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.

1969 early silverface. Most of you know the rest, ahh the reverb.

I dig single coil pickups. To help create my own sound I made a solid body guitar from scratch using Z90 Harmonic Design pickups. The guitar is made from one slab of Curly Big Leaf Maple (neck and body) so it leans to bright side tonally. The SR's controls are extremely versatile and will dial in your desired tonal needs. I'm 58yrs old and have been through lots of amps and guitars, I've come full circle. I began years ago with a 69 Vibrolux, new. My musical tastes have remained the same, the Blues, but my approach tonally has varied. At present a SR is perfect. Mine has 4 matched CTS AlNico's, Fender blue molded caps, AB763 circuit and unbeleivably, the original compliment of RCA tubes, testing new. I swapped the 5AR4 rectifier for a RCA 5U4GB to give me a little sag and according to Pete Cage of pete@audiocage.com this lowers the power a bit to 30-35 watts. Super Reverbs are LOUD. As stated in previous posts, nothing sounds like a Super Reverb, period. I have a black face Deluxe which is another great amp but the SR takes it to the next level. It's warm and big sounding, not the slightest bit boxy. The clean reverb drenched sound is nirvana to me. It's the quintessential Uptown Blues amp.

I carry with me a 1966 Bassman Head for emergency use. Not for the SR per se but for general use, including the PA.

No

I've been playing for 38yrs. I own a 58 Bassman, 66 Deluxe. I play a 53 Harmony Stratotone (customized uith string thru and 2 pickups). I'd repace the SR and the Deluxe in a heart beat. For open mikes I'll carry the Deluxe @35lbs and for a gig the Super Reverb @60lbs. The SR isn't insanely heavy but it's a bit to tall. When you have to carry it up any stairs it tends to want to clip the steps unless you lift it up a bit and that becomes uncomfortable. Lifting the Deluxe is less work weight wise and it will hang on your extended arm.

To say this was a super reverb, we'll just say that it read"super reveb" on the front. It was originally a master volume model-still is. I originally bought it with a missing transformer and no speakers. The other t-former was a top hat- so I bought another to match the set. I then bought the reissue blue alnico speakers. With the amp I recieved a two page printout of all the modifications that was done to it over the years. That is what this review is going to be about. The power section was fairly basic except you could switch out-with rebiasing- power tubes, and a triode switch. Man you could really do some low powered damage with these items!!!! The interesting part was how you could really make this thing sound like a marshall, even with the 6l6's in it. More of a high gain modded jcm800 when you used the master volume. But a few of the preamp mods really helped with this.
The pre-amp mods were pretty big also. It had the torres triple killer switch- never used very much, but the "Brown" setting was fun! The best part was a pull switch on the channel 1 treble was a tone cut out. This basically circumvented all tone controls and the reverb and tremelo. Very interesting, I used this most. It has a few others, but they increased hum and feedback when used, so I never really would use them.

I've had many different guitars. But with all super reverbs, you tend to pick up the strat all the time. With the amp hooked up to a 2x12 with g-12h's and the el-34's you couldn't help but use the LP custom. This thing could make Zakk Wylde cry for his mother. It could put out that much raw-hair on your neck standing up- distortion, and soooo detailed with the tone cut-out. And Man could you hit the ZZ lagrange sound, you could even bump that up a notch.
Noisy, you bet, this thing sometimes would sound like it was playing itself. But once you hit a note, it came along for the ride. Kind of like hitting the gas on a muscle car. It wasn't much for the corners, but flat-out heart acceleration, nothing has ever compared. As far as different sounds, this thing could make any sound you want, as long as it wasn't pussy!! I brought it into a guitar shop once to compare it to a new reissue. And the salesperson kept complaining about the noise, hum, dirtiness, and of-course all the exposed wood. But the shop owner came out and offered to buy it from me!! He played in an SRV cover band, and nothing he had could break through the mix. With this thing you had to fight to not leave them behind..
Clean channel- who cares. I think it could do the clean thing, but once you get into a muscle car, you don't want to go the speed limit! The distortion was never a triple rectifier, but the brilliant way it went about doing it was breath taking

Never had to do anything to it. I bought it with out the t-former and speakers, and really made a gamble on it. The reverb and tremelo weren't even hooked up. They worked fine once they were. The reverb was some fancy thing that my amp tech loved. It works very nicely. Loaded it with an old set of sylvania 6l6's, and an old set of mullard el34's from my vox ac-50(you use thatr for your clean channel, with an a/b box). Bought 3 sets when I bought the ac-50, which still uses the originals.This thing was meant to be used. If I didn't it would probably break from disgust.

Who knows, I've never called Fender in my life. I think they use the same tech support team as Hewlett Packard, great if you speak the local dialect in India!!!

I've been playing for 20 years. As far as other equipment I have owned-I'll say that I bought one of those amp modelling pedals(which was a lot of fun). And after going through the list of amps they copy, I've owned, not just played, every one on the list!!!I even have a '65 Super reverb that is bone stock- collecting dust(boring, and worth too much). If the other super reverb was lost(how do you lose a 80lb amp?) or stolen, I would cry and call my insurance agent, and not replace it. If the same happened to my frankenfender, I would tear up the old black face and make it sound as good, probably tear somes holes in the tolex wghile I'm at it.
To compare this to anything? I don't know a cross hatch of a heavily modded jcm800, a dumble overdrive, a Mless H/c 30, and there's still plenty of Super Reverb in there! If this could make the same sounds as my old JMI ac30 TB with the blu bulldogs, it would be the only amp I ever played on. And sometimes it's nice to play at lower volumes. My GainStar is pretty nice for that.v As far as rating on this amp, the results from everyone else is, it goes between "gawd look at that piece of shit!"- to "How much would you take for it?-I've got Cash!"

Just the basic stuff here, normal channel and vibrato channel w/bright on/off on both. I'm not really looking for a whole lot of features with this amp but I do wish it had an effects loop so I'll give it a 9

Playing with a US made Fender strat w/texas special pickups. Pedals are TS9 tube screamer, DOD stereo chorus (just to split the signal), DOD milk box (compressor), Boss NS-2 Noise suppressor. This amp has such a smokin tone. The clean is crystally and with a TS9 in front it has an exceptional warm/dirty blues tone. I'm a guy who like to have a lot of low end available in the tone and this amp has more than I'll ever use. This amp is very loud despite the low wattage. I usually keep the volume around 1.5-2. I'd like to crank it up to the sweet spots (around 5 I hear) but it's just too loud to play at that level all the time. If your looking for a hard rock/metal amp, well this isn't it. But for jazz/blues it's perfect.

When I got it, it was in need of repair, but since then it has been great. I'm not sure of the durability, but suffice it to say I wouldn't be throwing it around the back of a van or anything since it does have tubes. But it you treat your gear like that you're an idiot anyway.

never dealt with fender directly, but there website contains user manuals and customer support. A lot of people overlook the fact that a company has a web page as a means of customer support and I find Fenders site adiquate, though sometime hard to find stuff you looking for (serial number ID and such).

This is my main amp. I'm not a gigging musician, just a guy who loves guitars, but this is a great amp to have.

I"ts a 68 /70 silver face,no master volume,4 ALNICO original speakers(hoseshoe magnets),2 Cinch connectors for the footswitch, Export version with multitap input voltage selector, no alu trim around the grlle cloth. 2 channels but I use only the vibrato channel. I use it mainly on practice with some freinds and occasionally on gigs. Full tube including a 5U4GB rectifier. Power stage with a pair of 5881. could have more options that I would probabely never use.

Basically used with 2 strats (a Mexican standard and a "E"serie japanese), a Washburn J6 full hollowbody and a 1967 Gibson SG Special with 2 x P90 and short Maestro vibrola. Some stompboxes, including Phaser,Flanger, Chorus, a Morley optical volume pedal and 2 Danelectro Dan-Echo. Each guitar gives a specific beatiful sound that gives an incredible palette of sounds, depending the kind of music i play on each moment. Basically, i look only after clean sounds and never went above 4,5 on the volume knob. Above, my ears will not resist so LOUD it is for a 40/45 watts.Maybe an old VOX AC 30 could, gives better sonds but SO EXPENSIVE

I bought it 7 years ago,practises 5 days a week, never a major problem, but recently HUM became a little too high, so I recapped it completely, replaced the reverb tank, and now it's a dream to play with it. Capacitors were still originals!!! Such a way of building amps so strong and reliable can only be reached by handwired boutique amps today. When finished the recap job, I measured the properties and came to he conclusion that replacing tubes was not necessary. I did this maintenance job myself as engineer in electronics.

No need! I found different schematics on Internet, found out the closest to my amp, and made some retrofit to the Blackface schematic diagram. There are enough infos on internet about those old workhorses.

I use it for 7 years now, and compared to my other amps, a delicious 64 Dynacord Bassking and a Faylon Studio 100, all tubes amps, this one is the most versatile, and easy to use. Also fits the boot of a standard european station wagon. Maybe too heavy, but all tube amps are heavy. Stolen or lost? let me get another one. I love the creaamy sounds that comes out this amp, and as a Shadows fan, you know now what creamy means to me. If I really need more power, I add the Faylon + a 2 x 15 speaker cabinet that gives me about 150 watts of pure valve power!!!

1968. First year silverface. Wiwhat I think are alnico tens. All original bought it from the first owner. Man, what a great amp.
I removed many years of grime rebiased and changed the tubes , dusted off the foot pedal and entered tone nirvana. The first channel sounds kinda limited , but the second is the one I have been looking for. As others have said it breaks up at about 4, but prior to that it has the most melodic clean tone i have ever heard, This guy has some pretty still competition, an allen old flame for one. It is not better than the Allen. However it is a gem.

I use a G and L bluesboy semi hollow and a rickenbacker 360 through it. the Gand L was made for it, but the ricky really sings with the mids up full on the amp. Nice articulation, nice comreessed break up, nice rectifier tube sag, nice tone. A little heavy but the most portable half stack I've seen if you care to consider it in that light. No good for rap though. Ha.Not much good for metal either, but then neither am I.

Pulled the sovteks and rebiased it. Vaccummed the speakers and cleaned them with a bruch lightly. This thing has been used professionally since new and everything works. It has a few scuffs, but then so do I and it looks better than me.

any competent tech can work on these, and in my experience loves to do so. Haven't bothered with the blackface mod, it sounds great stock, and I have the allen for asnything else. Play it with 2 12 celestions, but they didn;t add much bass response. These 4 tens were originally there to comepnsate for low power handling, but they are now irreplaceable in my mind.
Dont expect fender owes me a thing....

Been playing since before the internet. Played Marshalls for years. Now I write more often and this inspored. No need for any pedals other than a delay which has a sound surround element on this baby. Couldn't be happier with an amp for my style of country, folk bluegrass and some rock. Seems they are priced for what the market will bear. I have never played a blackfaced one and maybe they are substantially better. Howevrer I do not see how.
Bought a cover for it, if thats an indication of my view of this amp.

Super reverb Made in 1974.
Definitely a very versitile amp. I play "mor" jazz and country/R&R.
2 channels, no switching, effects loops, headphone jack!
I wish there was an XLR balanced line out,. because it's easier to run into the general mix. I use all of the features including the tremolo and reverb unit, which at this time is not working

I use a variety of guitars with this amp, depending on the gig. I mostly use Strats and Teles, some of them hotrodded. I've been known to use a Lespaul and an Ibanez G.B. Single pickup archtops work particularly well through this amp1

I am a stickler for preparedness. I carry 2 amps just in case as a habit. But in the case of abreakdown, I carry a spare set of tubes in my gig back. Incidently,the has most of the original tubes that were in in when purchased in '74. Reliable or what??

Most repairs were tube replacement and general checkups. The tubes I can do myself. Warranty is "N/A" since the amp is 30+ yrs old; or is there something I am missing or not aware of??

PLaying 30+ yrs.
If itv were stolen I'd mostlikely buy another, or one of those Hotrod DEvilles, or a twin.
I don't compare. I like what I like!
Other gear I have are a couple of Vox solid states, an old '63 bassman, a Guyatone copy of a Showman head. Each is good for it's particular use.
I jusy need to find parts for the reverb unit on the Super.

This is an update to my previous review (see the original a couple of reviews down - Matt in SC)

This amp turns out to be a 1968. Contrary to what I said in my previous post, the circuit is not AB763 even though the tube chart says so. Evidently Fender never printed any AB568 Tube charts, but used up their supply of AB763 on all these amps. It is one of the strange early silverfaces without the aluminum "drip edge" around the grille. Apparently, a bunch made it through without this feature. I am lucky enough to live near Mike Clark (of Clark Amplification - see reviews of his amps here on Harmony Central) and he worked on the amp for me. Mike offers fantastic amp service, and some of the finest tweed replicas you have ever heard or seen. He really knows old Fender amps. Mike dated the amp for me based on pot codes, transformer codes etc. He blackfaced the amp, installed a grounded power cable (no more shocks!!), recapped it, lowered the voltage to the reverb circuit, and put some NOS Philips 6L6s (circa 1976) in it. He used Sprague Atoms, and Allen Bradley carbon comp resistors throughout. I left the original RCA preamp tubes, as there is no issue with them. This amp was great before, but is absolutely unbelievable now!

This amp sounds fatter than any other amp I have ever played. Even at low volumes it positively exudes thick tone. I keep thinking about pulling the reissue Jensens out and putting Webers in, but it currently sounds too good to justify doing that. I use this amp to gig with a classic / southern rock band. My current setup is as follows - G&L ASAT Special Semihollow, G&L Legacy, or Yamaha SBG-500 > Peterson Strobostomp > Old Dunlop Cry Baby Wah > Barber Tone Press > Foxrox ZIM > Foxrox Captain Coconut II > Tonebone Switchbone > '68 Super Reverb for clean tones, and a 2002 Top Hat Emplexador T-50EM (into Fender Tonemaster 4X12 w / Celection Vintage 30's) for dirt. The Super is the ultimate semi-clean amp for my purposes. It is perfect for classic rock, southern rock, jazz and blues. What a great combination with the Emplexador! The Top Hat really has to be crankin' to sound its best even with the master volume, but the Super sounds great at any volume (sans master). I find myself using the Super with pedals at lower volume gigs and for practice, and on larger gigs, I use the Super for clean and the Emplex (straight in - no pedals) for dirt. The Switchbone makes life much easier. Forget the crappy cheap A/B/Y switchers.

As I said in my previous review, I always take a spare amp to gigs. In my current rig, that spare is the Emplexador. If the Super took a crap, I would run through the Emplex by itself for the remainder of the gig. Vice-Versa if the Emplex dies. I feel confident that this amp will hold up, especially since Mike Clark just gave it a thorough servicing. BTW - I always carry spare tubes and fuses too!!!

Right.

I've played blackfaces that did not sound as good. A properly set up and serviced silverface Super (pre master volume) will sound as good as a more expensive blackface, IMHO. This amp absolutelt kills at gig volume, and still sounds great at more moderate levels. Perhaps the finest "clean" amp ever made. No joke. Get one. Believe the hype this time.

I don't know what year, this is a silverface, tho. It has just enough watts for a nice gigging amp. I play jazz and blues on it, and it can do anything that doesn't have much to do with OD. What sucks is that you need to go to guitar center or something and pick up a $50 footswitch to get tremolo(they call it vibrato) to work.

I've used this amp with a Squier Affinity Strat, an Epiphone Dot, and an ES-135, all using clean sounds with the amp turned up to 5, just where it starts to saturate. With the strat, it buzzes, but with the Dot and 135, if you use a non-crap cable(monster jazz for ex.) it is absolutely silent. It sounds awesome for jazz, sweet and warm with just a touch of reverb. Great for surf and blues, too! Nice spekaers.

This amp has a tendancy to just go out without any warning and that really bites. I have to open up the back and see what's wrong, and it turns out there's some stupid problem with the bass pot or something. Maybe because it's CBS:) It went out once, but just because of neglect of regular servicing(the tubes died).

This makes a wonderful amp for jazz and blues, with a radically different, warm, less-distinct tone than an amp like a Polytone Minibrute, which I also use. The amp seems to articulate less than a polytone, but it makes up for that by warming the tone up noticeably. An awesome fuckin' amp!

1969 Super Reverb - Silverface - AB763 Circuit - JoLida 6L6s - All RCA preamp tubes. 4 x 10" speakers. Loaded with new Jensens (still have the originals). Normal and Vibrato channels. Footswitch for reverb and vibrato. Bright switches on both channels. Non-master volume. 40 Watts. Loud enough for any gig I will ever play. External speaker output. Dual prong AC cord - No ground. I've been shocked several times already. I will be replacing it with a grounded cord soon (hopefully before I suffer any serious damage). I will probably invest in a power attenuator (Weber MASS) before too long to really push those power tubes at smaller gigs. As many of you know, 40 Watts is LOUD.

All the fat tone you could ask for. This is not a metal or hard rock amp. I use this amp for all styles that I play - Blues, Fusion, Funk, Rock, Southern Rock, and Jazz. My setup consists of 1998 G&L ASAT Special Semihollow, 1985 Yamaha SA-800 (ES-335 Copy), or modded 1994 Fender Strat (JB Jr. in bridge), into Peterson Strobostomp Tuner - Barber Tone Press - Foxrox ZIM Dual Overdrive (VT and B9 Cards installed) - Fender Super reverb. Sounds killer with each guitar. I have arrived at a "base setting" that I use on the Vibrato channel that sounds fantastic no matter which guitar I plug in. There is NO SUBSTITUTE for these old hand wired all tube amps. The new reissues are not the same, maybe because of the PC Board construction or perhaps the new components are just not the same. Also very important- You cannot replicate the smell of an old tube amp when it is warmed up. I have owned several Boogies in the past and still own a '90s "The Twin" (Rivera design). None of these can hold a candle to the pure sonic euphoria I experience daily with this amp. It has the perfect tone for me.

I will always take another (newer) amp for backup, simply because of the amp's age. It has never broken down, but if it does, I will have it serviced in a heartbeat, no matter what the cost.

Warranty for a 1969 amp? Right! Never Dealt with Fender for anything. I doubt they would be much help with an amp as old as I am.

I have owned pretty much nothing but good quality tube amps (newer Fenders, Boogies) for the better part of 20 years, and until now, was never completely blown away by the sound of any of my amps. This one does the trick. I realize that a guitarist's tone is probably one of the most subjective matters in the known universe, but if you are a player serious about tone, you owe it to yourself to check out some old Fender amps. Contrary to what the purists will tell you, Blackface is not the only answer. To get a great sounding amp, do your research at places like www.ampwares.com/ffg and find out when the circuit changed in all the classic amps - not just the cosmetics. Then go out and PLAY SOME!! This will tell you all you need to know. Compare the "real thing" to the reissues. You will see the light. I did. If this amp were stolen, I would definitely seek out another.

This is a technical update for all Silverface 1968-75 owners. It is very easy and inexspensive to change to Blackface wiring. First, Why is this important? The blackface curcuit allows for true tube bias with the adjustment pot in the chassis. All of the Silverface amps ( the 68 AB-763 curcuit I believe the only exception) do not allow this. They do have an adjustment pot but it will not help bias your tubes. Kendrick amps has a very good video that shows you exactly how to do this. Or take it to a local amp service and they will explain. Again this is not exspensive to have done. It will help keep your amp sounding sweet from Tube changes. Another tip, Try KT-66 Tubes (have all tube replacements biased) They are very musical and sweet break up. In my opinion the Super Reverb is one of the best Tonefull amps ever made. Yes, there are alot of great amps out there these days.But the Super can hold its own with most.

Silverface Super Reverb. Non Master volume. Made somewhere between late 60s and early 70s I guess. Mid control on the vibrato channel and no mid on the normal channel. The most beautiful reverb and "vibrato" you will ever hear. Replaced speakers - got 4 10" Weber California speakers in there now. This is not a bells and whistles amp, but those players seeking "tone" will understand that fender reverb is about as much as you'd want in the way of your signal anyway.

I think this might be the best model of amp ever made. The tone of these old Fenders really is that good. The 4x10 Weber speakers push a lot of air and the amp has this brilliance and character which just cannot be duplicated.
I was looking for a good clean amp which could get gritty at useable volumes a-la Mark Knopfler etc. Because I'd previously been playing a SF Twin - great amp in its own way - I was pretty unfamiliar with the whole tube rectifier/power amp breakup sound. I needed an amp for studio use but if I could play it live too then that would be a bonus. I also knew I wanted Fender tube tone - the Twin had convinved me of that. So I set about researching SF/BF champs, Princetons, Pro Jnrs, Hot Rods, SF Pros etc and decided I wanted reverb, tremolo, point to point and tube rectification. That narrowed it down to a Super or early Pro.
When I saw this abused old SF going for cheaps I knew I had to have it. I think the abuse was more physical because when I plugged in it was clear the old girl was well maintained inside. The volume of the amp increases dramatically from 1-4, then noticably from 4-7, then just a little from 7-10, with more (but not too much) compression and richer distortion. By the time you're edging over 5 the amp is LOUD. This is the ultimate amp for blues, country, rock, or anything where you require that edgy just breaking up tone at just the right gigging volume. The amp is so articulate and responsive. Dig in and you are rewarded with gritty breakup or back off for pristine cleans. Real Mark Knopfler territory! The amp almost begs you to lose the pick and attack those strings with your bare hands. The Fender Super was everything I was looking for in my tone and then some - the quality and fullness just blew me away. This is all you'll ever need for incredibly great tone!

When I got this super it had seen better days - the amp wasn't held in with screws and was kind of resting in the cabinet/on the top speakers(!). The amp was pushed into the cab so it wasn't siting flush to the grill cloth. The baffle was also well abused after what might have been a few botched speaker replacements. With a bit of searching I found all the parts and cut a new baffle and she was looking good once more. The fact that the tone was never short of breathtaking fairly well sums up the "reliability" factor. It's the good ol' nuclear war example - cockroaches, Fender amps and Keith Richards.

After owning a really nice SF Twin a few years ago I developed a bit of a Silverface obsession. Not only do the you find some sweet sounding SF amps, but because they're not BF or Tweed, you're more likely to actually gig/tour with them rather than leave them in your studio. Fair enough too - could you imagine some tool spilling beer over your 55 Deluxe? I try to reguarly get out and check the 2 or 3 SF amps which can be found each week in my local free-ad magazine (Pros, Twins, Bassmen, Vib'lux etc). Admittedly, a lot of them are pretty bad - condition and tone. Even this one was pretty busted up and non-original when I found it going cheap. But the verdict has to be the tone - this one just blew me away. With a bit of TLC she's now looking like new (or NOS!) and is probably the sexiest 30-something female I know. I really think that SF amps are probably the best "gig" tone you can get - and they're miles above any of those Peavey Classics, Hot Rods, Blues/Pro Jnrs and '65 Reissues which pollute the market today. This amp is a real deal tone machine. All tube, point to point wired 40W, 4x10 dripping with tone and character. It don't get much better than this! Now excuse me I'm gonna go wail...

1966 super reverb, 40 watts, you know the rest. no effects loop, etc. killer reverb and trem,you don't need anything else. 40 watts of clean power, or turn your amp up, guitar down and your set

been playing 38 years,this is best amp ever,at least for me, it's dead quiet. i play a custom shop relic strat. i a/b'd it with a "REAL " 56 STRAT, the relic sounded better. the super is 100% stock, with original cts speakers, it could not sound better.i use no peddles, its for grown-ups. if you love blues, mowtown, stax/volt

at present, i take a 1-12 boogie f30 as a spare, has a good clean channel, and is small, so far, no problems

no comment

at it for 38 years, i also have a victoria bandmaster, played it for 6 years, but not since i go the super,great amp,but screw "warm and woody", i want soulful chime, and this amp has it in spades. it is my last amp. often copied, but never equalled, got to save up to buy another, hope you find one too

1967 Super Reverb Amp
Blackface specs and all original except the grillcloth.

I'm playing a 1963 Jazzmaster through the SR. This amp works very well with the Jazzmaster, asuming I have the right tubes. The wrong tubes can make this amp very brittle and piercing. I occasionally use an old Big Muff and an MXR Flanger, which both sound excellent with the amp. Mostly, though, I just play clean. You can get a large variety of tones from this amp just using the bright switches and bass/mid/high knobs.

This amp is a solid piece of wood and its very reliable. I usually bring a few extra preamp tubes to a show just in case.

None.

I've been playing for about 10 years and I've pretty much used old Fender amps exclusively. I like how they sound. I've owned an old twin reverb, vibrolux reverb, and this super... the super and the vibrolux have been my favorites. I think the combination of 4x10" speakers with the classic fender AB763 circut is a knockout. Just change the tubes for all the tonal variety you want from this fender amp.

66 Blackface....new grill cloth......two new speakers....RCA reverb and vibrato jacks changed to quarter inch jacks.No footswitch with the amp.

Blues. There is a reason this is the blues holy grail amp.
I play a Strat with LAce Sensors, a Strat with Noiseless PUs, and a Gibson archtop hollow body with Classic 57s.

This particluar Super Reverb amp does not distort as early as some I have played. I like a good clean sound to start with. If I really want to have distortion I will use a stomp box.

The Reverb is nice. The best of the six I tried.
I am amazed that the reverb sounda different from old Super to old Super.

Amp is almost 40 years old. My impression is that has been played but not abused. I always take a backup amp to gigs. Always.

Have called Fender in the past about other isssues with guitars. Their customer service guy was great!
I have had a good experiences calling Fender support staff.

Been playing a long time. Play blues and R&B. I am a serious musician,lead my own band, and get paid to play.
A couple of years ago I decided I had to have a Super.
I thought the sound could be duplicated in a smaller more portable amp. It can't. The amp I own that comes close to the sound is a Custom Vibrolux Reverb from a few years ago. Great amp. But it is no Super.
Recently I had the funds.I shopped and compared and studied this for a few years. Every time I had a chance to play a Super I did. Mostly in music stores, sometimes at guitar shows, sometimes at vintage dealers shops. I thought a few years back that the reissue had the same sound. I was wrong. The blackfaced Super from the 64-67 era
does not sound like the reissue.
Here's a few tips that may save you some time.
Every old Super sounds like a Super, yet each has it's own sound and characteristics. This is because of their age. Tubes have been changed, speakers wear out, amp techs open them up and work on the inside. Some guys do modifications and they frankly don't know what they are doing.
Each old Super has unique sound characteristics.
My advice here is forget all the hype you hear from the seller, in terms of "new caps,certain tubes, certain speakers"...blah blah blah....Take the guitar you play the most, put new strings on it, get a real good cable for your demo time, and plug the guitar straight into the amp.
Let your ear tell you if you like the sound.
Then come back the next day and do it again if you can.
Be sure to play the amp at all volume levels....soft to LOUD.
I think you have to play any Super on at least 4 on the volume to make the amp do what it is supposed to do.
(This is a working man's amp, made to move some air and sound good at the same time!)
I got this one in a vintage store where I had 6 blackface to choose from..... 5 hours from where I live. I took about three hours to play and compare them all and make a decision.
Some "broke up" at lesser volumes. Some had more headroom.
Some were much louder at various settings.
Some looked pretty. Some looked ugly.
I chose the one that sounded right to my ear.
This is the key. Use your ear. They do not all sound alike.

Just because an amp was "worked on" doesn't necessarily make it better.
I don't for one iota of a minute buy the myth that a silverface amp can be "blackfaced". I think this is a load of crap.

If you are thinking spending $800.00 on a "blackfaced" silverface, do your self a favor. Find another $300.00 to $500.00 and get the real deal.

Make sure you get a three prong plug either on the amp you buy or INSTALL one. I got shocked by every Super Reverb amp I tried that had the old 2 prong plugs.

This amp has two speakers replaced and a new grill cloth, so it is NOT "all original" and "historically correct". I could care less about that crap. I bought this amp to play. I don't buy amps to resell and make a profit. I buy them to play.
Considering what I saw with prices ranging from $1,000.00 to $2,700.00 I think did real well.
I cleaned the back real well (was real dusty), blew dust off the back of the speakers, screwed down one side of the reverb tank, cleaned the tole,polished the metal parts. It looks like the ones that were priced closer to 2K than 1K.

If and when something sounds wrong I will take the amp to a reputable tech and perhaps let him tell me what he sees on the inside.
I have no desire or need to get inside it now. When I do I'll
let a pro do it.

The amp is heavy. Just under 60 lbs. Not 80 lbs like someone said.
The store owner packs them and ships them and packed up they weigh just under 60 lbs.
It is relatively big, but not ridiculously heavy. Not as heavy as a twin. Just pain in the ass heavy. To me, it is worth it.
Do not put casters on this amp. It is top heavy and will fall. I took a rusty set of casters off of this one.

In a year I will try to acquire another. These amps are no

Late 70s Super Reverb Amp. Versatile enough from country to blues and classic rock (all I ever need). Point-to-point wiring, 2 channels, vibrato and reverb. This is the rare 70 Watts version with the extra ?oomph?. Enough power for any club I ever played in.

I mainly use it with strats and teles, but it sounds also killer with sgs. I did not try les pauls through this one yet.The sound ranges from Sound ranges from glassy fendery country twang to liquid Gilmourish lead tones (with a tube screamer in front). I can add some extra crunch by pulling the master volume pot. Not like todays Fender, Marshall and Mesa products, for which you need a PHD to operate.

This is a Fender silver face amp, known as the musician's workhorse, and built like a tank. No backup needed. Maybe some fuses, though.

Never dealt with them.

I hate glowing reviews, but for me this amp flat-out is one of the most amazing amps I ever played ? and I played a lot of amps during the past 20 years. This simple vintage point-to-point wired silver face super reverb is all I ever need.