Fender Super Twin

Schematic(s) super_twin_180w.pdf
Line: ,
Production: ,

Years of Production: 1975 – 1976
Configuration: Combo
Controls: Black, forward facing w/ white labels
Knobs: Black skirted w/ chrome center, numbered 1 – 10 (EQ knobs numbered -5 to +5)

  • Front: Power Sw, Standby Sw, Pilot Lamp – In, In, Vol, Treb, Mid, Bass, Presense, Bright Sw – 2300 Hz, 1250 Hz, 485 Hz, 235 Hz, 100 Hz – Distortion, Output Level
  • Rear:


  • Dimensions: 20 x 26 x 10½
  • Hardware: Large Chassis Straps 5 5/8”
  • Handle: Black Strap
  • Feet: Casters
  • Corners: Corner Protectors


Covering Material

  • Tolex/Tweed: Black Tolex
  • Grill Cloth: Black acoustic foam cloth with white trim

Logo: Grill mounted, raised, chrome & black script
Weight: 95 lbs.

Effects: Active EQ, Distortion
~Watts: 180 watts

  • Pre amp: 2 x 7025
  • Power: 6 c 6L6

Bias: Fixed with Bias Pot.
Rectifier: Solid State

Comments: Active EQ: 12AU7

17 Responses to “Fender Super Twin”

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  1. Comment by Ruk — July 19, 2011 at 2:07 am   Reply

    Terrible Ted Nugent used these amps into a showman or bassman cab. These buggers are L-O-U-D!!!! And that’s about it. The master volume sounds like ass. I own a non-reverb version of this amp. The RCA 6L6s in it (SIX of them!) are worth about 5x what the amp alone is worth.. Lol. One interesting aspect of the circuit is that the e.q. is parametric, not graphic.

    • Comment by Jeffrobinson416 — November 6, 2011 at 8:55 am   Reply

      yeah i’ve got the non reverb and it took me a while to adjust the sound. I was thinking to let a tech put in a rectifier tube and maybe a switch system to turn on 2,then 4,then 6 tubes if it’s possible.

      • Comment by Morrell, JohnJanuary 19, 2012 at 9:37 am   Reply

        You are better off with the solid state rect as the currents for SIX 6L6s would need at least 3 GZ 34 types (expensive and HOT!). To switch the tubes off in pairs, is simple using mosfet cathode switches controlled by 12v dc – this can provide for LED indicators to show 2, 4 or 6 tubes (or better still, low med or high). You only need to switch off 2 pairs, as one pair will be in circuit at all times.
        You can have separate switches with it’s associated LED over it OR a rotary selector to do the same job. Not that a LED showing the low condition will be on at all times, you are simply adding extra pairs to this ‘normal’ pair. The mosfet types are IRF 680           and are fitted from the cathodes of each pair to ground. Mosfets switch dc very well and are ideal for this application. I have built 4 heavy amplifiers for customers with this very feature. very good for tube life – 6 6L6s burning away for a smallish gig or practice is cutting tube life drastically. IF you have Kevin O’Connor’s book The Ultimate Tone there  is a simple circuit in there.
        Good luck!    Stratman (John)

    • Comment by RobbieNuke — November 16, 2011 at 5:12 am   Reply

      They are graphic, not parametric. Parametric controls not just the boost/cut of a certain frequency (which this amp does), but also the frequency set-point and the band-width (which this amp DOES NOT do). If this were a parametric there would be 12 additional knobs. Why 12 when there are only 5 graphic EQ knobs? Well, the Presence knob is actually the uppermost section of the EQ circuit, just located over on the tone control section (not actually part of the tone circuit as are the Bass/Middle/Treble). Don’t know why they did this since a true Presence control actually adjust the amount of negative feedback from the output transformer… 

      • Comment by Shrigg — December 13, 2011 at 3:21 pm   Reply

        Thanks for your insightful reply. Helps me understand what’s going on with my vintage Fenders (1962 6g6B Bassman and 1979 Princeton non-reverb which I disconnected the negative feedback and found it became AWESOME)

  2. Comment by Alphahophead — September 20, 2012 at 2:28 pm   Reply

    I can’t seem to get the distortion on mine to work. It has the Jack for a foot pedal. Is that the problem? Do I have to have the foot switch?

  3. Comment by oldvintagerules — March 23, 2014 at 6:38 am   Reply

    This amp takes a beating on reviews it seems. Okay, it is loud. There are more controls (more ways to shoot yourself in the foot). The guy that designed it has his own amp company now Rivera. True, some Fenders are better than others. This is NOT a bad amp though. If you can’t get a good sound out of it, you probably don’t know what your doing anyway.

    Pros: Takes pedals well, good clean sound, EQ section is praise-worthy.

    Cons: No reverb, all Twins are heavy.

  4. Comment by Hawkeye — April 9, 2014 at 9:09 am   Reply

    “The guy that designed it has his own amp company now Rivera.”

    Actually, the ST and STR were both designed by Ed Jahns, not Paul Rivera. Rivera didn’t have charge of amp design until 1982.

  5. Comment by Craig Owens — April 29, 2014 at 3:50 pm   Reply

    Does anyone out there have a EQ knob for one of these? A splined one, not the set screw one for a PS 300. Let me know about it, CDO.

  6. Comment by Stan Ley — May 8, 2014 at 4:23 pm   Reply

    Yes, I had one of these. I believe I left it at Chuck Levins one day, while I was loading a 50W Marshall half stack into the back of my dads Olds Cutlass.

    Not by mistake.

    It did have a place where it was pretty good, but it required a trip to the next county to listen to it. The Marshall, on the other hand, was simple, rugged, and lighter, and could be played in clubs instead of stadiums…

  7. Comment by David — June 7, 2014 at 3:10 am   Reply

    Hey, i am very hopeless in a question of external outputs. Somewhere i ve read that some fender twins of late 70ties/early 80ties have some internal switch so while you plug 2cabs into both speaker outputs than total impedance changes to 8-ohm. So you can connect two 4-ohm cabinets. Dont you know where is the truth please??

  8. Comment by Andy — February 7, 2015 at 6:45 am   Reply

    Hey, I use a ST (build into a only head-version) for bass amplification. With the active-EQ Section realy nice Amp.
    But can somebody tell ma what means the “TWIN”? He only have one channel i guess.
    Can somebody explain?

  9. Comment by Bob — December 15, 2015 at 5:59 pm   Reply

    Andy, it is a twin because it had twin speakers.

  10. Comment by CarterApril 25, 2016 at 9:29 am   Reply

    I have one of these and used it for a decade playing all over the southeast. Yes it is heavy. But I hooked to a Music Man 212 reflex cabinet with green backs in it.

    It had amazing clean sound and plenty of it. I used a lot of pedals and it makes any tone you want that way. The Greenbacks gave is some real character. I now use it with my Pod 500. It does not fight the simulation the way most amps do. I use it with the POD through several amp switchers and combo it with a KOCH and a Marshall. The blends are amazing. The clean is there on top of the overdrive and compression.

    What sold me was seeing “Mother’s Finest” in concert. Their guitarist had dozens of them stacked up behind him. It was impressive!

  11. Comment by Howard — December 1, 2016 at 4:57 pm   Reply

    Currently evaluating one for a client. The amp was delivered in non-working condition.
    Most of the electrolytic caps are original. They are 40 years old and beginning to rupture. Also the majority of the carbon comp resistors on the output tube sockets measure out of specification (a couple don’t measure at all).
    I was able to take voltage measurements without the tubes in place just to verify that the power transformer was OK. The amp uses a unique design for this function. It is an ultra-linear model, much more common in high-end home audio than in instrument amplification. It performed within tolerance, but without a load applied this is not a conclusive test. By the way, there are a couple of unusual tubes in the preamp section; one is a triple triode!
    With the amp unplugged and the caps drained, the output transformer was tested with a multimeter on DC Ohms. It showed even impedance between the center tap and the plate feeds. Again, no load, so no conclusion to draw.
    Waiting for notification that my estimate has been accepted.

  12. Comment by KyleJanuary 17, 2017 at 1:32 pm   Reply

    I bought two of these, about 2 years ago, chopped cabs with heads only. One was actually a Super Twin Reverb, which I sold. The one I kept was the ’75 model. I have been using it as a bass head, for the past two years. This thing sounds AMAZING! as a bass amp. However, I play mostly small/medium clubs, so I’ve never had to turn the volume past 3.5/4. Once, right after I got it, I plugged it into my Bag end 4×10, and cranked it to 7. I knocked a photo off the wall, no joke. I can’t imagine this thing being very practical, as a guitar amp. The hassle of lugging the full cab around, would have outweighed (no pun intended) the necessity for this much power. IMO

  13. Comment by Matthew — June 27, 2017 at 5:33 am   Reply

    I have the non-reverb 1975 model with the RCA tubes in it and 180 Watts. I understand why this amp gets negative reviews, but I absolutely love mine. I love it mostly because it doesn’t sound like other amplifiers. When the Bass Middle and Treble are all on 5, and the eq is leveled flat at 0 all the way across I turn the presence to 0, and the output to 10, and the bright switch on or off (I use it both ways). At this setting the amp is still extremely bass heavy, but it is a clear bass and doesn’t disrupt my other tones. We all have different tastes in what tones and sounds we like, and this amp is my absolute favorite for rocking out! It’s not super clean and bright, it gives off a crap ton of bass and at volume 4 or 5, and it can start to shake the house apart! I love it because it’s a monster, a dirty loud monster. I have yet to find another amp that can produce a sound like it does. One of the local guitar players that I grew up listening to heard me play last year, and I played only using on a low-end traditional Les Paul $899, with standard 490r 498t pickups, a Soul Food pedal(electro harmonics), and my 1975 Supertwin. After I finished playing he came up to me gave me a hug and complimented me on how good I sounded. Some of the other guitar players that were at the show came up and asked if they could check out my guitar and amplifier, and were amazed to find out that it was a cheap Les Paul and a fender supertwin. Proof is in the pudding. Giving an opinion based on how you think something sounds is fine, we are all entitled to our bias. When I’m at home playing through my Fender Super Twin I get into a musical zone where I’ll lose 6 hours of my Saturday just playing my guitar. My advise is to find gear that does this for you. For me, it’s my 1975 Fender Super Twin.

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