Submitted June 5, 2003 by a customer from yahoo.com
"A faithful re-creation of an oldie that combines the old with the new!"
1980 saw a brief return to the blackface cosmetics on most models. Super Reverbs produced from 1980 to 1982 had a black face plate with white labels and silver-sparkle grill cloth. By 1983 the Silverface amps as well as the other Blackface ones made in the mid-'60s were all put out of production, the new management team who owned Fender today decided to cut back existing inventory and finally close the Fullerton factories in 1984, after 38 long years of active service. By far points the '65 Super Reverb re-issue combines the old with the new, as most of its essential features are lovely recreated, guaranteed to please all the vintage enthousiasts worldwide!
This faithful recreation of an oldie such as this legendary '65 Super Reverb re-issue amp has all the soulful features found on most built-in reverb and tremolo-effect Fender amps made in the mid-'60s: cool dark reverb and good old vintage tone! Although the late '70s models (with 100 and 135W respectively) feature a master volume/pull boost switch and a midrange control in the Normal channel for more flexibility, this '65 re-issue beefs it up with 40W of maximal power and a 4x10 speaker chassis coupled with the typical AB763 scheme.
Sonically, the '65 Super Reverb suffers of some weaknesses, especially due to the absence of a midrange control knob in the Normal channel and the fact that it had only 40W RMS, as the BF Super Reverbs made from 1963 to 1968 (and the SF models made from the end of 1968 to the beginning of 1975) are usually referred as "non-master" amplifiers, i.e. they don't have a master volume control knob between the "pilot red jewel light" and the intensity control. But it isn't any for the Silverface Supers too: CBS switched to the infamous AC568 "silverface" circuit and removed the classic "tail" outlining from the Fender amp logos in 1972 for the rest of the line, as the new "tailless" style first appeared in 1967 with the ubiquitous Bronco amplifier (a sort of VibroChamp clone with bright red labels on the shiny silver-nickel faceplate instead of the more conventional light blue ones). Otherwise, it's a pretty good amplifier and suits perfectly any kind of music styles, from the funky surf craze of the '60s to the classic '50s/'60s rockabilly/blues/rock period.
An excellent addition to the increasingly popular Vintage Re-issue series of American-made Fender electric guitar amps, as the Mexican factory soon take care of the Silverface amp production (Blackface amps still fare the principal object for the Corona facility's production staff).
Can't have a particular support with Fender's guys about this good old vintage amplifier yet, although there's now an obviously serious move for Fender itself to make and develop Silverface re-issues (due hopefully to the success that followed the introduction of the Vintage Re-issue series of guitars and amps in 1982) at Ensenada, Baja California, Mexico, as some of the Classic Series re-issue series of guitars, such as the '70s Stratocaster, the '69 and twin-humbucker '72 Tele Thinlines, as well as the '72 Tele Custom, popularized by the Rolling Stones' guitarist Keith Richards, are assembled and manufactured at the Mexican state-of-the-art facility.
The Wow Factor
Whether use a Blackface or Silverface version, you'll soon notice the distinct major differences between a BF and a SF Super Reverb. They share the same black tolex indeed, but they used two different types of circuit schemes: the Blackface version has the much-beloved AB763 scheme while the Silverface features the infamous AC568 circuit, giving to the Silverface line a fairly bad reputation. Also, some Silverface Super Reverbs had respectively 100 and 135W RMS of power on most models, featuring a tailless logo and sporting a master volume/pull boost switch and a 3-band EQ in the Normal channel.
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