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. I suggest lowering the value to 82k to see if this brings you closer to the balance you desire. The stock value is an unusually large 120k. This part governs the amount of signal passed to the bass and middle controls and is sometimes called the slope resistor. We focus on R46, as seen in the schematic excerpt in Fig. 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. Now that you can tweak the Vibrolux setting to taste, let's address your other concern. 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. You might even replace R22 with a simple jumper wire, but be aware that if you do, C11 will no longer affect the sound. If you achieve a good, full sound, but one that could still use a bit more high end, try different values for C11. Start with a 1M resistor and see how you like it. If this is the case, try decreasing the value of R22. 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. Here, I believe, is where the signal becomes too thin for your liking. 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. This is part of the amp's vintage channel, which is switchable between Vibrolux and Bassman circuit simulations. ![]() So let's get started!įirst, let's address your complaint about the Vibrolux setting. 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. 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. ![]() (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.) The circuitry was improved for the 2009 model. There are actually two versions of the Fender Super-Sonic amp: one from 2005, and another from 2009. Is there a way to make the burn channel's “noon" settings more balanced so I can get a warmer sound? 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. I really like its sound, but I find the clean channel's Vibrolux setting a little too thin. ![]() Your local FMIC Authorized Service Center can install genuine replacement necks find Authorized Service Center locations near you in the “Support” section of have an older Fender Super-Sonic 60. Other installation processes may be required, such as fret work, fitting the neck to the neck pocket, and other instrument setup procedures. This replacement neck is for a Fender or Squier® by Fender guitar.īecause Fender genuine replacement necks have not been mounted to guitar bodies, nut slots must be cut by qualified personnel. ![]() The nut is pre-slotted with "pilot" string location grooves to make spacing a breeze when performing the final string slot filing, and a gloss urethane finish on the back offers smooth playability. Crafted at our Ensenada, Mexico, manufacturing facility, this genuine Fender Baritone Sub-Sonic Stratocaster® guitar neck will convert your standard scale length guitar into a 27” scale length baritone! Features a comfortable "modern C" profile and 9.5"-radius maple fingerboard with 22 medium jumbo frets.
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