Review: Fender '62 Super Amp
When someone asks what a Fender amp sounds like, it's a question that sparks a range of responses. Some describe a super clean sound with a mid-scooped nature, while others mention ragged overdrive that sags when dug into or a big, open sound that guitarists can't hide behind. The '62 Super Amp delivers all these tropes and more. Often overlooked by players who want the sounds of '50s Tweed and mid-'60s Black Panel era amps, Fender's reissue of the '62 Super amp bridges the gap perfectly, offering the woolly overdriven sounds of its Tweed predecessor and the mid-scooped cleans of its Black Panel successor.
I was excited and curious when I heard about Fender's decision to reissue a version of the Brown Panel Super as part of their American Vintage line. This amp has the correct vintage vibes. At first glance, one could easily mistake it for an original with its period-correct construction of a solid pine cabinet, which has a half-opened back, brown Nubtex covering, and aged wheat grill cloth. Fender has lovingly recreated the '62 Super alongside some necessary modern appointments, such as a modern IEC power outlet and safety standards. The amp features two 6L6 output tubes, six 12AX7 preamp tubes, and a 5AR4 rectifier tube, as well as the 6G4-A circuit variation, which improves biasing and adds a higher-rated transformer.
The '62 Super boasts one of the most responsive and surgical tone stacks of any amp, with two 10" speakers designed by Celestion. These speakers have an impedance rating of 4 ohms. While I can't confirm the accuracy of Celestion's design, as I've never played an original Super from this era, this amp is one of the greatest-sounding amps I've played through. For its simple volume, treble, bass, and presence controls, it offers a wide range of tone-shaping possibilities. Turning it up will harken back to the woolly rasp of the Tweed era, and its pine body provides loads of resonance for sustained feedback.
The Normal channel provides everything one needs from an amp of this nature. It has plenty of clean headroom for recording and band contexts, and it shines when using the guitar's volume to control dynamics, from pristine clean to moderately overdriven. The Vibrato channel, featuring phase-shifting harmonic tremolo, is where this amp truly shines. Unlike traditional tremolo, which modulates the amplitude of a signal, harmonic tremolo splits the signal into low and high frequencies and modulates them out of phase, creating a unique sound that varies in amplitude and phase. While it's easier to find harmonic tremolo via pedals today, none can compare to Fender's original design.
The tremolo can be cancelled or engaged via the provided footswitch, which has a satisfying click and is made from brown-colored plastic. While historically accurate, the hardwired footswitch works best for players without extensive pedalboards, and its smooth base may benefit from some grip tape on polished floors. Both Normal and Vibrato channels feature two inputs, with each of the second inputs providing 6db less gain for instruments with higher output, as well as a global presence knob that subtly opens the highs up.
This amp isn't necessarily aimed at beginners or players seeking modern features like effects loops or cab sim outputs. It's aimed at Fender amp enthusiasts, those chasing specific tones, or seasoned musicians who want an amp with great clean and slightly overdriven sounds, as well as the best harmonic tremolo circuit. Anyone considering buying one should be aware that it's hard to come by an amp as glorious as this. For more information, head to Fender (https://au.fender.com/products/62-super-amp).
