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You know “The Fender Sound” when you hear a guitar played through a Fender amplifier. The clear, crystalline chime of a Twin Reverb, the overdriven saturation of a vintage Deluxe—each is an illustrious benchmark to which all other amplifiers are compared.
Impressive in functionality, remarkable in flexibility, the Fender amplifier shines as a standalone tone machine or the corollary of your personal effects chain. Revered by Fender and non-Fender players, our amps are the ultimate medium of musical innovation—a blank canvas to color your tone in ways that only you can.
The Fender sound isn’t just an auditory thing. It’s a feeling, an all-encompassing sensory experience—an incredible cultural mile-marker that, even after 60 years, still shakes you to your core.
From tweed to Tolex™, Fender amplifiers have resonated
Originally a radio inventor, Leo Fender’s knack for detail and diligent, hand-soldered circuitry set the framework for the Fender tone musicians strive to achieve.
A collection of natural hardwood cabinets fondly known as “Woodies” was born, branded as the student-friendly Princeton® model, the stage-worthy Deluxe® amp and the high-grade Professional.
The first tweed amps—the new cab style of the Dual Professional (1947) and the circuit board-equipped V-front Super (1947-1952)—made their debut.
The predecessors to the student-friendly Champ series, the Champion 800 and 600, were born.
Often referred to as Fender’s golden age, the amps of the 1950s symbolized a surge in invention and product development that remains unparalleled—even today.
Fender’s most popular bass amplifier, a groundbreaking new model called the Bassman™, came into existence.
Fender introduced the historic Twin, the first Fender amplifier with both bass and treble controls.
The Tremolux marked a pivotal moment in Fender history as the first Fender amplifier with an onboard effect.
During the early 1960s, Fender became a laboratory of sonic experimentation as its amps—championed by rock ‘n’ roll heroes such as Dick Dale, Jimi Hendrix, Otis Rush and B.B King—became louder and clearer, with more opportunities for tonal control.
Fender began manufacturing its landmark amplifiers with a sleek new cosmetic covering known as Tolex as well as debuted intuitive new controls, such as presence control and the cutting-edge Reverb™ series.
The new look of Fender amplifiers, known as “blackface” amps, featured black Fender control panels as well as revamped circuitry.
The Fender amp line was re-cloaked with “Silverface” cosmetic treatment; the company also began its first foray into solid-state technology.
After Bill Schultz purchased Fender in 1985, the trademark sound was wholly embraced by an entirely new contingent of promising players.
Using newly developed solid-state technology, Fender introduced a small yet successful line of Sidekick amplifiers.
Fender began to instill its legacy in a whole new audience with modern, affordable amps such as the Twin® and the Princeton® Chorus (1989).
Fender released its first series of reissued amplifiers, beginning with the ’59 Bassman and the ’63 Vibroverb™, with authentically replicated specifications. Further highly successful reissues included the ’65 Twin Reverb (1992), the ’65 Deluxe Reverb (1993), the ’65 Super Reverb (2001), the ’64 Vibroverb (2003) and the ’57 Twin Amp™ (2004).
Fender released the Blues amplifier series, which was later reborn as the wildly popular Hot Rod™ (1996) line.
Fender amplifiers continue to set the standard to which all other amplifiers are upheld, and with the advent of digital technology, it’s only getting better from here.
The student-friendly G-DEC™—with their backing tracks, bass and drum loops, modeled tones, effects and other features—quickly became top-selling industry-standard models.
Fender expounded on the possibilities of 21st century tube amplification with the advent of the pro-grade Super-Sonic™ and Vintage Modified series.
Fender released its revolutionary Mustang™ series of economical, super-versatile modeling amps.