Classic Fender Amplifiers Beckley WV

This article provides you some imformation of the following two guitar amps: '65 Fender Super Reverb Reissue and 1964 Fender Super Reverb. If you want to get the details of them two, keep on reading.

Cornerstone Music
(304) 256-3857
Pob 530
Beckley, WV
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments

Data Provided by:
Hatcher Music Ctr
(304) 469-3171
311 Main St E
Oak Hill, WV
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Recording Equipment, Guitars & Fretted Instruments, Print Music

Data Provided by:
Showtime Music
(304) 225-0235
73 Crossroads Mall
Mount Hope, WV
 
Bandland, Llc
(304) 622-1171
Po Box 590
Clarksburg, WV
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments, Print Music

Data Provided by:
Kleeb's Music Center
(304) 983-6683
6504 Mall Road
Morgantown, WV
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Sound Reinforcement, Guitars & Fretted Instruments, Print Music
Store Information
Website Sales: Yes
Lesson Information
Lessons: Yes
Instrument Repair Information
Pianos- Kawai & Yamaha Digital Pianos Keyboards
Band Instruments
Acoustic Guitars
Hours
Monday - Friday 10:00AM - 9:00PM
Saturday 10:00AM - 6:00PM
Sunday Closed

Data Provided by:
Guitars Plus
(304) 253-6362
3224 Robert C Byrd Dr
Beckley, WV

Data Provided by:
Guitars Plus Inc.
(304) 253-6362
3224 Robert C Byrd Dr
Beckley, WV
 
Jungle Drums
(304) 781-3490
4606 Auburn Rd
Huntington, WV
Types of Instruments Sold
Drums & Percussion, Print Music

Data Provided by:
Lollipop Music_Llc
(304) 425-2084
119 Brick St
Princeton, WV
Types of Instruments Sold
Acoustic Piano, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided by:
Musician'S Paradise
(304) 824-3535
7250 Lynn Ave
Hamlin, WV

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Classic Fender Amplifiers

Introduced in late 1963, the Super Reverb used a pair of 6L6 output tubes and a 5U4 rectifier to pump 45 watts into a quartet of Jensen 10" alnico-magnet speakers. The Super Reverb’s link to the famous 4x10 Bassman of 1959 is obvious (more so than to the 2x10 Super of 1947), however, with its reverb and tremolo (or “vibrato” as Fender called it), dual channels with independent controls, and tilt-back legs, the Super Reverb was a far more advanced design that would sit just below the flagship Twin Reverb in Fender’s mid-’60s combo lineup. The Super Reverb incorporated a photoresistor-based tremolo circuit (as opposed to more complex tube-oscillator trem circuit used on some of the earlier “brownface” amps), and its spring reverb used both sides of a 12AT7 dual triode for drive and recovery.

Following the transition to a silver front panel and blue-sparkle grille around 1968, the cabinet was slightly enlarged—the top and bottom speaker pairs were also shifted respectively to the left and right—and, in an attempt to clean up the sound, the bias circuit was reworked and a hum-balance control was fitted to the rear panel. Fender saw fit to undo some of these circuit changes a year later, and, in 1970, the cabinet was downsized a bit, and a 3-position ground switch was added. The mid ’70s saw the addition of a master volume and a pull-boost boost function. In 1981 the amp was given blackface cosmetics , a line-out jack, and a Middle control for the Normal channel. The Super Reverb was phased out in 1982, essentially replaced by the II series 4x10 Concert. The early Super Reverbs remained popular among blues players, however, and Stevie Ray Vaughan certainly gets the lion’s share of the credit for the Super’s ascension into realm of super-collectable blackface Fenders.

In response to the popularity of this classic combo, Fender introduced the 65 Super Reverb ($1,699 retail/$1,189 street) to its Vintage Reissue series in 2004. The new amp looks much like an original 1965 model, though it does differ in having modern PC board circuitry and components (as opposed to the original amp’s handwired circuit and vintage-spec carbon-comp resistors and electrolytic filter caps), a plywood cabinet (instead of the solid pine of the original), no AC convenience outlet, and no ground switch. In most other regards, however, the 65 Super Reverb is functionally identical the original model.

So why are people willing to spend more money and go to more trouble to buy a vintage Super Reverb? Undoubtedly, owning a piece of early Fender history is a large part of it. Just knowing that these amps were built in the original Fullerton factory and that their circuits and cabinets were hand assembled by people who watched black & white TVs and drove to work in Ford Falcons and Chevy Novas is enough to summon the urge to splurge. Then there’s the larger question of tone, as it’s almost universally accepted that older means better. But is that really the case? To find out ...

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