Fender Super-Amp Tube Amplifier (1950)
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Item # 11509
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Fender Super-Amp Model Tube Amplifier (1950), made in Fullerton, California, serial # 1007, tweed fabric covering finish.
This revolutionary double speaker combo amplifier was one of Leo Fender's earliest and most important creations, one that changed the world of instrument amplification (for the louder!) forever. Released in late 1946 initially named the "Dual Professional" this model followed the beautiful but fairly crude holy trinity of "Woodies", Fender's first full-production amplifiers. The twin 10" speakers, covered finger-jointed pine cabinet, eyelet board, on/off switch and jewel light were all firsts for the company's line-up that would set the pattern for future Fender product and up the ante on competitors. By late 1947, this model was re-named the "Super-Amp" and the covering was changed to a diagonal tweed fabric that became the staple look of Fender amplifiers throughout the next decade. The Super is said to have been Leo's personal favorite amp and the circuit he would most frequently tinker with in pursuit of tonal perfection.
The distinguishing feature of these early Supers is the angled front cabinet with a chrome-plated metal stringer in the center, popularly known as the "V-Front". The metal strip connects two separate speaker baffles, each holding a 10 inch speaker. Due to the relative complexity of the design, Fender outsourced the cabinets for this model before moving to the simpler single-baffle design built in-house. Interestingly, this design overall bears a closer visual resemblance to the subsequent Wide-panel models than its TV-Front contemporaries.
The V-Front Super was in production from 1947 until 1952 and as Leo upgraded the design it spanned 5A4, 5B4 and 5C4 circuit designations, the latter two bleeding into the Wide-panel era. This, is a mix of the former two, using all 6SC7 preamp tubes (the 5B4 would use a 6SL7 for the phase inverter), but four inputs rather than the earlier three. V-Fronts like this are quite rare - mostly because Fender didn't make many of them in the first place. It was an expensive professional-grade amplifier in 1950, and much of Fender's business was still in student steel guitar rigs.
The tube chart is too early to bear a date stamp, but the serial number 1007 puts the amp between 1950 and 1951 according to available records. Although the Pro model was technically above it in the line, many players preferred the Super's twin-ten layout to that model's single larger speaker. By 1950 Leo's designs were changing the world of electrified music forever and this amplifier was the spearhead of the Fender revolution.
Height is 19 1/2 in. (49.5 cm.), 22 1/2 in. (57.2 cm.) width, and 10 1/2 in. (26.7 cm.) in depth at deepest point.
Externally, this amp is in great shape for being nearly 71 years old. The finger-jointed pine cabinet still sports its original unlacquered low-contrast tweed covering, which shows a moderate amount of wear but holds together very well considering its age and fragility with no major tears or missing patches. The faded brown linen speaker cloth remains fairly taught and mostly unblemished. The chrome-plated control panel is decently shiny with moderate wear but minor signs of corrosion or pitting. Much of the stenciled lettering around the knobs is worn off, but the Fender logo and "Super Amp" title are still clearly intact and visible, as is the input labeling. The handle is a high quality replacement.
This V-Front Super is overall nearly all-original. The two Jensen P10Q speakers are period correct but not original to this amp. They bear the codes 220-419 and 220-439, dating them to the 19th and 39th week of 1954, respectively. The power and output transformers are both the original Triads numbered 6516 and 1848, respectively. The original leads to the output transformer needed replacing and extending due to speaker mount orientation, hence they are newer in appearance, but the component is original to the amp. Legible pot codes all date between 29th and 31st week of 1950, so this amp was likely assembled mid-1950. It bears Lilly's signature on a piece of masking tape inside the chassis. This may very well be the same Lily that famously (to us) wired nearly every tweed Harvard we've come across! Either way, we are fans of their work!
The amp has received our typical maintenance servicing, including replacement of all electrolytics, a 3-prong grounded power cord, cleaning of all sockets, pots and jacks and biased to spec. The Super sports a great set of vintage NOS tubes, including a CBS "big bottle" 5U4 rectifier, two Sylvania 6L6WBG power tubes and three GE 6SC7 preamp tubes.
Tone-maestro Billy Gibbons is known to often enjoy the velvety yet still raucous overdrive offered by these amps, and can famously be heard using one all over the '94 ZZ Top record "Antenna". This rare early Fender creation is a truly phenomenal sounding amp and the first V-Front we have the honor of featuring in our showroom! Overall Excellent - Condition.
This revolutionary double speaker combo amplifier was one of Leo Fender's earliest and most important creations, one that changed the world of instrument amplification (for the louder!) forever. Released in late 1946 initially named the "Dual Professional" this model followed the beautiful but fairly crude holy trinity of "Woodies", Fender's first full-production amplifiers. The twin 10" speakers, covered finger-jointed pine cabinet, eyelet board, on/off switch and jewel light were all firsts for the company's line-up that would set the pattern for future Fender product and up the ante on competitors. By late 1947, this model was re-named the "Super-Amp" and the covering was changed to a diagonal tweed fabric that became the staple look of Fender amplifiers throughout the next decade. The Super is said to have been Leo's personal favorite amp and the circuit he would most frequently tinker with in pursuit of tonal perfection.
The distinguishing feature of these early Supers is the angled front cabinet with a chrome-plated metal stringer in the center, popularly known as the "V-Front". The metal strip connects two separate speaker baffles, each holding a 10 inch speaker. Due to the relative complexity of the design, Fender outsourced the cabinets for this model before moving to the simpler single-baffle design built in-house. Interestingly, this design overall bears a closer visual resemblance to the subsequent Wide-panel models than its TV-Front contemporaries.
The V-Front Super was in production from 1947 until 1952 and as Leo upgraded the design it spanned 5A4, 5B4 and 5C4 circuit designations, the latter two bleeding into the Wide-panel era. This, is a mix of the former two, using all 6SC7 preamp tubes (the 5B4 would use a 6SL7 for the phase inverter), but four inputs rather than the earlier three. V-Fronts like this are quite rare - mostly because Fender didn't make many of them in the first place. It was an expensive professional-grade amplifier in 1950, and much of Fender's business was still in student steel guitar rigs.
The tube chart is too early to bear a date stamp, but the serial number 1007 puts the amp between 1950 and 1951 according to available records. Although the Pro model was technically above it in the line, many players preferred the Super's twin-ten layout to that model's single larger speaker. By 1950 Leo's designs were changing the world of electrified music forever and this amplifier was the spearhead of the Fender revolution.
Height is 19 1/2 in. (49.5 cm.), 22 1/2 in. (57.2 cm.) width, and 10 1/2 in. (26.7 cm.) in depth at deepest point.
Externally, this amp is in great shape for being nearly 71 years old. The finger-jointed pine cabinet still sports its original unlacquered low-contrast tweed covering, which shows a moderate amount of wear but holds together very well considering its age and fragility with no major tears or missing patches. The faded brown linen speaker cloth remains fairly taught and mostly unblemished. The chrome-plated control panel is decently shiny with moderate wear but minor signs of corrosion or pitting. Much of the stenciled lettering around the knobs is worn off, but the Fender logo and "Super Amp" title are still clearly intact and visible, as is the input labeling. The handle is a high quality replacement.
This V-Front Super is overall nearly all-original. The two Jensen P10Q speakers are period correct but not original to this amp. They bear the codes 220-419 and 220-439, dating them to the 19th and 39th week of 1954, respectively. The power and output transformers are both the original Triads numbered 6516 and 1848, respectively. The original leads to the output transformer needed replacing and extending due to speaker mount orientation, hence they are newer in appearance, but the component is original to the amp. Legible pot codes all date between 29th and 31st week of 1950, so this amp was likely assembled mid-1950. It bears Lilly's signature on a piece of masking tape inside the chassis. This may very well be the same Lily that famously (to us) wired nearly every tweed Harvard we've come across! Either way, we are fans of their work!
The amp has received our typical maintenance servicing, including replacement of all electrolytics, a 3-prong grounded power cord, cleaning of all sockets, pots and jacks and biased to spec. The Super sports a great set of vintage NOS tubes, including a CBS "big bottle" 5U4 rectifier, two Sylvania 6L6WBG power tubes and three GE 6SC7 preamp tubes.
Tone-maestro Billy Gibbons is known to often enjoy the velvety yet still raucous overdrive offered by these amps, and can famously be heard using one all over the '94 ZZ Top record "Antenna". This rare early Fender creation is a truly phenomenal sounding amp and the first V-Front we have the honor of featuring in our showroom! Overall Excellent - Condition.