Fender Narrow Panel Tweed Tremolux
Model/Circuit Number: 5E9 (55), 5E9-A (55-56), 5G9 (57-60)
Years of Production: 1955 – 1960
Era: Tweed Narrow Panel
Configuration: Combo
Controls: Chrome top facing w/ white screened labels, controls numbered 1-12
Knobs: Black Chicken Head
Schematics
Faceplate
- Front: Fuse (2A), Power Sw, Pilot Lamp, Depth, Speed/Tremolo Sw, Tone, Bright Vol, Normal Vol, Bright In, Bright In, Normal In, Normal In
- Rear:
Cabinet
- Dimensions:
- Hardware:
- Handle: Flat Leather Handle
- Feet: Nail in Feet
- Corners: None
Covering Material
- Tolex/Tweed: Diagonal Tweed
- Grill Cloth: Brown Grill Cloth
Logo: Cabinet mounted, Script
Weight:
Speaker
- Size: 1 x 12
- Impedance: 8 ohms
- Model: Jensen P12R or Jensen P12Q(For more info, check out the Jensen Replacement Speakers)
Effects: Tremolo
~Watts: 18 watts
Tubes
- Pre amp: 12AY7
- Power: 2 x 6V6GT
Bias: 5E9, 5E9-A: Cathode Biased ; 5G9: Fixed bias, nondajustable
Rectifier: 5E9: 5Y3GT ; 5E9-A: 5U4GA ; 5G9: 5U4GB
Comments: Speaker and tremolo sw jacks were located on the bottom of the chassis. Along with tube changes the 5G9 model had an extra filter cap and a DC choke. Early models have the tremolo switch on the Depth control.
This is absolutely the most amazing Fender Tweed amp. It is in a class all by itself!!!!
it may not be the most amazing. It has way more clean headroom than the 5E3 deluxe. The tremolo is cool. But I miss my tweed deluxe. It just had slightly more kick. That is my aqmp in the photo up there. Still own it. And it is 5 feet from me right now. I have a mint narrow Bassman. If you can push the volume of that amp, I think those are the ones to have. Then again I have a narrow Super thaat is probably the best amp that I hve ever owned for “blues”. Keep in mind, these tweeds can sound very different from amp to amp- same models. That’s just how they are. But you are true: Ain’t NOTHING wrong with a ’59 BB (big box) narrow panel tremolux. I’ll never sell mine (I don’t think)
Hi ruk777.. you can substitute the low gain 12ay7 preamp tube for a higher gain 12ax7 for more kick. The 5g9 only has one gain stage from half of a 12ay7, through a simple bright cut tonestack going to a long tail phase inverter. THere is no additional gain after the tonestack so the amp should have very little preamp gain. The 5e3 has a gain stage after the first 12ay7 gain stage that has a 25µf cap on it. Putting a 12ax7 in v1 of a 5e3 that has gain boost on both stages and no NFB gives an amp with no headroom 🙂
I own a ’58 5E9-A big box Tremolux, well used with beaten up tweed, cigarette burns, beer stains and all the love signs.
What can I say… It is my favorite guitar amp and will probably always be. I play mostly Blues and Funk, and this amp suits my ES-175 best. The tremolo is so lush and warm… I’ve put some very fine tubes in it, from a Bendix 6106 rectifier to coin base RCA 6V6 GTA power tubes to Mullard 12AX and 12AY7s. Very expensive, but definetely worth it. I also own a ’60 Harvard (for recording) and a ’56 Low Power Twin (for bigger stages and with the Strat), but the Tremolux is the shit. Simply the most beautiful sounding amp to my ears. Absolutely loving it and will never sell!
An inordinate number of 57-60 tremolux’s receieved the older 5E9-A tube chart but are actually the later fixed bias versions-the proof is in the circuit which is easy to see when you look…the 1955-56′ versions were cathode biased Tremolux amps with enormously rich breakup like the narrow panel deluxe but Noticably louder with a larger transformer, 5U4 rectifier and tremolo. It’s easy to see a totally different circuit with its electrolytic caps hidden under a cap pan-and many other significant changes & those amps with the cap pans are the fixed biased models-an entirely different tamer version of the earlier distortion rich Tremolux.
Fender used leftover tube charts in many of the 57′ though 60′ Tremolux’s so one must go further to identify which version they actually have.
Dave — Hi!
I’m going to sell my Tweed Tremolux amp and I could really use some help. Here’s what I know:
Tag on inside says Model 5E9-A. Production (and then there are 4 characters handwritten). They look like 21JG or maybe 2130. 12” Jensen speaker P12Q, C587 2, 220024. I have both Tremolux Layout and Schematic. Can you please help me find a Serial#, Production Date, and any other information you may have?
With appreciation and blessings,
~Steven Schwartz
(760) 975-4756
Hi Dave — I’m going to sell my amp and I could really use some help. Here’s what I know:
Tag on inside says Model 5E9-A. Production (and then there are 4 characters handwritten). They look like 21JG or maybe 2130. 12” Jensen speaker P12Q, C5837 2, 220024. I have both Tremolux Layout and Schematic. Can you please help me with finding a Serial#, Production Date, and any other information you may have?
With appreciation and blessings,
~Steven Schwartz
(760) 975-4756
I contend that the 5G9 Tremolux is, indeed, the best Fender tweed amp (for me)! Would I rather have a Bassman or Twin? Yes, if I played at volumes that would drown out a ascending 747. Both of those amps sound glorious when aired out, but I would never have the application (gig-wise) to do so. For a club gigging guitarist, no other tweed amp can out-do the 5G9. Legions of guitarists are fans of the 5E3, and the virtues of this amp are obvious: the “singing” cathode bias overdrive cannot be easily duplicated, but I do not wish to “do” Crazy Horse all night long. The fixed bias and long-tail inverter of the Tremolux provide the same solid backbone of the Bassman/Twin at a reasonable volume without the messy low end of the Deluxe. Of course, the big box (same as tweed Pro) with a 12″ speaker adds to the alchemy. Many claim that the increased cabinet size makes for a bigger sound. My first Tremolux was a ’56 5E9 and whilst I was immediately hooked by the tremolo opertating on the output tube bias, it lacked the desired headroom, in the same manner as a Deluxe. Once I discovered the updated 5G9 version (thank you Leo Fender, for your diligent lab work!), I knew I had zeroed in on my ultimate. This amp loves ANYTHING I have plugged into it, from single coil Fenders to Gibson P-90 archtops to my mini-humbucker Sheraton. To get the grit at lower volume, the amp easily cooperates with an assortment of overdrive pedals, current favorite being a Clark Gainster. If I have a hit where it seems one 5G9 might come up a bit short, I just bring two (I have a ’59 and a ’60), and I can assure you, standing and playing between these two is a blissful, died-and-gone-to-heaven experience!
For those of you who would like to use a tweed Bassman for club work, it’s very simple to get the volume down to club level. First replace the GZ34 rectifier tube with a 5R4GB. That will lower the plate voltage down about 60 volts. Rebias and it will be a lot quieter. Also, use the Greg Koch settings: Middle all the way up, Treble and Bass all the way off, Presence to taste. I run mine like this and I keep the volume on 5 and when iI I go to my neck pickup, I get the most creamy overdrive I could ever want. I am using P-90 and humbucker equipped Les Pauls.
I’ve got a 1957 5E9. I would like to increase the mids and widen the sound a bit. Any tube recommendations?