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the early solid-state amplifiers failed simply because employees didn't bother to clean up the soldering machines or attach the semiconductors properly to their heat sinks. The infancy of semiconductor technology also meant that many designs failed due to thermal runaway caused by insufficient cooling or lack of knowledge concerning "safe" power ratings of transistors. The cascaded effects from all this created a very poor reputation for the transistor products and the entire solid-state line was already discontinued by 1971. Additionally the experience also scared Fender away from solid-state amplifier technology for the next ten years.
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924:. Aside from the bright red controls, these amplifiers have a slightly similar appearance to the older Blackface cosmetics, bearing black control panels with white lettering and the late 1970s "scripted tailless" Fender logo. Many of these models were simply refitted with black knobs and early 1970s "unscripted tailless" Fender logos in 1996 when most Fender amplifier manufacturing moved to the
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grillcloth typical to previous BF and SF series amps, but more often the amplifiers sported a black grillcloth. Some amplifiers also had an aluminum trimming running around the grille. The styling didn't become consistent until the early 1980s, at which point all these designs were already discontinued to make way for the very similar looking "II Series".
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which consisted of an 'SS-1000' preamplifier head and 'XFL-1000' and 'XFL-2000' self-powered speaker cabinets. The head featured three cascadable channels, a "Dimension V" oil can delay effect, reverb, vibrato, and a fuzz. The powered cabinets could switch between normal and "tube-emulated" operation.
860:
Certain elements of the
Blackface cosmetics were reintroduced in the mid-1970s on a series of amplifiers designed by Ed Jahns. The first amplifiers in this new line included the infamous 180W 'Super Twin' and 'Super Twin Reverb' amplifiers which featured active tone controls and a built-in distortion
812:
were introduced in 1966. At the time they were the company's "flagship" range and aimed to make the tube-based designs obsolete. The amplifiers were naturally given traditional Fender model names, the earliest including 'Dual
Showman', 'Twin Reverb', and 'Bassman'. Other products in the line were the
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amplifiers were produced between 1963 and mid 1968 with the earliest blackface piggyback and large combo amps (Twin) having bodies covered in blonde tolex, with the new black control panel. The white control knobs continued briefly before giving way to black skirted "hat shaped" numbered knobs. These
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The first tolex cover used by Fender was a light brown one matched with dark maroon or "oxblood" grillcloth. This look didn't last long and by 1961 Fender was using a darker brown tolex which remained commonplace until 1963. There were three different grillcloth colors used during this period: wheat,
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At the beginning of the "tweed" era, Fender constructed many of its cabinets in "TV front" style, amps which bore a strong resemblance to TVs of the time. In 1955 they shifted to the "wide panel" design, a more conventional design where the top and bottom panels are wider than the side. Fender later
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speaker. This amp had no controls as it was designed for the guitar to solely control the volume and was simply turned on by plugging/unplugging into the wall plug. The Deluxe was a larger amp with a Jensen 10” field-coil speaker and five tubes in a 14-watt design. It was the most popular amp of this
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The first amplifiers made in-house by the Fender
Electric Instrument Company were a significant step up in size and function to the small, nameless amps that preceded them, however, they didn't have technological advancements such as circuit boards in their designs. They were constructed out of spare
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The new
Blackfaces came in varying cosmetic styles. All of them had a black control panel and traditional knobs, but they no longer featured the Blackface-style lettering to depict the model name and the traditional control panel layout was partially redesigned. Some of these amplifiers had a silver
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The first
Silverface amps, manufactured between 1967 and 1969, had an aluminum frame trim, known as a "drip edge" around the grillcloth. a "tailed" amp logo and the AB763 blackface circuit. An even rarer feature were the vertical, narrow black lines, which separated knob groups in the control panel.
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Deluxe Reverb circuits were offered in a slightly modified
Blackface cosmetic package from roughly 1978 to 1982, the difference from the 1960s versions being that the model designation on the faceplate did not include the word "Amp" after the script typeface model name, as the earlier versions had.
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These amplifiers didn't yet render obsolete the
Silverface series and manufacturing of both co-existed for years. In fact, many Silverface designs were revised to the ultra-linear architecture to step up their output power from 100 watts to 135 watts. Also, existing Silverface Princeton Reverb and
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The
Silverface amplifiers were succeeded by a new breed of Fender designs. Fender was now competing with manufacturers who were more in tune with the market; specifically, many guitar players were interested less in "cleanish" country amp and instead wanted more versatile tone controls and, perhaps
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Zodiac-series amplifiers consisted of 'Capricorn', 'Scorpio', 'Taurus' and 'Libra' models. Aside from being covered with fake alligator skin, they were cosmetically very similar to the Super
Showman. However, these were smaller combo amplifiers with fewer features and aimed for the lower end of the
820:
In 1969 more transistor amplifiers were introduced, including the 'Zodiac' series and the behemoth 'Super
Showman System'. Seth Lover, the legendary designer of the Gibson "P.A.F." pickup, and another former Gibson employee, Richard Chauncey Evans, were hired to help in designing the latter series,
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The amplifiers were mainly designed by Robert "Bob" Rissi, Sawa Jacobson and Paul Spranger, who came up with the novel idea of making a heatsink to operate like a chimney to achieve increased and non-restricted airflow. Paul also designed the distinctive angled chassis and overall cosmetic styling.
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All Silverface models usually came with a sparkling silver/blue grillcloth (some later models had a non-standard sparkling silver/orange grillcloth, and a black grillcloth was even fitted to some production runs). The Silverface control face plate was discontinued in 1981 and replaced by the second
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until later in the decade. The 1x10" Harvard was discontinued in 1961(though in 1962-63 Fender built a small number of "Harvards" which were actually assembled from leftover tweed-Princeton parts given Harvard nameplates). The 1x8" Champ remained tweed-covered until 1963 when it made the change to
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Fender's early transistor amplifiers had an extensive marketing campaign but in the end they proved to be a major disaster. Many key executives of Fender had resigned after the CBS purchase and quality control of the PCB-constructed amps was rather sloppy during this time period. Reputedly many of
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2015 saw the release of the Mustang v.2 amplifiers, along with a refresh of the Fuse PC app. In 2017, the Mustang GT series was launched, with Bluetooth capability and wi-fi for over-the-air software updates, with a modernized look and smartphone-enabled functionality through the new Fender Tone
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series amps that had gained popularity at the time. The tube amps in the series feature hand-wired eyelet board construction and are also becoming sought-after collectors items, due to the design and build quality. The range included one small tube-driven bass amp, the Bassman 20. There were also
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than any previous Fender had ever offered. It is believed that high list prices, and deviations from established Fender amplifier designs, swayed many buyers away from the Prosonic. It developed a cult following among serious guitarists, aided by the rise of musician-centric Internet communities.
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In the first fifth of the 21st Century, Fender turned to digital technology to expand its lineup of amplifiers. The first of these, the Cyber Twin and Cyber Deluxe, used circuits within the computer chips to replicate famous amps and effects. The preamp is tube-driven, and the power amp is solid
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Two utilized the same circuit board and wattage, the Fender Eighty-Five and the Studio 10. They contain the same 65W RMS circuit, but contain a 12" speaker and a 10" speaker, respectively. The Fender Eighty-Five was used by Steve Miller (Steve Miller Band) and Jonny Greenwood (Radiohead) on many
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company takeover took place in 1965 and amps with blackfaced cosmetics were produced up to 1967. After the buyout the front panels were changed from "Fender Electric Instrument Co." to "Fender Musical Instruments". No real changes were made to the amps until the silver faced amps of 1968 where
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were altered to eliminate an uncommon but serious oscillation in the signal chain. These changes took some months to finalize, as Leo worked through some designs, and happened after the cosmetic changes. Furthermore, the schematic and tube charts that shipped with these models did not always
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Next came the G-DEC (Guitar Digital Entertainment Center), a true modeling amp. It was released in 2007 along with a PC software package to allow it to emulate a wide array of pedals, stompboxes, and amplifiers. The G-Dec won high praise at the time but its effects, based on three-decade-old
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In the late 1970s and very early 1980s the "Supers" were followed by the tube-based '30', '75 (Lead)', and '140' tube amps (with reverb and overdrive features) and two solid-state 'Harvard' amps (one with reverb), which were 15W practice amplifiers. Design-wise the tube amplifiers were quite
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moniker, such as the Harvard Reverb II. Other solid-state amps produced during the Rivera era included the Yale Reverb, Studio Lead, Stage Lead, London Reverb, Montreux, and a solid-state issue of the Showman. Many of these units shared the same circuitry boards in one capacity or another.
427:
because of its feel and appearance (actual tweed is a rough woolen fabric). The amps made during this period were a considerable leap forward for Fender, and they are often praised for their sound and their circuitry. Fender generally stopped using the twill covering in 1960, though the
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series was introduced in 1959. The name 'brownface' stems from the brown-colored control panels, common to both the brown- and cream/blonde- Tolex-covered amps. The brownface amps originally featured a dark maroon or "oxblood" grillcloth, which was changed to "wheat" in 1962-63.
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moniker; the Champ II, Princeton Reverb II, Deluxe Reverb II and Twin Reverb II, while others such as the Concert and Super Champ did not. Many of these amps had the normal Fender clean sound and in addition a switchable mid voiced gain channel, designed to compete with the
387:. The amplifiers were housed in a steel case and most were finished in a "gray crinkle" finish that was baked in the Kauffman family oven. They were made in three sizes, 1×8" (one 8-inch speaker), 1×10", and 1×15". They are all very rare today and few have survived.
873:
different from their predecessors, as the active tone controls and blending distortion circuit had been removed and the latter feature replaced by a crude version of the channel switching concept. A new feature addition was a crude insert-style effects loop.
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tone stack giving modern players greater tonal flexibility with pedals), quicker gain onset and reduced negative feedback for greater touch sensitivity. The single-channel Pro Reverb and Vibro-Champ Reverb combos were introduced in January 12th, 2021.
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era, with most amps surviving from this era today being Deluxes. The rarest of all the original 'woodie' series was the Professional. It was the largest of the trio featuring Jensen 15” field-coil speaker and 6 tubes delivering 25 watts of power.
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amplifiers were produced from 1982 until 1986, being the last Fender amps to be made at Fullerton. The specifications for these amplifiers, and leadership of the design team, came from Paul Rivera (then marketing director) and are known as Fender
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In 2013, Fender released the silverface '68 Custom amplifiers as a part of their Vintage Modified series, modeled after the original drip-edge silverfaced amps of 1968. Models included the Twin Reverb, Deluxe Reverb, Quad Reverb, and
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2014 saw the traditionally-styled Champion amplifier (not to be confused with the classic and reissue Champion/Champ tube amplifiers) released. This amp eschewed the Fuse software in favor of an on-board system, selected by knobs.
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Accomplishments for the company's amplifier division during these years include the introduction of the stand-alone spring reverb unit in 1961, followed by incorporation of the reverb circuit within a combo-amp design with the 1963
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brown, and maroon. Fender used various grillcloth and tolex combinations, suggesting that they were using up whatever stock was on hand instead of assigning one combination to one amp consistently.
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In 1948 Fender entered a new phase of amplifier construction dubbed 'the tweed phase'. This phase saw the company drape their amplifiers in a cloth covering, which consists of varnished cotton
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This cosmetic detail (later referred to as "blackline") was quickly abandoned. All of the Silverface amps generally had blue labels on the face plate, but in some rare exceptions (such as the
669:, and a Vibrolux Reverb was added to the line the following year. Each amp incorporates reverb and tremolo on both channels. Other features include a Custom channel (which has a modified
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transformers and a "scripted tailless" amp decal featuring a "Made in USA" script in the bottom. Additionally in 1977, the power was increased between 70 and 135 watts on certain models.
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black tolex, and the Princeton acquired its brown tolex in 1962 along with a complete redesign that saw it adopt more powerful twin-6v6 circuit and a larger speaker: 1x10".
813:'Solid-State Reverb Unit' and the 'Solid-State Public-Address System'. 'Super Reverb', 'Pro Reverb', 'Vibrolux Reverb' and 'Deluxe Reverb' amplifiers followed in 1967.
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circuit that blended between clean and distorted sounds. Some bass amplifiers with similar architecture were also released, namely the 'Studio Bass' and 'PS300'.
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At the same time, Fender re-released a number of classic amplifiers such as the Bassman and Bandmaster, to high praise both from the music press and the public.
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amplifiers were produced from 1987 until 1993. They were made in Lake Oswego, Oregon, at the Sunn factory, a brand/company that Fender had purchased in 1985–86.
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reflect the actual circuitry. Fender had many leftover AB763 (blackface) tube charts left over well into 1969 and shipped these charts with silverface models.
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on the earliest versions in this era was pinkish brown and rough textured. There were only six amplifiers covered in tolex originally, the Professional Series:
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from 1996 to 2002. Available in head and combo versions, the Prosonic featured several departures in design from traditional Fender amplifiers such as the
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models appearing in the late 1960s. Fender frequently updated the internal circuitry of its amps, and changed their appearance throughout its history.
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amplifiers were built between 1967 and 1981. They are often referred to as Silverface or Chromeface because of their brushed aluminum face plate.
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in 1961. Fender began using silicon rectifiers to reduce heat and voltage sag caused by tube rectifiers, and introduced an all-new, very complex
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In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student
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certain circuit changes made them less desirable than the black faced amps. This affected some models more than others. For example, the
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hardwood held by the Fender company at the time and were hence given the name 'woodie' later on by collectors. These amps were the
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642:) the colour was red instead. Some transitional models produced before the "tailless" period in 1973 featured the AC568 circuit.
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was notorious for tweaking his designs. During the transitional period from late 1967 to mid-1968, the circuit designs of the
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technology, were rapidly outdated. An updated G-DEC 3 was released in 2010, followed by the Mustang in 2012.
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Fender amps have come in many configurations and styles. The early K&F and Fender amplifiers relied upon
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The production of these amps ceased in 1948, however, the names of the amps became enduring ones for Fender.
488:(production halted Feb-May 1960, resumed as the blonde Twin) and Vibrasonic. The cheaper student models (
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1106:"Revisiting the amp that gave "Solid-State" a bad name: the Fender Solid-State Twin Reverb Part 1"
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Brosnac, Donald (1986). Guitars Made by the Fender Company. Bold Strummer. ISBN 978-0-933224-06-3.
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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more importantly, greater amounts of distortion. This market was dominated by companies such as
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constructed them with "narrow panel", in which all the panels have more or less the same width.
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1080:"Fender reinvigorates classic tube amp tones with new '68 Custom Vibro Champ and Pro Reverb"
586:"piggyback" heads were equipped with a master volume control while other models such as the
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Silverface cosmetics do not necessarily denote silver face circuitry, however.
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The shift from tweed to Tolex occurred in limited production in 1960. The
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who used Super Showman full stacks during the early years of his band
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One well known player who took to the Fender Solid State amps was
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The first "Fender" amplifiers were manufactured by Leo Fender and
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These were some of the first models produced by the newly formed
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Blackfaced cosmetics do not necessarily mean "pre-CBS" since the
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were not altered in any way except for the change in cosmetics.
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1158:(discussion forum thread). Music Player Network. December 2003.
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Brosnac, D. (1987). The amp book. Westport, CT: Bold Strummer.
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337:. Fender amplifiers would become favorites of guitarists like
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personal reflection, personal essay, or argumentative essay
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349:, also known in these cases for playing Fender guitars.
717:. (Most contemporary Fender amplifiers are produced in
1015:"The Woodies: A History of Fender's First Amplifiers"
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The Soul of Tone: Celebrating 60 Years of Fender Amps
1156:"What do the tubes do in a Cyber Twin [sic]"
399:. The Princeton was a small six watt amp with an 8"
890:amplifiers. Some amplifiers in the series used the
562:amps had new circuitry featuring bright switches.
533:circuit (or, as it referred by Fender, "vibrato").
317:are electric instrument amplifiers produced by the
208:. Unsourced material may be challenged and removed.
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432:was still covered in twill until 1963, and the
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1136:(catalogue). Fender Musical Instruments. 1983
768:. Unsourced material may be challenged and
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364:Early amplifiers: K&F, Woodie and Tweed
66:Learn how and when to remove these messages
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993:. Milwaukee, WI: Hal Leonard Corporation.
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817:He was granted patents for both accounts.
788:Learn how and when to remove this message
286:Learn how and when to remove this message
268:Learn how and when to remove this message
119:Learn how and when to remove this message
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940:The 21st Century: reissues and modeling
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1196:Fender Musical Instruments Corporation
989:Wheeler, Tom (Thomas Hutchin) (2007).
900:some solid-state amplifiers using the
319:Fender Musical Instruments Corporation
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922:Fender Musical Instrument Corporation
525:in early 1960, as well as the blonde
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766:adding citations to reliable sources
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206:adding citations to reliable sources
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521:to include other models, like the
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385:K&F Manufacturing Corporation
331:K&F Manufacturing Corporation
47:This article has multiple issues.
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193:needs additional citations for
55:or discuss these issues on the
1531:List of Fender Guitar Finishes
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423:. This is incorrectly called
877:II Series and the Rivera Era
618:Silverface Twin Reverb, 1973
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444:Brownface (Brown and Blonde)
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148:to comply with Knowledge's
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691:Fender Musical Instruments
553:Blackface Princeton Reverb
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310:Fender amp "tailless" logo
27:Brand of guitar amplifiers
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1041:"Dating Fender Tube Amps"
329:were manufactured by the
730:Early solid-state models
383:, doing business as the
302:Fender amp "tailed" logo
161:may contain suggestions.
146:may need to be rewritten
897:Mesa Boogie Mark Series
844:Second series blackface
578:combos, along with the
545:Blackface Deluxe Reverb
1509:Fender vibrato systems
1462:American Deluxe Series
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1573:Starcaster by Fender
804:1966 Vibrolux Reverb
762:improve this section
626:Silverface Princeton
202:improve this article
1131:"Guitar Amplifiers"
1045:20th Century Guitar
580:Dual Showman Reverb
1546:Fender Reverb Unit
1536:Fender Custom Shop
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715:Corona, California
711:Fender Custom Shop
651:ultralinear output
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217:"Fender amplifier"
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1498:Noiseless Pickups
1467:California Series
1436:Vibrosonic Reverb
1326:Bandmaster Reverb
1086:. 12 January 2021
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1526:List of products
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219: –
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213:Find sources:
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109:November 2018
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1551:Rhodes piano
1541:Fender Japan
1507:
1411:Super Reverb
1336:Blues Junior
1312:
1257:Bill Schultz
1217:Doc Kauffman
1150:
1138:. Retrieved
1125:
1113:. Retrieved
1110:ResearchGate
1109:
1100:
1088:. Retrieved
1084:Guitar World
1083:
1074:
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1055:25 September
1053:. Retrieved
1049:the original
1044:
1034:
1022:. Retrieved
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936:recordings.
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834:Jan Akkerman
831:
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784:
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760:Please help
748:
683:
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663:
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603:Super Reverb
592:
576:Super Reverb
564:
558:
556:
511:
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463:
457:
455:
438:
436:until 1964.
418:
415:Fender tweed
409:
397:Professional
396:
389:
381:Doc Kauffman
378:
351:
343:Eric Clapton
339:Jimi Hendrix
314:
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282:
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200:Please help
195:verification
192:
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155:You can help
145:
115:
106:
87:
63:
56:
50:
49:Please help
46:
29:
1568:Lace Sensor
1472:Lead Series
1431:Vibro Champ
1252:Don Randall
1247:Paul Rivera
1227:Bill Carson
1204:Key figures
928:factory in
855:Mesa Boogie
707:Bruce Zinky
699:Twin Reverb
599:Twin Reverb
572:Twin Reverb
500:) remained
374:vacuum tube
358:solid-state
354:vacuum tube
1620:Categories
1503:Wide Range
1426:Vibrasonic
1396:Pro Reverb
1321:Bandmaster
1313:Amplifiers
1303:Heartfield
1242:Dale Hyatt
1212:Leo Fender
968:References
888:Rivera era
853:and later
723:distortion
647:Bronco amp
632:Silverface
610:Silverface
595:Leo Fender
523:Vibrasonic
470:Bandmaster
404:field-coil
327:Leo Fender
228:newspapers
52:improve it
1446:White Amp
1441:Vibroverb
1381:Princeton
883:II Series
749:does not
659:blackface
559:Blackface
537:Blackface
515:Vibroverb
498:Princeton
458:Brownface
393:Princeton
159:talk page
58:talk page
1592:Category
1491:Hardware
1416:Tremolux
1140:19 April
1115:12 April
1024:12 April
926:Ensenada
915:Red Knob
909:Red Knob
851:Marshall
825:market.
678:Prosonic
167:May 2009
1604:Commons
1556:Gretsch
1401:Showman
1366:Harvard
1351:Concert
1331:Bassman
1288:Jackson
1283:Charvel
1090:2 March
945:state.
770:removed
755:sources
695:Bassman
671:Bassman
661:amps.
630:Fender
531:Tremolo
527:Showman
494:Harvard
474:Concert
430:Harvard
242:scholar
95:Please
1455:Series
1356:Deluxe
1341:Bronco
1298:Tacoma
1293:Squier
1278:Bigsby
1271:Brands
997:
961:app.
930:Mexico
719:Mexico
701:, and
640:Bronco
401:Jensen
345:, and
244:
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230:
223:
215:
157:. The
1406:Super
1346:Champ
1134:(PDF)
838:Focus
490:Champ
482:Super
466:tolex
434:Champ
425:tweed
421:twill
249:JSTOR
235:books
1421:Twin
1142:2017
1117:2021
1092:2021
1057:2007
1026:2021
995:ISBN
951:MIDI
913:The
881:The
753:any
751:cite
682:The
601:and
582:and
574:and
557:The
519:Twin
486:Twin
456:The
221:news
1391:Pro
764:by
567:CBS
478:Pro
204:by
1622::
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902:II
892:II
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