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

  • 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:


  • 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

Effects: Tremolo
~Watts: 18 watts

  • 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.

7 thoughts on “Fender Narrow Panel Tweed Tremolux

  • July 9, 2012 at 1:45 pm

    This is absolutely the most amazing Fender Tweed amp.  It is in a class all by itself!!!!

  • December 14, 2012 at 2:19 pm

    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)

  • January 25, 2013 at 8:44 am

    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 🙂

  • March 14, 2013 at 1:38 am

    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!

  • January 23, 2017 at 12:17 am

    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.

  • September 16, 2018 at 7:08 am

    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!

  • November 20, 2018 at 12:54 pm

    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.


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