1954 FENDER SUPER-AMP 5C4

Magnificent 1954 Fender Super-Amp 5C4, in exceptionally well-preserved condition!

The Super-Amp was one of the flagship amplifiers introduced by Leo Fender in the second half of the 1940s – the fourth model unveiled to the public in 1946, after the Deluxe, the Princeton, and the Pro-Amp.

At the time, it was an innovative design in many ways: initially named Dual-Professional, it was the first mass-produced amplifier to feature two speakers, a pair of 10-inch Jensen Alnicos; it was also the first Fender to feature a dedicated On/Off switch (on all other models, this function was still integrated into one of the potentiometers); for the first time, we find the electronic components mounted onto an eyelet board instead of the point-by-point wiring technique which was common practice since the previous decade among all amplifier manufacturers – this has a double advantage of consolidating the electronic assembly and facilitating servicing since it is possible to replace components without taking apart the entire chassis. Finally, while the three other models produced by Fender at the time are still built into a lacquered wooden cabinet (owing them the Woodie moniker), that of the Dual-Professional is made of pine covered with a tweed canvas, acting as a preview to the appearance of all Fender amplifiers during the 50s – as a reminder, we are still in 1947!

The Dual-Professional was renamed Super-Amp that same year, 1947, and alongside the Pro-Amp it was the top of the range of amplifiers produced in Fullerton: the bulk of production was geared towards the Deluxe and Princeton models intended for students learning to play the lapsteel, so the Super-Amp was an expensive model right from its introduction, and therefore little produced and rare today. Furthermore, the Super is reputed to have been Leo Fender’s favourite amplifier – in any case, it is the one that saw the most improvements made to its circuit during its first years of existence, in order to maximise output power while maintaining high fidelity of the amplified signal, with very little distortion up to very high volume. For this purpose, we find a set of tubes composed of 12AY7 / 12AX7 for the pre-amplification stages (miniature glass tubes newly introduced in the late 40s that proved to be much more reliable and less subject to microphonics than the metal tubes previously used by Fender) with a pair of 6L6G for the output stage, offering increased power compared to the 6V6s used on the smaller Fender amplifiers. Finally, a 5U4G more robust than the 5Y3 types used on the Deluxe and Princeton is used to rectify the high voltage supply.

The example presented here was built between the last months of 1953 and January 1954, and includes features unheard of for amplifiers of the time: a Standby switch allowing the tubes to warm up before applying the high voltage to the circuit, and an additional socket to connect an external loudspeaker to the amplifier! These two elements appear on the schematic published for the 5D4 version of the Super-Amp which appeared later in 1954 but not yet on the 5C4. It is interesting to observe such an early implementation of the Standby switch, which is mainly known on the Bassman of the second half of the 50s – there are many specious arguments concerning the purpose and use of the Standby on Fender amplifiers that we will not address here, it is however appropriate to remember that this element acts in the majority of cases in a deleterious way to the proper functioning of the amplifiers in the long term. Also, given the way the Standby is implemented on this particular model, we recommend leaving it constantly in the On position in order to maximize the life of the tubes.

For the rest, this amplifier remains in excellent condition: it includes its original transformers as well as its pair of Jensen speakers dated from the 45th week of 1953. The tweed covering the cabinet is superbly preserved, as well as the logo and lettering stencilled on the control plate. Concerning the electronics, only the necessary work has been done to ensure the safe operation of the device: replacement of the power cord to add an earth connection, replacement of expired electrolytic capacitors, replacement of two signal capacitors, replacement of two defective tube sockets. Most of the original components are still present and perfectly functional to this day. Well-suited for a recording studio or a large apartment, this is the ideal amplifier to fully understand the reputation of Leo Fender’s productions, particularly with regard to their clean, very clean sound.

Runs on 110V, 220/110 transformer provided for operation in the EU.