1961 Fender Super Brownface/Oxblood - A Spectacular Example of a Real Classic Amp
Perfect for Club and Recording Use

1961 Fender Super (Brownface with Oxblood Grill) Amplifier 6G4.
A near mint, June 1961 Super Combo 6G4 (Rough Brown Tolex / Brownface with Maroon / Oxblood Grill). This amazing amp will give you that perfect early-sixties "clean" tone that everyone wants… It weighs 48 lbs, boasts 30 watts and has two Jensen P10Q ten-inch speakers with codes "220 045" & "220 049" (Jensen, November & December, 1960). Also "C6942" on each frame and "W533" on each speaker cone. Rough brown tolex body, with original maroon (oxblood) grill cloth. The cabinet measures 24 1/4 (W) x 18 1/2 (H) x 10 1/2 inches (8 1/2 inches at the top). The serial number "03749" is stamped in blind on the chassis. The chart inside the cabinet has "KF" (June 1961) and the production number "20" stamped in black. The three transformers are stamped "125 P5B / 606-113", "125 C1A / 606-031"  and "45216 / 606-116" (Schumacher, March 1961, August 1960 & April 1961). This is a near mint example - a true time capsule, complete with the 'Tremolo' foot-switch and the original brown cloth cover. The classic sound comes from the use of a GZ34 Rectifier, two 12 AX7's, four 7025 (12 AX7's) and two 5881's (6L6's) power tubes. This spectacular amp has recently been fully serviced by 'Tone-Wizard' Doug Anderson of Tone Zone in Altadena. A spectacular example of a real classic amp, perfect for club and recording use.

Originally released in the 1948, the Fender Super Amp was the company's first multi-speaker amplifier, originally named the "Dual Professional" before becoming the Super Amp in 1950. In 1960, the Super amp went through a major overhaul both in circuitry and cosmetics. The Brownface-era amps of the early 1960s featured electronics which are essentially the same as Concert Amp, Pro, and Bandmaster but with a tube rectifier. The Super 5F4 (1957-60) and 6G4 (1960-62) were purportedly Leo Fender's personal favorites.

"This amp is truly two-channel in that each side has its own separate set of controls. Because it's a function of the power amp, the Presence control is shared by both channels. The tube count has been extended to eight, and tremolo has been added to one of the channels. As prescribed by law, the first guitar in was the Tele. The first comment was a unison "whole different ball of wax." This amp was louder and cleaner than any of its predecessors."
(Ritchie Fliegler. Amps! The other half of Rock 'n' Roll. p.28).