Fender Pro Reverb Guitar Amplifier Explained

Fender Pro Reverb Guitar Amplifier Explained

As a guitarist, I think so guitar amp to be tools. The more varied work I do, the more tools I need. There are some amplifiers that excel at one or two things but often disappoint right off the field of play. These amps require expertise to dial in good tones and to pair with guitars and other equipment.

This month, Ampere is an underdog – he’s an all-rounder, but a master at none. It’s a tool you can bring with you to any type of training or profession, small or large, and it will come in handy. It really lives up to its name: Pro frequency. So, let me explain why I love this amplifier…but also what bothers me about it, and what I’m doing to work around that.

In 1963, Fender introduced a single Pro amplifier with front-mounted controls. There have been many Pros with top-level controls in the Fender line since 1946. In ’65 the Pro was replaced by a Pro Reverb, loaded with 6L6GC power tubes in a classic Fender push/pull Class AB configuration. The Pro contained either a single 15-inch CTS or Jensen C15N ceramic woofer. The Pro Reverb came in a 2×12 size, with Jensen C12Ns, Oxford 12L6 or Oxford 12T6 woofers – the latter being an understated woofer comparable to the more popular 1967 C12N Silver plate model It followed and was available through 1969. Several other speakers, including models from Utah and Rolla, came throughout the 1970s. And around 1978, a 70-watt version of the Pro, with main volume and push/pull boost, came out for about five years.

The differences between the single and dual speaker blackboard pros were the most important being the speaker configuration and the addition of reverb in the vibrato channel. There were two different versions of the output transformer: the 8-ohm 125A7A and the 4-ohm 125A6A. This smaller output transformer is found in several mid-range amplifiers, such as the Vibrolux Reverb, Bandmaster, Tremolux, and also the rare and sought-after 1964 Vibroverb.

What’s it like playing through the Pro Reverb, with its mix of classic blackboard AB763 tone set, dual 6L6GCs, large cabinet and bass-y 2×12 with 5U4GB modulator tube and mini output transformer? Beautiful, full, clean tone at low volumes and dramatically graduated tones when compressed – much more than you’d expect from a large flap amp. Very few amps can do both of these audio configurations.

Please find a Pro Reverb and connect your Telecaster to get the real Keith Richards experience, with one of the best percussion tunes out there.

The large open-back cabinet means you can point the Pro in almost any direction and fill a room or stage. At home, I sometimes want natural breakout from the amplifier at lower volumes, so I simply unplug one of the amplifiers and insert a 12AX7 into the phase inverter slot. I think the Pro Reverb delivers the most elegant and balanced crank tone of all the blackboard amps. I also love that the amplifier offers a bright key that supports pedals and guitars well.

One of the annoying things about the Pro is the lack of a mean bet. since then that Good at delivering cranked tones, I’d like more mids for heavier distortion at lower volumes without having to disconnect the speakers or swap tubes. The medium dial will also improve the EQ control for fair play. Without a mid knob, I often have to dial the bass knob all the way in due to the bass cabinet and saggy output transformer. The solution, as always, is to install a switch on the back of the amp that switches between a 6.8k and 25k midrange resistor. The Pro Reverb is the amplifier that benefits the most from this mode, I think.

Finally, do we really need a Pro Reverb in our toolbox? The Deluxe Reverb and Vibrolux Reverb are also low/mid wattage amps. Both are lighter, snappier, and more practical at home or in the studio, and they don’t carry two large 12-inch speakers, which would be overkill for the Pro’s light output adapter. The Super Reverb also snaps – and with more hit, treble, and attack overall, it’s also more sensitive to touch. The clean-sounding beast is 17 1/2 to 22 pounds heavier but doesn’t require as much space as the Pro Reverb.

Given all of the above super amps, the answer to my question is still “yes”. Our underdog user can do almost everything these legendary bulkhead amplifiers excel at. But none of them will sound as warm as the Pro Reverb when cranked up.

Please find a Pro Reverb and connect your Telecaster to get the real Keith Richards experience, with one of the best percussion tunes out there. Also, try a Les Paul or SG in a bridge pickup position and you might consider selling all your overdrive pedals. A semi-hollow ES guitar with P-90s in the neck and a cleanly connected amplifier will inspire you to learn jazz! Please, don’t just take my word for it. Go experiment.

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