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.

My amp is an early 70's silverface w/o master volume modified to Blackface(although earlier Silverfaces sound hella nice with cleaner tones at higher volume). This thing just screams Blues and Rock. It can also be suited for Reggae, Jazz, Country, and other syles. This thing has 2 channels: Normal, and Vibrato (Vibrato channel has the tremolo and reverb controls). No channel switching or effects loops or headphones. I use this amp at home and on the road and the tone kills anywhere I go. Hell of a lot of power as I can't take the volume past 2 in my apt. Sweet warm tone after about 5 or 6 on the volume.

I use Fralin blues PU's in my american strat, as this thing is built for Blues, SRV, Jimi, Los Lobos, KWS, even Santana type stuff w/ the right equipment. Fralins got a reverse wound middle PU so the noise is cancelled when in postions 2 and 4 so I wouldn't know about the noise level. But in the club w/ the volume at 8 there is some hum... but not much. Amp has one hell of a clean sound but past 6 the thing kills you with its tube overdrive. Never heard anything better. The versatility is not bad but that's what effects and stomp boxes are for. This thing sounds so gooood that if you play it, you wouldn't want any other amp! Yep! It's that nuts!

I would gig w/o a backup as the guy I bought it from took extreme care of it. Warning! If you do gig w/o a backup, the tone is so good that you should back it up with another Super. That's what I'm savin up for, my backup super!

Never dealt with fender cause the guy I bought it from is an electrical engineer.

Setup is: Guitar>Captain Coconut 2>Analogman SD/808>Vox 847 wah>Super. If it were lost I would go on either a killing or a Bank robbing spree to buy another one. I ain't lyin...There's hell to pay for a heavenly tone. Everyone will love and appreciate the T-O-N-E!!! Compared it w/ a vintage 64 Twin Reverb...Both are definately worth breaking one of the comandments for but I liked the tube overdrive on the super. The Twin Reverb has the best clean of all the amps in the world...well that and the Vibroverb, and Vibroking. The thing that sets vintage amps apart from RI's is that if I do deciede to sell this thing, I can sell it for around the same price I bought it for...and if I wait long enough, even more. RI's, well most of em, will not!

Well my Super Reverb was actually made from an old 1970's Fender Tube P.A. head. It was made into a guitar head a few years ago. Point to point wiring, with the exact same circuit as the Super. It also has spring reverb as well as a master vol.

The great thing about this head is that it runs a linear transformer. Normally it runs 4x EL34L's at around 140 watts. However i am able to take to tubes out to give a rating of around 80 watts. Much better for smaller shows.

It also has a second channel with a Bassman circuit, however i never use this channel. I run the head with a 66 Bandmaster 2x12 cab.

This is the sweetest sounding clean you will ever hear. For distortion just add a TS9. I personally think that the Super channel sounds much fuller than the Bassman channel. I mainly play Rock so this suits me very well. The Super Reverb channel also has a bright switch which adds to the sparkle of the tone. I generally have the volume around 8 and then adjust the master accordingly. I have tried to find an amp with a sweeter clean tone but have not really come close. For all the lead buffs out there the TS9 sounds great.

Have never had a problem. This mod was done as clean as they come. I haven't seen anything similar but im sure someone has done something very close to this out there.

If this was stolen i would not know what to do. It is not replacable. I was looking for amps for around 6 months and could not find anything which i was really fond of. Except the Super Reverb however they are very expensive down under. So i hunted around and found this on the other side of the country.

1966 "black face" chassis; 40 watts, all-tube; channel 1 - normal, channel 2 - vibrato and reverb, has middle tone control; 4-10" CTS alnicos - two are 1966, one each are dated 1964 and 1965; tubes, caps, and resistors replaced in Aug. 2203 by prior owner; perfect amp for my "oldies" - surf, soul, folk rock, psychedelic, British invasion, etc.

mostly single-coils: '62 Jazzmaster, '63 Jaguar, '67 Mustang, Strat (Mexican) w/vintage replacement pick-ups; also '72 Telecaster Thinline w/humbuckers, Mosrite Avenger (Japan) w/P-90s; very strong reverb - setting at "3" or "4"; volume at "5" or "6"; the Super has that "Fender sound" I identify with from my youth (mid-'60s) - extremely clean, clear tone without "muddy" bass or "shrill" treble; 4-10" speaker configuration delivers for all my styles

Based on experiences with other Fender amps, top-notch reliability; always have an extra amp or two around just in case

Fender-authorized dealers and service facilities have done good work for me in the past; my amps all purchased used, so not under warranty

Purchased on e-Bay on a Buy-It-Now @$1000; many comparable B/F Super Reverbs went for $1200-2300 in recent auctions; I am not bothered by replacement of "original" parts (tubes, caps, resistors, power cord, speakers, grill cloth, etc.) affecting "originality;" playing for almost 39 years; have a gallery of "vintage" Fender amps: B/F '64 Tremolux, '66 Bassman, '66 Band Master, '66 Pro Reverb; S/F '68 Twin Reverb, '69 Dual Showman Reverb, '72 Quad Reverb, '76 Vibrolux Reverb, '70s Twin Reverb, Basmman 100; solid-state Twin Reverb; Silvertone tube amps (1482, 1483, 1484); Teisco all-tube heads (Checkmate 45 w/2-12" cab, 50, 55); other assorted solid-state amps; if lost or stolen, I'd put out an APB; would definitely look for another Super - this is one of my favorite amps, the other being the Vibrolux Reverb (more compact size), because of the power, tone, and on-board reverb; piggy-backs are cumbersome, the Quad Reverb and Bassman 100 (4-12" cabinet) are HUGE!

A 2 channel( "clean & tube vibrato). One of the best--if not THE best reverbs you will ever hear in an amp--"surf city"! No "modern" bells and whistles--fx loop, xlr, etc., but, hey, it WAS modern in 1965! A very "sweet" clean lower on the dial, and mine gets a little "dirt" goin' at around "7", but we're talkin' "bluesy" dirt, NOT "metal distortion". If you really want that, though, Stevie Ray
put a tube screamer in front--and, well--you know what happened then!
12at7 pre, 2x 6l6 power tubes make 40 watts of club-filling sound--
the 4 10 inch alnico speakers push air almost as much as 50watt half-
stack from anyone else.

This is one of THE Classic blues amps, but don't worry--it will do
rock just fine. I have used my 1973 Amer. Strat>MXR DynaComp>Roger Mayer Mongoose Fuzz, and it was HARD ROCK...no doubt! I don't use humbuckers, but have heard others that LOVE what this amp does with them--very sweet & thick.
My amp is not noisy, but my old strat has the "60 cycle hum". If you kept this amp cranked all the way, a noise gate couldn't hurt.

I am a "hobby player", haven't gigged in years, so I have not used
this amp hard. It only broke once, and it was because I hadn't replaced the tubes in 5 years. No-one should gig without a back-up.

Never dealt with Fender directly, and there is no warranty on a 39 year-old amp. Found an excellent vintage amp "guru" in my area, and
life is good

Been playing for 38 years--more "off" than "on". Been getting serious
for the last 5 years. I was given an old Vow semi-hollowbody in a car trade, but my first paycheck went to a new 1973 olympic white strat. The super reverb was my first "real" amp (besides a jerry-rigged silvertone amp wired into a 2x12 speaker cab), and $250 was a lot of money to me in 1975. But I ended up with one of the best amps america ever made. If it were stolen, it would be very difficult to replace, but I would try.

I bought this amp for only $600 at a local guitar shop and the guy who sold it to me didn't even know the year. I wouldn't say I play a specific kind of music I just know when something sounds good. And to me this amp is only 50% satisfactory for my taste. I dont understand why they have two different channels when neither of them have any kind of distortion, and it comes with a footswitch so you can turn the vibrato and reverb off and on. The model I have does not have an effects loop. As always though, the clean sound is like no other I've heard. It's full and warm but I think could use more headroom.

Im mostly playing on an old Univox Mosrite copy with a DS-1. This amp picks up really nasty feedback depending the guitar. I'm the type of person who is into feedback but sometimes it can be a little overwhelming. When playing clean, it does distort not even at five! When you turn the bass down it helps but then your sound gets really crappy sounding.

I really dont think I could depend on it without a back up. The guy who had the amp before me replaced the tubes and replaced some things on it. It hasen't had any technical problems that I've noticed and this is a pretty old amp i think so I imagine the news would probably even more sturdy.

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.

September 1966 Super Reverb ... mmmmmmm ... I play punk, blues, rock, etc. Enough headroom for anything you can imagine. No mods, all original except for reverb tank.

My '52 RI Telecaster with this amp = bliss. I've never heard anything sound better. My Anniversary SG also sounds amazing, just howls, with this amp. Totally different sound though, obviously with the humbuckers, but also just killer.

These things are tanks. Don't drop them, don't spill beer on the chassis, and it will be a lifetime amp. Just the standard maintenance, which is inexpensive on these simple amps.

Who needs it anyway?

If this amp were stolen I would hunt down the perpetrator and personally see to it that he never played guitar again. I've owned dozens of amps - boutique, Marshall, tons of Fender, Mesa, etc. - and nothing comes close to the sweet growl of this baby.

This amp was made in the mid to late 1970s and is one of the rare 70watt versions. It was GIVEN to me as just a bunch of parts and speakers in boxes. The phenomenal staff at KENDRICK AMPLIFIERS in Texas put it back together, souped it up, and breathed new life into my music. These guys are PURE. After a couple conversations with Gerald Weber (owner) and Dan (engineer) I decided to go with a complete cap job and the whole '65 Blackface modification. It's a fairly straight-forward Fender amp with beautiful reverb and is a perfect match for any blues/blues rock application. I'm not going to get any modern hi-gain distortion here, but, hey, thats why I own a Trace Elliot Speed Twin.
Most Fender Supers are 40watts and thats probably a good output: at 70watts this amp is TOO loud for band practices in the garage studio (the sweet spot seems to be between 5 and 7 on the volume dial), but I do play an outdoor venue 3 or 4 times a year and I can't wait to tell the sound engineer that I won't be needing a mic!

I'm plugging into this beast with a '95 Fender Lone Star Strat. I've always thought highly of the Texas Special single coils, but I had no idea what they would sound like with classic Fender amplification. TAKE ME NOW, JESUS! I can hear heaven already anyway. I've found an application for every pickup setting and the amp is clean, clean, clean.
One of the reasons I sent this amp across the country to KENDRICK AMPLIFIERS for the modification is because they go through every stage of the amp looking for any slight deviation from normal specs. FREE OF CHARGE. They found several abnormalities and fixed the parasitic oscillations. This amp is probably better than new and there is absolutely no flaws in the tone anywhere.

The amp is built like a rock and I expect it to rock for at least another thirty years.

If you've got an amp in need of a cap job or if you want to go the BF modification route like I did, you've GOT to consider KENDRICK AMPLIFIERS. I probably talked to these guys over the phone 15 or twenty times, NO KIDDING. You don't have to wait through an automated voice mail system and you won't run into a more upbeat crew than these guys, each time I talked to them they couldn't have been more friendly and helpful. Dan ultimately ran through a number of scenarios with me and he managed to explain the theory and cause/effect in a manner that I could easily grasp despite my minimal experience with tube amps. Obviously Gerald is world-renowned (he is like some kind of zen tone master when you talk to him) but all the guys who work there are straight up TONE FIENDS as well. I really can't say enough.

This amp provides exactly what I wanted: tone, tone, tone. Nothing fancy, just pure guitar signal with a little reverb. I tried all my pedals with it and then quickly removed each from the signal chain. "I'M STRAIGHT-JACKING IT JERRY, AND LOVIN' EVERY MINUTE OF IT!!!" I've been looking for this tone for all my life without really knowing how to describe it. The dynamics floored me. It seems like I've got 10 decibles of volume in my pick. The articulation is like a laser, and the reverb is positively dreamy. Its a superior amp and I really want to thank KENDRICK AMPLIFIERS for their ability to transform my incoherent fragmented descriptions into the tone that I was looking for.

1967 Super Reverb. 4 new Jensen P10R's, all JAN NOS Tubes. Completely Recaped by tech and rock solid. Reverb/Tremelo

Killer tone...from blues to jazz to country. Amp can be soft and it can be loud. Uses 2 6L6gc and does not have the warm tube over drive that the 6V6's have. But with a nice Tube Screamer, you get that and the great clean! NO amp is perfect. This gets a 9

once you have the 30 year old amp serviced They are very reliable

This is the best all tubes giging amp any player could want. Will do he big rooms as well as the small. Its kinda heavy but for 4x10's your gonna have some weight. If don't have the speakers you wont have the tone. Much lighter then a twin!

Early 70s silverface,normal and a vibrato+reberb channel, bright switch and 2 inputs for each channel. Play rock/pop (originals half like weezer, bush, and half slower tunes "similiar" to travis/pumpkins). Use the amps for gigs/band practise/bedroom practise/in studio/bedside cabinet. Played it at an outdoor gig once, was a bit one directional but was loud enough if you weren't sitting to the side too much.

Use it with PRS C22 with the dragon 1s which are fairly trebly on the bridge, but excellent clean sounds can be achieved especially on the 2nd input with a bit of reverb. Also use a v-twin preamp for distortion, which this amp handles a lot better than other old fenders due to it having a much tighter bottom end (or so the engineer on our recording said). I think this is more so on silverfaces because they are more of a 'hifi' amp than an amp that breaks up nicely for blues etc. Depends what distortion pedal you have and how much time you have, took me 2 years to find a sound i really liked with a boss solid state distortion pedal.

little problems - the connector/jack thingos on the vibrato and reverb were bent out of shape and made popping sounds all the time until they were fixed. amp was making strange noises also for a while but they went away! NFI. gets carted around a lot so it has handled things pretty well.

Not applicable

playing 10 years - dont own much other good stuff. the other guitarist in the band has a marshall jcm 900 and a rivera 5512 - clean sounds on the rivera are pretty good, but i would say this amp is better - the other guitarist wanted to buy this super reverb

2 channels, vibrato, no master volume, 40 all tube watts, reverb, incredible TONE.

this thing kicks,clean sound,lots of headroom, most of all amazing tone. If you need more volume you are either deaf or are playing arenas, it is very loud for forty watts. The best way to describe the sound of the super? listen to SRV's texas flood, that is exactly what it sounds like, if you plug in a tube screamer it sounds like the live version of the house is rocking. Many people buy these amps because they like SRV, if you are looking for that sound, look no further.(there is nothing wrong with wanting to sound like this, great tone is a good thing. If you do not want to sound like anybody else don't play guitar).I play a strat and this combination is orgasmic. With an Ibanez tube screamer it sounds great (the box's sound is modeled after the natural distortion of the super). However the amp's natural distortion (mine arround 6, maybe 5.5 on the volume knob if you hit it hard enough )is truly something amazing, so warm and fat, great sustain and TONE, unfortunately the amp at this volume will actually kill you, it is way too loud for normal home use. If you walk into a store and see one sitting there and don't have the money, DO NOT go near it much less play it, you will not be able to play the blues on any other amp ever again. Every other amp sounds like shit to me now. This thing is the greatest piece of equipment (of any kind) i have ever owned, really. Strongly recommended. After buying mine i had it retubed with Svetlanas,(these are great sounding tubes and they are not expensive) added a 3 prong cord ,had the caps changed and it was rebiased. Versatility? yeah right!, look elsewere, portability? don't even think about it this thing is HEAVY, features? not today! This amp is about one thing only, TONE! I have tried many amps vintage including Vibroverbs, Marshall plexis, Bassmans etc. The only amp i like as much as the super is the Bassman (but only the original,i feel the reissue is way off even with different tubes and rectifier)but it has no reverb, another plus for the super, as the reverb is the sweetest, fullest, warmest reverb you ever heard. This amp has the greatest tone in the world, so clean and warm. The distortion is incredible, you can hear every string in a cord even when it's being overdriven hard. You must get this.
I reacently played the reissue super and it sound better than any new amp i have ever tried, but not quite like my original, even though it has the correct sound for a black face fender super reverb. Maybe it's the new speakers or those awfull tubes it comes with, i don't know. I feel the original is worth the price difference, if low on cash, definately get the reissue, it does have the right sound.

Have had it only for about 2 years,and the only problem is a minor scratching sound that disapears as the reverb knob is turned to 0. When played, i can't hear the wierd noise. Old amps need to be checked well.

WHAT?

if it was stolen i would first die then i would have to get another one as you will not be able to play any other amp after the super. I own all sorts of cool shit but the super is really one of my most priced posessions and i don't think i could live without it.

(Follow up review)
Standard features of a '73 - '74 Silverface super reverb. Non-MV, of course.
This review is nearly completely about sound and the various mods I did so far to convert it to Blackface spex.
For what this hunk of 70's junk is, it has some great features and you wind up asking yourself "do I really need anymore?"

I'm using a mex. strat w/ lil' 59 pickup and two soon-to-be-replaced stocks. 7 pickups combinations w/ a push-pull switch.

Okay - I've heard a few blackface SR's and I haven't been able to compare directly, but I think a subjective survey can be just as good, y'know?
The first channel has a brightness mod on it that sort of makes it sound like a tweed amp, and it offers good contrast to the reverb channel bright tones.
Maybe it's just the pickups (though the ceramics still aren't great), but I find myself being able to get SRV and Buddy Guy type tones (esp. with the bright switch) and BIG, Meaty (full sounding) notes. Treble is sweet and can be dialed in with lots of prescence (which I really like to use). Reverb is great, but it clicks when it goes past 7 and loses some volume at that point. Not too bad.
Vibrato isn't super special, but it's great and very useful and inspiring.
Turned past 5 1/2, there's a great mellow breakup that gives you super full and domineering tones - without a distortion box!
I REALLY love the sound of this thing, only last thing to do would be to get a level bias control in there, which might make the tone even better. It sort of grows on you and makes you really enjoy clean and powerful sounds.
Definitely gets a high score here. Mods were an improvement but I can't compare it now to what it was before so I can't say it was a HUGE improvement. Just about perfect.

As with any old tube amp, it's got problems (that can be fixed!). Or more correctly WILL HAVE problems. But that's what you get. It's cheaper but it's less reliable. Can ANY 20+ year old tube amp get a 10?

I'm rating my local dealer, which is 30th Street Guitars in NYC. They're really cool there.

Wonderful device.
It works great clean and really gets it out dirty. Volume is good, though I haven't gigged with it yet.
Truly, I cannot think of a better overall guitar amplifier (Marshalls are great for overdrive and sparkly clean, not really heavy clean, voxes are great for clean and crunch but old one make too much noise, boogies are too much $$$).
The Super Rev. (and maybe a combo bassman or a boutique amp in similar fashion) is really the perfect amp for country/blues/funk/rock n' roll/heavy rock/reggae/rockabilly/and even some electric classical. 4 X 10" speakers? PERFECT!!

Used by Albert Collins, Albert King, SRV, Steve Cropper, Danny Gatton, Chuck Berry, Bonnie Raitt, and a myriad of others, it really is great.
Mod it yourself and don't die and you will praise yourself and be very proud. Or get someone to do it for you. It worked for me and I'm actually content with the sound of something (for once!)

I have a 76 or 77 (I think) Super Twin Reverb....It is a great sounding blues, rock or surf sounding amplifier. Simple untill you get to the augmented EQ. Lots of extra knobs that you can dial in hundred of tone variations from sweet or strange all the way to unbareable or annoying...BEWARE: This amplifier is very loud....I have a halfstack from Russia and this Fender makes it sound like a cricket....I only have used it so far in the studio...no live use...occasional practice...

I use a seventies Les Paul Special primarily.....The fender is capable of fattening up the gibson single coils on this guitar...
My particular Super Twin Reverb is terribly noisy sometimes, I am positive that it is due for a doctoring and a re-tubing....It has a knop labeled "distortion". I tried to use it and I concluded that the label should instead read "make your amp sound broken". No kidding, this is, I guess, a kind of distortion, but it is not the kind you would want to use...kinda sounds like you are trying to pump 1200 watts through a pair of Wal-mart headphones.......ugly...use a sans amp GT2....It gets me any clip or overdrive that I can think of just about.

I tell you what, regarding the reliability: I will get it serviced soon and tell you how long good performance lasts....though maybe that says more about the magician or oaf that gets to work on it...

I don't call Fender.....they have crap to churn out of their newer, better, faster sheiss factories....(boycott new gear until they start to make better product!!!)

I have played for a long time....interpret that however you like...If it were lost or stolen, I would always buy (not necessarily this model) another older Fender Amp....nothing sounds as cool as a Fender.
Nothing sounds like a Fender.....every guitar and bassplayer should have one or two......The tweed era bassman is maybe the best amp I have ever heard.....

This amp was made in 1972.
Its is a silverface, I am disappointed in it, the sound is not pleasing, It lacks fullness and I would rather listen to a diesel truck. I had it into the shop, replaced parts, tubes etc.
When I tooking home I put it in the corner where it has sat for the last 20 years. The more I thought about it the more angry I got.
I checked the speakers, they had beed reconed found one reverse from normal polarity. Why didn't the tech catch it. Am truly wondering if he wasn't in a big hurry. I can preamp it, with a new fender deluxe, Thats the only way it sounds good. Any suggestions welcome.
Have thought about a blackface change over, I'm so dang mad at this thing. It stinks.

I use several different pickups and guitars, the noise level is there but the tone quality is thin and it would be an ebarassement to solo it.

Reliability, is good I keep trying it and putting it away. It always starts up.

I have read many good things about this type of amp, Mine isn't a good one.

1969, silverface, cts spkrs, all original, i traded a dr z head for this amp. reverb a bit noisy, probably needs a new tube. reason i traded a new production amp for this is the versatility factor and the classic fender sound...

breaks up a bit early, but pure fender clean tone. i had decided to ditch old fenders, as i have had a few, because if figured that if i were going to have one amp, it would be a new one so i wouldnt have to work on it a lot... old ones need a lot of care, but i found a good tech nearby and decided to settle on what i really wanted... the tone is what brought me back to an old fender....

don know

i changed my mind about the older amps, at one time there was no way i would have one anymore, i tend to never have more than one or two amps and always wanted a new one, but no more,,, the older tones fit my style a lot better... you can only play one at a time and it is going to be an old fender...

45 watt tube - 1973 - '74, 4 inputs (2 on each channel), speed & intensity for vibrato, reverb, M, B, T, & volume for 2nd channel. V, T, & B for 1st. My SF SR is around '73, so no master volume or crazy degenerate wiring (well, actually...). Bright switches on each channel.
Solidly built, 1 original speaker (3 eminence alnico's), and that's about it. It has a bright, thick, or mellow tone, depending on how one sets it up. Great features, no distortion (it comes naturally, of course). No extras or unneeded add-ons (just reverb & "vibrato").

I use a mex. strat w/ a lil' 59 bridge pickup (the others are going to be replaced soon). I picked this up about a month ago and since then it had some noise, but that was mostly fixed (loose grille, bad speaker soldering). I currently have the chassis pulled out and am about to do some mods on it, bringing the design more or less back to blackface standards.
Anyway, the sound it bright, loud, and clear. The distortion (past 6 on volume)is fabulous. Singing, sweet, and LOUD. I have a Mesa bottle rocket for more overdrive, so I don't have to crank the amp too much to get a good sound. The pedal, by the way, sounds very good with the amp.
Sounds are full and clear. I've have an Ultimate Chorus and have owned an old Gibson Invader, and this has more sonic fullness than either of them. I love the bright switches. Wouldn't get another amp without 'em. Excellent for any style, single coils are cool. Only thing is the noise (somewhat buzzy). Maybe its just the single coils, but I think something in the mix isn't grounded.
HOWEVER, since I haven't really modified my SR yet, I can't truly predict its new sound. I'll update this review when I can, but I don't want to review something that I haven't heard yet. Other people on this board have spoken favorably about their BF'ed Silvers, though.

It's old. It's tube. It requires fixin', either from yourself or a specialist. I took it in to the place where I got it to have it checked (it was emitting a crackling noise), and that helped. Ya gots ta look after it. So, I'll give it a 7. I don't think that any other 30 year old tube amp could really get a better diagnosis.

From the shop where I bought it? Great. Why would you go to Fender with an old tube amp like this? The guy/girl who constructed it has long since retired.

If you're willing to commit to it, sky's the limit. It's like getting married. My other Gibson required 7591 (very very very very very rare tubes)and I...uhhh...divorced her. Take care of yer amp.
About the mods, I think that some were already done to my SR. I am by no means an expert at this stuff, and I hope it works out well. The supressor caps were already removed, some resistors changed. Looks like the process was started but never finished.
BY THE WAY, I played through 5 different SR's before deciding. One late 60's Silverface was great, but $1000 and I couldn't transport it. Another was a $729 Master Volume, which was a bit thin and had the "undesirable" circuit. Two others were blackfaces that truly were not better sounding than the amp I have now. Difference between BF's and SF's?
BF's: more bass, tighter, less bright, a little thicker sounding. More focused reverb.
SF's: CHEAPER, tight tone, brighter, and deep reverb.
ALSO, you can always modify the hand wired circuitry.
For anyone attempting to blackface a silverface, here are some tips:
1. Remember to discharge (ground) the filter caps - touch screwdriver to caps (preamp tubes?) and chassis.
2. Remove caps on the power tubes.
3. Compare schematics - change a few resistors around (47K's to 82K and 100K, etc.). Also capacitors.
4. Possibly upgrade the "chocolate drop" caps to new ones.
5. Change bias filter caps to bias filter cap (100uf@100V). Change another cap in the chassis.
6. There's a GZ34 rectifier in the AB763 circuit, a 5U4GB in the SF one.
7. Have fun and experiment.
I'd rather not spend upwards of $1000 on an amp, and it'll cost less than $50 and a few hours to modify a cheaper Fender.
Given the affordability, ease of modification (I hope!), and sound of this amp (4 X 10" speakers! Yay!), it gets a very good overall review.