, sparkly, yet it breaks up nice and juicy, with a great hefty grind. It's definitely not a one-trick pony like a Vox AC-30, which is itself a wonderful amp (but heavy as hell!!) or like a Marshall, which has to be set up by a good amp tech to sound exceptional (and the newer models are more hype than good sound, at least in my opinion), and although it's not for everyone's tastes and style, it suits most styles and tastes, and is more of a mature player's amp. You can go to a gig with this amp and a guitar, not plug one effect in the signal chain, and get a great sound out of it, song after song, that makes a listener sit up and take notice of your tone. I think that's what I love about this amp most of all. It needs little else to make a good player sound great, and it's the kind of amp that you graduate to as you become a more mature player, past the loud distortion and pedal boards and Marshalls and other excesses of musiciandom (is that a word?). It's simply plug-and-play, you dial in a great tone and you're on your way. It needs nothing else, just a player who is willing to grow with it and explore its tone palette and throw out the effects loops and digital modeling and other useless, overcomplicated nonsense of immaturity.

A truly classic amp with the most of the features found on Twin Reverb and Deluxe amps. Whereas a Silverface model with the three popular options will be re-issued one of these days......

The actual '65 re-issue (essentially a faithful replica of the original Super Reverb made at the first days of 1965, just few months before the late Clarence "Leo" Fender sold the FMIC company to the mighty CBS Corporation), had all the characteristics of the original Super Reverb of the '60s and, despite the tiny 2-band EQ of the Normal channel (the Twin featured a 3-band EQ), the Super Reverb is almost perfect for many styles of music: from surf to blues and from country to rock, through jazz and boogie, this legendary Fender amp still remaining the favourite club amp of many "coffee-houses" in the United States, like the Twin and Deluxe Reverb amps of that same era.

I hadn't a particular opinion about the Super Reverb, because I don't have purchased one yet. It's almost hard to find a new re-issued Silverface Super Reverb in a local music store today. Silverface Supers are now collectables and were available as used gear only.

I didn't sent an e-mail to Fender to ask him to re-issue the SF Supers with the three different control layouts (the non-master, the master-volume and the master volume with the 3-band EQ) for those "Silverface" nostalgics who wanted a truly '70s vintage amp but can't find a brand-new '70s amp with the most modern features and innovations found actually on the re-issued '65 "Blackface" amps, so I don't have a customer support yet. But I'm sure that the SF era amps could be manufactured at the Mexican facility to eliminate the tooling costs, but the whole assembling (including the parts and the miscellaneous accessories) can be done at the Corona factory, who was chiefly responsible for the "Blackface" amp production.

It's an almost excellent amp, of course, but the limited tonal abilities of the 2-band EQ on the Normal channel didn't provide the sound as you did expect from a clean channel. But the Super Reverb had a crashing reverb effect that could be very fancy, especially when you plug in your good old favorite vintage Jaguar and Jazzmaster guitar to the Vibrato channel! You know, the master-volume Super Reverb with the 3-band EQ is by all points more versatile and had much many features than the non-master Supers, so it's almost sad to told that the SF Super Reverb, like the other amps in the classic Silverface range, was now out of production, the fact that the management team who owned Fender today, had decided to stop the Silverface amp production in the mid-'80s.....

I have a '67 Blackface. It's simplicity is what makes it such a great amp. Not a lot of features, bells, and whistles - but it doesn't need them. It is a beautiful piece of gear, my most treasured possetion.

I use a Strat and an SG. I play blues/rock/jam in a local band. The amp is simply incredible - I can't say enough about it. The tone is incredible - I use a couple of Tube Screamers and a ProCo Rat and can get just about any tone I want with this configuration. In bigger rooms the amp needs to be mic'd only for monitor reasons, really. In smaller clubs I just turn it up to 5 and wail. It is my dream come true.

The amp is 35 years old, and all original (except for tubes). The reverb has basically run out, so I may need to get a new reverb tank. I treat it like a baby - I've come to learn that if you take care of your gear, it will usually last.

It is God's Gift to blues, rock, and country guitarists.

Amp is '67 Blackface Super Reverb. Everyone knows about the features by now, so there's nothing I can add. As loud as the amp is, I find it needs to be miked on occasion. The reverb sounds pretty good, but have never cared for Fender "vibrato." I play rock, blues and jazz. It covers them all pretty well. The amp's tolex was pretty well beat up when I bought it. I played it for years this way, agonizing over whether to leave it like it was, or refinish it. I finally decided that after getting it to SOUND great, I wanted it to look good. I took the cabinet to Larry Rogers, of Roger's Amps, in Charleston, SC. He did a Super (pun intended) job of recovering the cabinet, grill, and refinishing the face plate. And I added all new chrome hardware. He also had an original B/F foot switch, which was missing when I bought it. He told me that the speakers (original) sounded as good or better than those in his '59 Bassman, and exclaimed it was one of the best cabs he'd heard. On tip I would recommend. I didn't reinstall the casters on mine after the re-tolexing. I think it looks cooler without them, and more importantly, I think it sounds warmer resting on the floor. So it's heavy, small price to pay for such a great-sounding amp.

My main guitar is a '66 Gibson SG with a PAF humbucker in the neck position. This gives me a choice of the PAF or a single coil P90, or I can blend the two. Some don't like the sound of humbuckers through a SR, but I like it. The amp is pretty quiet, except I need to replace a noisy reverb tank. My amp begins to cruch when I turn it past 3. 3 is good for practice in the house. It cruches pretty well, but I use an early Big Muff when I want that sound. I also use an original VOX V-846 wah, mostly as a tone control, an original Echoplex, and an MXR Phase 90 occasionally, for added presence, keeping the sweep knob all the way to the left. Funny thing was I almost got rid of the amp. I never liked the way it sounded, and had never played another B/F Super to compare with mine. I thought everyone was crazy, because this amp had no tone, no soul, no LIFE. Something caused me to take it to a tech who knows these amps, and he informed me that the big caps needed replacing, along with a couple of smaller caps, and some resistors. I was skeptical. I just KNEW this amp was always going to suck. When I went in to pick it up, and he played it, oh my god. I was truly stunned. And it was MINE! I may buy another amp one day, but the SR will stay.

I've had this amp since '85, and only had to replace one small tube. As old as it is, I have come to trust that it's going to work every time I turn it on. I did have the big caps replaced (orange), and some smaller caps and resistors changed as well. The amp had all old RCA tubes when I bought it, and I have never changed these, except for the one that went bad, and I found an NOS RCA in a local repair shop. I know what other's say about changing power tubes after a while, but all I can say is that the amp sounds great like it is. It's strong, clear, powerful. Until the day one of those RCA 6L6's goes, they stay.

I've been playing for 25 years. I own an original VOX V-846 wah, an original Echoplex, an early Big Muff, and an MXR Phase 90 (I hate that sound, but used with the sweep knob all the way to the left adds a nice presence. I've played a lot of amps, and heard a lot of guitar players, most who have NO interesting TONE QUALITY. I guard my amp very carefully. I don't let anyone I don't know or trust know what I have lurking in my home. My only wish is that, as loud as it is, I wish it were even louder!

1966 BF Super Reverb. My god, this thing is beautiful. It simply oozes tone, the reverb is sea-deep and the tremolo adds a nice touch to rythm and solos. I play mostly surf rock, with fortrays into just about everything else, and this amp does it all like a pro.

My main guitar is a 1970 (original, not a re-issue) Fender Strat, modified with a Floyd Rose bridge and a vintage DiMarzio humbucker in the back (hum-single-single). I generally set the action low so the low E string breaks up with enough picking force, giving me the ability to bring out subtleties in bar chords and trem picking. This amp is a master at bringing out the subtleties of a guitar and playing style. With my Electro Harmonix Hot Tubes overdrive in front of it, it sings. The tone is ultra-clear with no addded noise.

Before I bought it I was worried about the reverb. Being I play surf rock, I need DEEP reverb that doesn't get muddy. The Super Reverb has plenty of it (I generally set it at about '6' or '7' to get enough for most songs, and '8' for those which need "way too much" reverb. '10' is rediculous). The tremolo is smooth, and just like the reverb can be set to extremes.

When practicing solo, I keep the volume knob at around '2'. When jamming with friends, the most I've ever needed to turn it up to was '4', at which point I can ease the gain off my Hot Tubes box, as the low end will start breaking up around here. 40W of power is more than I'll ever need, and if I was recording with it, you can bet that two of those power tubes are coming out (so I could run everything else hot).

The other style of music I play is flamenco on my nylon-stringed classical guitar (a Yamaha). I was very suprised when I plugged this guitar in -- the Super Reverb sounds better than most acoustic amps! It preserves the tone of the nylon perfectly, even with the reverb on '10'. I haven't tried this at higher volumes, but at practice volumes, it's great for classical guitar.

When I got it, the tremolo didn't work. Turns out that was a loose wire that got knocked off in shipping. I re-soldered it and it works fine. I also replaced the filter caps, and rebiased the tubes that the previous owner had put in (which, suprisingly, were NOS RCAs!). The previous owner also never bothered to change the cord to a three-prong grounded cord, which caused slight buzzing with the reverb on. I put in a grounded plug, and now it doesn't buzz at all.

I've owned it for a year now and haven't had one problem with it.

I think the warranty expired some 30 years ago. If you're not comfortable with soldering, replacing tubes and capacitors and biasing, find someone who is -- just in case. I doubt you'll ever need it, though.

I've been playing six years. I'm also an electrical engineer and vintage electronics fan, so I make my own pedals and like to tweak other ones. I can say that this amp is without a doubt the best piece of equipment (aside from my guitar, of course) I own. If you're not into the Tube Screamer thing (I'm not), pick up a Electro Harmonix Hot Tubes pedal. It sings. My pedal board consists of: EH Tube Zipper, EH Hot Tubes, EH Deluxe Memory Man, EH Worm, Analog Man Bi-compressor, RMC-3 wah. They all sound great with this amp (though not all at once -- that gets a bit crowded).

You'd have to be a olympic weight lifter to steal this thing. It's about 80 lbs (expect to pay around $200 in shipping on one of these). The previous owner put castors on it -- they are invaluble!

I really wanted a BF Vibrolux Reverb, but I couldn't afford the $2000+ prices on eBay. I can now say that I am _GLAD_ I didn't waste the money on one of those. The Super Reverb rocks. Period.