This VINTAGE FENDER is a total MYSTERY! | Friday Fretworks

[@quickmysteryband]

Gahdt dang that was a great solo 😩😩🤤🤤

[@hottochhara]

I think we are all sleeping on how well Chris buck has been speaking long sentences with great articulation in single takes for a while now… legend.

[@0megalul309]

guthire govan style.

[@saedt]

Not surprised, his phrasing must apply to everything he does

[@lwwells]

He also plays guitar pretty well.

[@SteveSingerFowkes]

You could play thru a tin can Chris, and it would still sound awesome

[@CorbCorbin]

It would at least sound like, “man, wish he had more than a tin can. This boy good!”

[@darrellminx5459]

Got that right 👍

[@madamkirk]

💯

[@Kaisermb1]

The thing I love about the playing is the unexpected parts. Just when I think I can see where you're going it's something different. Really enjoying your work my friend

[@laurencehastings7473]

A unique player deserves a unique amp. You've got it.

[@ScottJones12stringscott]

That lead is evil sounding, and that amp is making that guitar amazing

[@johnfeole1971]

Damn Chris, that thing screams!

[@loudguitar]

I have a Blackface Super Reverb that left the factory in August of 1967 according to the tube chart inside the cabinet. I bought it from a high school friend for $125. it is in extremely good condition with the original speakers, and even the slip cover. It will still blow your ass off.

[@snekmeseht]

Based only on your KZbin videos of the band, this one is heads and shoulders above the others. It speaks clearly.

[@CargoShorts7]

My first vintage amp, and the one that started my unhealhty obsession, was a black panel 1967 Super Reverb. Mine had the power transformer replaced with a '71 Super Reverb PT, but outside of that, it is an original BFSR. These old Super Reverbs are such killer amps. The 10" speakers really do something special in that amp. Sadly, I can rarely break it out for my band's gigs, but alas, I've since acquired a 1965 Deluxe Reverb that I'll be buried with, a 1962 Brown Princeton and a 1964 Black Panel Vibro Champ, which has actually turned out to be a killer little travel/jam session amp. You make that thing sing, great video Chris, cheers!

[@lwwells]

I've seen many of your videos, but this was the first one that made me find you guys on Tidal. Thanks!

[@bernhardnizynski4403]

Amazing playing!

[@abbeysguitars]

This is simply a Larry Rodgers faceplate that was put on this SR chassis. Larry made these for his amp restoration company Rodgers Cabinets and you could turn your Silverface/Blackface amp into a cool looking amp that was never made in Brownface with just buying one of his faceplates and conversion kits, knobs etc. Larry used old reclaimed wood that was dried out in a steel barn in both Florida and the Carolinas, in the same idea/concept used for Kendrick amps naughty (naughty not misspelled and is reclaimed wood from defunct brothels in Texas) wood cabinets. Have a couple of these Rodgers faceplates and numerous Rodgers cabinets myself. Larry passed away a few years back and his cabinets can still be found, this cabinet is NOT his work, it is simply a Super reverb that someone replaced the covering on to match one of Larry's faceplates. The inside of the cabinet is the dead give away and Larry would never ever put an amp out with the tolext not being perfect, you can look at the corners and tell this was not a pro job by any means for the recovering of this amp. Larry made his cabs better than Fender ever did and generally have a brown/reddish stain on the inside of his cabinets along with a Rodgers ink stamp with a date as well. Very much in the high quality small batches of Kerry Wright, same quality with both of these guys whom are both now deceased. If you look up Rodgers Marilyn Monroe Blonde cabs he offered them in white 60's blonde or 60's brown with the same brown Super/Twin/Deluxe/Princeton and most Fender he could do a conversion on them as well with updated/mods to the amp itself. Rodgers faceplates he made. can be found and he did blackface ones as well as tweed amps. Some of his plates he used actual silver face Fender plates and silk screened over the front of the panels, you can tell by taking the faceplate off and if it has a black symbol with a number it is a repurposed silver face plate. I personally introduced Alexander Dumble to Larry and in turn Alexander had Larry make him some cabs as well. Larry Rodgers and Dumble were great friends of mine and its cool to see Larrys faceplates out in the world and hope this information clarifies what this amp is and what it isn't. Have a great day! Rob

[@StealthParrot]

That's cool, I didn't realize there were companies doing this on a pro level.

[@jonholland6067]

Awesome information. I love it when people really know “stuff”!

[@ryanfulldark2775]

“And it sounded like this…” CLIF bars!!! 😂 Awesome amp, I can see why you took it home!

[@billkeaveney1526]

Cheers Chris thanks for taking us on the journey.

[@donaldnelson8764]

Hey Chris, Don here again. I'm very pleased that you are loving the Super Reverb. After 63 years of playing guitar I have been a huge fan of the SR since it inception. I played a Twin Reverb throughout the 60's, a Marshall Plexi through the early 70's, two Super Reverbs through the late 70's and the 80's, then a 59 Bassman Reissue up until the early 2010's. Im happy to say that I am back to an early '67 Blackface Super Reverb that I pair with a Dr Z Z Wreck, 30 watts with a gold Celestion alnico speaker, much like your rig, it's a magical combo.

[@davidheuett5164]

Fun on Friday! Wonderful story, thanks!

[@twerpuser]

Probably the best guitarist in the world... WOW

[@jimle22]

Love the sound of that Yamaha Revstar gold top with the P90's.

[@michaelpimenteljr3530]

some of the most melodic playing i've herd

[@ewilson9650]

Can’t wait to see yous tomorrow in glasgow 🎉

[@guitarwayneo]

Very interesting story, thank you for sharing !

[@wjewell63]

Good Lord that sounds good....👍

[@freshsprite07]

Good god that solo in the beginning was pure goosebumps material. You guys need to come to germany again so I can experience that live!

[@guitarbygus]

Having heard this live, can confirm those 2 decibels matter! It was LOUD!

[@persjoholmpersonal5424]

Please do a video on that Fender Concert!

[@bensepulveda71]

May man… Wow, just wow. 😮❤️‍🔥🤘

[@fowrunnah]

I said it before.. Chris Buck rules.

[@arottie4097]

W0W!

[@dennyclosser8456]

I do so look forward to every Friday fret works from you, Chris! I do love the sound of 410s ever since the fender baseman early early on. As usual well done and thank you!

[@NinerFourWhiskey]

I met a guy many years ago in Texas who was making reproduction face plates for Fender amps. I did see a few he did at a guitar show in Houston done up in odd colors, same silk-screen, different inks. The brown covering material and grill cloth and emblem are easy to obtain. Owned and played many Super Reverbs over the years. Last one I owned wound up with Derek Trucks.

[@armandomunoz6510]

Such a good player.

[@jonathanhorne6503]

I’m 70. My gigging days are done. My main amp that’s left is a ‘62 Bandmaster that’s in a 2-10 combo cabinet. It’s a healthy amp and it sounds awesome. I use Celestion Gold G-10 AlNiCo speakers. I record with it mostly. Even bass, my main electric gigging instrument.

[@theproperjd]

No way! I’m in a CB vid! 😜🤘🏻 sick!

[@Tonetwisters]

My first amplifier was a brand new 1964 SR ... Still got it. Looks like yours is hiding in a Concert cab ... I have 230 watts worth of Weber speakers in mine. I put a 12AY7 in V2 to tame some of that volume as it never leaves the house anymore. Sounds fab. You might need an AMPrx brown box.

[@jeffreyfoster4260]

Dam Dude that guitar solo was AMAZING as well as your SOUND 👏🏽👏🏽👏🏽👏🏽👏🏽👏🏽

[@billsedge7360]

Great story ,, you found it,, or ,, it found you 🤔

[@bradybritto]

Super cool 👍

[@stroopwafel6141]

Great tone on stage and a lot of yummy licks. I adore the SR amp, but I don't like to lug around such a heavy beast. I scaled my set down to a 50 watt tubehead and 1x12 ported cab. I did even open air gigs with it.

[@ronrumsey3205]

incredible journey... amp seems to be home now. Play ON, Chris!

[@brunopannemans5729]

Got a fender frontmaster 65r and never played onn it yet...going to start using it... ✌️🎶🎼✔️ Keep inspiring maestro 🤟❤️💪

[@Super68SF]

I have a 68 SR, drip edge and black lines…. I’m in love with it. It’s just fenomenal. Now they are very difficult to get in EU and more in a reasonable price…

[@ToddTheJoker]

Amp sounds great Chris, now you can finally focus on learning how to play guitar lol! my god boy, you can play!

[@jonasjacobsen9702]

Great sounding amp. It got me really confused when you posted it on Instagram for the first time. Never seen a Super Reverb with a brown tolex and Super Sonic knobs. Really cool amp mate!

[@taloujazz9504]

the best amp I know

[@gheorghiibondari7369]

КРУТО , НЕТ СЛОВ !!!

[@Sonic_Axe]

Cool amp Chris! One to hold on to for sure.

[@ROKZLEON]

Super Reverb's are cool amps!!! You've got a rare bird there! Congrats! ✌🏻

[@DDE_ADDICT]

I love it

[@timec818]

Good that you're saying that about the watt/dB has allot of if you want to tame the volume oh get more headroom👍 🔊

[@markleadbeatter6196]

Amps are such a complex, personal part of a guitarists arsenal in the pursuit of our individual tone, it’s great to see you found what you were looking for. I would never part with my 1977 Burman Pro 501, which still has its original valve set. Granted it only sees home use these days but it has such a unique sound with its three gain stages

[@billkallas1762]

I always wanted a Super.

[@darrellminx5459]

Great tone. It has it's own thing going.Not sure what it is but sounds great! Cheers from Hawaii

[@jarredhicks]

That intro was filthy!

[@riffcodger]

Magnificent Buckmaster. Magnificent. By the end of your discourse I thought the amp began to look like Marilyn Monroe.

[@barryeinsohn2839]

I Love This Guitar, your sound and the different Tones you get are Amazing. So Fine, Chris. Lisa Einsohn

[@paulj0557tonehead]

My friend has a silver cloth, drip edge 15" JBL *Fender Tone Ring* cabinet. Tone ring cabs weren't made that late from we could find, so it was probably a custom order or limited production. Plugged straight into a '65 Pre-CBS Bassman blasts the paint off the walls! Gibson ES335, and zero squeal. The 15" JBL Tone Ring cabs are THEEEE cab to own for guitar. I've played a 10" Tone Ring cab and AB tested with the same non-tone ring cab, but not worth the effort. Not sure about the 12".

[@siegmac3267]

Great video! Pls make lessons again!

[@jeremyspencer8580]

Would be nice to be able to solo in such epic fashion before I die, but for content to enjoy yours.

[@edrogan2649]

So….what did the studio that profiled this amp actually profile? If it was essentially malfunctioning when you got it and took some work to put it right, what tone was the studio working with?

[@craiger2399]

Your tone is just awesome with this rig! I own a 69 Super Reverb, and have to say it is the best sounding amp I have ever played. Side note: Thunder Road Guitars is truly a great place to buy gear.

[@arottie4097]

Were all super's silver faced by 69?

[@craiger2399]

@@arottie4097 Yes, either drip edge in early 6 or Silver Face. Mine is drip edge and was confirmed as the AB763 circuit by Roy Blankenship though, so same circuit as 63-67ish.

[@richiehall4207]

I repair amps, and over the years,probably like many others that repair amps have seen some oddities. If not oddities,other things like, missed wiring or odd values of componets, at the factory. Like unsoldered wires to tube sockets. I keep lots of pic of amps. And one that was a real head scratcher was a 65 vibrolux. It was just the opposite of what many would think. Everything in the amp dated to 1965. Except it had a silverface panel {fender musical instruments]l. Maybe just guessing,the blackface may have been damaged,and changed. Or maybe they saw the new shiney silver panels and had one put on when they came out. Cosmeticly looks like it has been on the amp since the early days. Great sounding amp no matter what control panel was on it..:)

[@johnnymossville]

that setup with the p90's has so much grunt and power. love it. It sounds world conquering in the solos, never harsh though.

[@timjx3675]

Epic amp Epic story 🎸🌟

[@BladeDoomer86]

You should surprise everyone someday and mic a Pignose for one of your song! Just to show talent is really in the hands ;)

[@johnwhitmore4395]

Seems the amp has had 6+ owners in search of the perfect tone including yourself, Leo and CBS both produced in their guitars and amps the sounds we love

[@bbrotherton6345]

I have owned 3 late 60s Super Reverbs. The output transformer pictured here is much larger than any of mine.

[@tier5958]

Damn Chris that gave me goosebumps

[@Thomas-pq4ys]

I've a '71 Super, silver face. It's way more amp than I need. It is for sale. BTW, it has a voltage adjust, and would work on European voltages.

[@3cardmonty602]

Buy you could make a Spark Mini sound great

[@timternes4764]

Keep up your great works and I love your attention to detail and a great guitar player thanks for sharing that history with an about that amp take care of Tim Colorado Springs Colorado.

[@BrianOboylemusic]

That solo dude…

[@timedwards5600]

I'd like to see you and Matthew Scott jam.

[@Rolf_D]

Great Amp, have you tried the great Fane AXA 10" Speakers, they are Alnico, have 100W and 100dB. You can get it from TAD!

[@NINEWALKING]

People often lose what is the sensitivity rating and sound pressure rating. Plus they think speaker does it's thing in the linear fashion. But speaker has it's "headroom" as well. Once out of it's headroom it starts to break up or in some cases just to get hotter with out linearly increasing volume when power is increased. Go much over it and it might break. 1 dB delta is what average Human ear can differentiate between two sound sources. Imagine two speakers in HiFi or two studio monitors. Play mono signal and sit ion the middle. Then work with balance until you just notice one speaker is bit louder. There you go that "bit louder" should be around 1 dB. Now that is easy but then 3 dB difference has a completely new trick up its sleeve. To achieve 3dB sound pressure more one needs to double the power or better said energy that is used to move the air. So in some cases just to go 3 dB louder you need insane amounts of power. That's why AC15 with it's 1x12 is not that as much less loud than AC30 with it's 2x12 and twice the power. When AC15 stops being louder AC30 can just make 3 little steps up. Sure it is louder and radiates twice as much energy but all it does is adding 3 more dB of the actual sound pressure. Well depending on the situation it might be a big difference but it ain't as much as many people expect. So speaker with for example 100 dB/M/Watt sensitivity at one watt power and 1 meter distance will be as loud as two 97 dB/M/Watt speakers. This are typical values for Celestion 12"speakers BTW. So going to 100 dB/M/Watt sensitivity from 97 dB/M/Watt is like doubling the power of your amp. But that is a picture with 1 Watt power. But speakers compress and have their maximum SPL and that is important to especially if you have enough power. Plus this all also depends on the actual thickness of the air that changes with latitude and current air moisture. High in the mountains on very dry day you can't achieve same SPL as at the sea level with the high humidity. And last but not least human ear and brain. We do not hear same true the frequency spectrum we can hear. To make things even worse this changes with sound level as well. Humans brain is programmed to be sensitive to middle spectrum frequencies. 1 KHz in particularly. but as the sound pressure level goes to very loud we hear more linear. So imagine very high end PA System. You adjust it for highest volume without distortion. Sounds great. Lower the volume to way quieter and suddenly low end and high end is gone. What was nice and linear at blasting volume is now shallow and way to middle heavy. We hear things differently depending on the volume. Loud sounds most of the times better as well. Each guitar amplifier sounds better moving some air that playing quiet. Speakers have their own EQ character. If the two speakers have same sensitivity but are different and have their own different EQ characteristics, they will be sounding different and one might sound louder despite same sensitivity data. Plus one might compress more and at high volume one that compresses less will actually be louder. I would go so far to say that what most of the guitar players understand as the difference between early Fender and Marshall amplifiers was choice of speakers and cabinets. Sure tone stack means a lot as well. Fender tone stack was more scooped and was losing more signal. Sure especially later tune choice made difference as well. Sure Iron makes difference as well. But biggest difference was open and closed back, cabinet size and speaker choice. Plug old JTM45 into the 4x10 cabinet of a Bassman and you will hear it. Plug a Bassman into the early 1960 Marshall 4x12 with Greenback Pulsonic speakers. Tables will turn. Celestion speakers always have had that specific great middle range that makes them what they are. They are crucial part of any British amp sound. Speakers and cabinets make or break the amplifier. Especially true with great amps. True point top point boutique amp and pair it with bad speaker and so much of that amp is lost that it is not even funny. With such amps you lose way more then with average amplifiers because such great amplifiers can do more and need to be paired with speakers and cabinets that can do it to. Once I brought one head I just have built to the rehearsal room just to do load testing and to see reactions of few guitar players. There was this 2x12 and amp sounded like it was broke in transport. It was loud but not as loud as it should be considering its power rating. Top end was totally gone and there were no details what so ever. My first reaction was to turn it off and check is everything OK. Then I saw Squire Strat in the corner and have ask player to test that out because single coils and his own guitar was with humbuckers nad I thought his guitar might have had issues. Same. Came home tested in few of my cabs = perfection. Plus louder. Speakers and cabinets make or break the amplifiers.

[@aquilarossa5191]

Pair it with a JTM 45 combo perhaps? Get the roundness and clarity from the Fender, but then dial in the bite, drive, and snarl from the Marshall to taste -- kind of like adding some extra spicy sauce to your tone.

[@gregkoelling615]

There's nothing quite like finding the right amp. Other than finding the right guitar, of course.

[@Atttuner]

One the most exciting parts of your playing was the way you brought a vocal expression like slash estranged combined with mick ronson ensemble melodics ….I hope you stay on this path it must be hard to resist the pull to increasingly self serving solos and technical display. I think you manage those challenges well

[@brysonlee3631]

You must reveal who this studio is that Kemper profiled it! Some profiles of a blown Super Reverb might be pretty sweet.

[@johntdoherty7469]

Chris - I have luckily come into possession of a proreverb and I wanted to get it serviced / restored - can you please help with advice who would be good to do this in UK

[@ChrisBuckGuitar]

Whereabouts are you in the U.K? I'd thoroughly recommend Anthony Matthews at Tube Distinctions in South Wales if that's not a million miles from you.

[@gcvrsa]

I'm curious as to why you would replace only 3 of the speakers, and not all 4?

[@stefanwolf888]

Coming to Australia any time soon?

[@YMESYDT]

It would be super cool to hear you through an actual Brownface ‘63 Concert, those are special amps that I think you’d love

[@svbarr]

I grew up in Fullerton Ca. Worked in a local music store. WEIRD SHIT happened around and before CBS took over the Fullerton factory. As in--- Employees could and sometimes did use old parts to cobble together custom made guitars and amps - with the blessing of Fender and the employee discount. MAYBE there were 2-3 ,4 old Brown face Super Reverb faceplates lying around and for some reason an Employee used it on a one off build.(Meaning when the super reverb was being designed maybe Leo and Co. might have made up some brown face faceplates for an earlier launch, then decided to wait and it went into production as a black face). The box could be a Concert and the tolex early 60's could have been lying around. OR (probably more likely) someone like the late great Kerry Wright took a black tolex box, removed the black tolex and 66 era grill cloth and re did it to 61-62 specs. FINALLY there was LOTS of anger at CBS by long time Fender employees and there were many, many "Theft guitars" floating around the Fullerton area. I take it the CBS bean counters weren't as cool as when Leo ran things, which led to anger and resentment. I have seen several weird "theft" guitars. Strats with Tele necks, Jazzmasters with strat necks, P basses with Jazz Bass pickups, and guitars with pickups and pots years apart -- but the guitars looked like they came out of the factory that way. Urban legend was parts were smuggled out of the factory and the guitars were assembled at home. One guy came into the store where I worked and he admitted his cousin had taped a neck under his loose fitting khaki pants and walked out stiff legged at the end of the day.All the smaller parts were smuggled out over time. This COULD have happened with amps on a much smaller basis because it is well known that cabinets with production flaws were often given to employees to use as firewood.So if you have the cab and you are pissed at CBS you could stash the parts and chassis someplace (like in a dumpster) wait till late at night, 'dumpster dive' and go home and build you a one off beast.

[@fowrunnah]

In gitarist world that is.😊

[@pd1jdw630]

If it had evm speakers I would have thought this might have been an srv relic.

[@tymanngruter1808]

Give it back, thats my amp! 😂

[@gregd637]

you have to start you're own band

[@tonyevans9999]

A look at the tube chart and it's circuit designation will tell you what it is (if it's there)

[@tonyevans9999]

aaaaaannnnnd bam

[@jppagetoo]

If Tonequest looked at it must be a really unusual piece. Leo was famous for not wasting anything. So any bastardization is possible with left over parts. That cabinet is from a '63 (ish) Concert-Amp. The tolex and grill cloth are correct for that. The knobs are from a 64 tuxedo blackface. It's a '67 silverface amp and chassis. Is the original tube chart in it? The tube chart is critical to know if is has been muled (after it left the factory) between a late era brown Concert and a early silver era Super or if it somehow left the factory that way. There will also be a stamp on the chart for the month and year it was made.

[@Mr2greys]

My early 64 Bassman Blonde is like that, it is is a mismash of 63 stuff and 64. Very strange I guess.

[@jppagetoo]

@@Mr2greys That's very cool. I love those early 60's bassman amps. It doesn't suprise me that Fender did what you say. I have a '60 Fender Concert. It is untouched but is a 6G12A circuit built on a 6G12 circuit board. It must have been the first run of the 6G12A builds, built in September 1960. Leo used up the old boards while he had them.

[@spumpstein9374]

Actually you can tell that the tolex is not original - by the shiny quality of the tolex surface, the lack of grime and dirt embedded in the tolex, and the incorrect application of the tolex at the corners. This is a face-lift job. The faceplate & knobs are OEM. This sort of thing is quite common since the late 90's-early 2000's in the US. Also the indentations on the modern issue rough brown tolex have a different quality - the crevices are not as distinct, not as deep, as the old stuff. If you compare them side-by-side, which I have done, you can easily tell the difference. The rear panel offers other hints as to dating the amp. The "UL" (Underwriters Laboratories) badge dates it to post-CBS, as does the small black sticker to the right.

[@CreamyBone]

So that studio might have made kemper profiles of a busted amp? ...that would suck 😉

[@brysonlee3631]

I'd be interested to know who that studio is. lol Might be cool to have some profiles of a blown Super Reverb.

[@vinsanityguitar]

I have a 68 super drip edge what's the serial number?

[@jonnybeck6723]

Tho' prolly not noticeable, methinks the amp (with tube rectifier) is 45 watts ...but with new MM output XFMR, well, who knows Thanx man and Cheerios

[@Stockholm.sweden]

Bring the Marshall JCM 800 4210 2x12 combo back out. You had the coolest tone when you played that one. It was more your own unique tone.

[@hubbyofmad5122]

Hi Chris, Why did you only change 3 speakers and not 4? Cheers

[@mr.d2329]

👍Sounds great. Skinny jeans not a good look.....😂

[@chedhead3278]

'Plugged in a killer Custom Shop Telecaster straight into the front end, and it sounded like this ..' *cuts to advert with opening bass guitar riff ... I'm pretty sure it didn't. 🤣

[@prtauvers]

Is it running at 220v or 110v? How do you properly handle voltage issues to protect your power supply when touring?

[@NintenDub]

It doesn't matter the amp...you always sound like you

[@cactus-mcjacktus]

would anyone rate the Warehouse Veteran 10s? I’m looking for a 10” speaker to match with my Marshall head, and I love the sound I get out of it with Jensens. I’m just looking for a 4x10 i can take out on the road so i’m not bashing on good vintage speakers. I play shoegaze-y Cocteau Twins type stuff, with the occasional foray into fuzzed out Silversun Pickups/Smashing Pumpkins stuff if reference helps.