Fender Supersonic 80 Watt User Manual
- Sep 15, 2008 Fender Supersonic Tube Assignments V1 –12AX7- V1A is the input stage, V1B is the first gain stage of the drive channel (between gain1 and gain2) V2 -12AX7- Used in the Clean channel.
- Fender® Guitar Amplifier Owner's Manuals (Archive) This article contains a list of most archived copies of Fender® Guitar Amplifier owner's manuals available. Manuals are listed alphabetically by model and have been taken from our archives and converted into PDF documents.
Fender issued two versions of the Super-Sonic 60. The original version (shown here) was released in 2005.
Fender revised the circuit for the 2009 version.
I have an older Fender Super-Sonic 60. I really like its sound, but I find the clean channel’s Vibrolux setting a little too thin. Is there a way to fatten it up? Also, on the second/OD channel, I find I need to crank the bass knob all the way and turn the treble knob to only 2 or so to get a.
Hi Jeff,
I have an older Fender Super-Sonic 60. I really like its sound, but I find the clean channel’s Vibrolux setting a little too thin. Is there a way to fatten it up? Also, on the second/OD channel, I find I need to crank the bass knob all the way and turn the treble knob to only 2 or so to get a useable sound. Is there a way to make the burn channel’s “noon” settings more balanced so I can get a warmer sound?
Thank you,
Pat Edwards
Hi Pat,
Thanks for writing. There are actually two versions of the Fender Super-Sonic amp: one from 2005, and another from 2009. The circuitry was improved for the 2009 model. (Yes, we all have bleak memories of the “improvements” Fender made during their CBS era, but these revisions really did upgrade the amp’s sound and performance.)
I’ve already written a Premier Guitar column on the two versions of the Super-Sonic amp and the changes needed to update the earlier model [Modifying an Early Fender Super-Sonic 60, Aug. 2014]. No matter which version you have, your modification requests are above and beyond what I previously covered, but with both columns in hand you should be able to bend the Super-Sonic to your will. So let’s get started!
First, let’s address your complaint about the Vibrolux setting. This is part of the amp’s vintage channel, which is switchable between Vibrolux and Bassman circuit simulations. As the schematic excerpt in Fig. 1 shows, relay K4-A in Vibrolux mode routes the signal from pin 4 to pin 6 through C10, and then through the C11/R22 resistor/capacitor network. Here, I believe, is where the signal becomes too thin for your liking.
Fig. 1
To correct this, try removing C11. This capacitor passes highs across R22, and the ratio of highs passed relative to the total signal may be responsible for the sound you perceive as “too thin.” Another possibility is that the signal is overly attenuated by R22, making the amp, for lack of a better term, wimpy. If this is the case, try decreasing the value of R22. Start with a 1M resistor and see how you like it. If that doesn’t work, go lower. If you achieve a good, full sound, but one that could still use a bit more high end, try different values for C11. You might even replace R22 with a simple jumper wire, but be aware that if you do, C11 will no longer affect the sound. Anyway, this is a great spot to tailor the Vibrolux setting, but ultimately, it’s all about trial and error to satisfy your personal taste.
Now that you can tweak the Vibrolux setting to taste, let’s address your other concern. The amp’s second channel is labeled burn, but I guess we need to balance that burn, so let’s modify this channel’s tone stack.
We focus on R46, as seen in the schematic excerpt in Fig. 2. This part governs the amount of signal passed to the bass and middle controls and is sometimes called the slope resistor. The stock value is an unusually large 120k. I suggest lowering the value to 82k to see if this brings you closer to the balance you desire. You can certainly go lower—68k, 56k, or even 47k—but be aware that this not only brings in more lows and mids, but also changes the curve, or “voice,” of the tone stack. At some point you need to settle on a compromise where the amp sounds good, as opposed to having your controls at some arbitrary midpoint setting. The bottom line is to make the amp sound the way you want, not where the controls must be set to accomplish this.
Fig. 2
Another possible modification: Reverse the position of the cathode caps (C19 and C21) in the two gain stages prior to the tone stack so that C19 is 2.2 µF and C21 is 22 µF. This may clean up the overdrive at very high settings in addition to feeding the tone stack stage a fuller signal from which to work.
The Calibre RealTime interface is built and maintained by Mentor Graphics and is documented in the Calibre RealTime manual. Calibre RealTimeis integrated with Synopsys Laker, providing the full power of Calibre signoff during physical implementation. 
Well, there you have it. I hope these tweaks make your Super-Sonic even more sonically super.
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There are two different versions of the Fender Super-Sonic 60: The first generation was introduced in 2005 and the updated model debuted in 2009.
Hi Jeff,
I have a first generation (2007-08) Fender Super-Sonic 60 1x12 combo. Great amp—really love the tone—but the more recent models have some changes that tighten up the low end and sharpen the mids at higher gain settings. Can my amp be modded to the newer specs? Or should I leave well enough alone since I’m happy with it as is?
Thanks!
Mike Bjorgo
Hi Mike,
The Fender Super-Sonic is a very versatile amp with two distinct channels. For those unfamiliar with this model, let’s review. Labeled “Vintage,” the first channel emulates two iconic Fender amps: the Bassman and the Vibrolux. And this is no virtual emulation! Fender designers accomplish this by actually switching between different component values and circuit paths. While this feature mimics the sound and response of these two amps, perfect replications would certainly require more than just a handful of component changes. That said, this is a cool feature. And it’s done with relays, I might add. I’m not a fan of solid-state LDR (light dependant resistor) switching, as it does not have a true “on” and “off” state. Relays are absolute. This channel also positions the tone stack after the first gain stage—a standard Fender design trait.
Channel 2 is labeled “Burn.” This channel offers an additional gain stage and less in the way of passive tone shaping. It also has the tone stack positioned after the fourth gain stage, which allows a more full-range signal to pass through all the gain stages before it’s tweaked by the tone controls. All in all, two different channel designs.
Okay, you want your older Super-Sonic to sound like the new model, so let’s get to it. The first model was designed in October 2005, and the updated model was designed in October 2009. According to your needs, the later model has some tonal improvements, which I’ll detail here so you can have your amp modified. Now, in full disclosure, this info is available online, but I’ve done my own research and will share the results of my findings. But beyond that, I’ll give you my opinion as to what each change does, should you desire to pick and choose.
1. The first change in the schematic occurs at C2. The original version uses a .0022 µF cap here. The later model ups this value to a .0033 µF in the combo version. This change causes a bit more of a full-range signal to be sent to the Burn channel.
Fender Supersonic Amp Reviews
2. The next change is at C7. Originally this was a 120 pF cap; the later model drops this value to a 47 pF. This causes less brightness at lower volume settings in the Vintage channel’s Vibrolux mode.
3. Next we find a change at C11 and R22. Original values were 3.3M and 10 pF respectively. In the newer model, these are changed to 1.5M and 330 pF. This change increases both the level and frequency range of the signal being fed to the subsequent gain stages of the amp. In my opinion, this change probably has the largest impact on the amp’s sound. If you’re simply looking for more out of the Vintage channel, this would be the change to make.
4. The next change consists of two additional components: C99 and R160. It’s a series network consisting of a 0.015 µF capacitor and a 47k resistor attached between the R22/R23 junction and ground. This is a simple low-pass filter that reduces some high frequencies in the Vintage channel. Since these components will need to be discretely added, as they have no circuit board locations in the earlier amps, you could always hold off installing them until your ears decided if they’re actually necessary.
5. Next we move on to C25. This capacitor is at the end of the Burn channel, electrically across the volume pot. Initially a 680 pF cap, it was increased to a 0.001 µF cap in the combo amps. This will shave just a bit more top end off the signal, probably in the hopes to make the combo amp sound a bit fuller and less shrill.
6. The next couple of changes happen in the reverb circuit, starting with R150 and R151. R150, originally a 220k resistor, has been changed to a jumper, and R151, originally 470k, has been changed to 1M. This change substantially increases the signal level to the reverb drive circuit. The result would be a fuller-sounding reverb.
7. The last change consists of changing R167 from a 470k resistor to 1M. This is the reverb return signal that gets mixed with the dry signal in the amp. The new 1M resistor serves to reduce the return signal a bit, likely to compensate for the increased drive signal.