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Fender Champ
Fender Champ
Fender Champ
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1953 Fender Champ in tweed covering

The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982.[1] An updated version was introduced in 2006 as part of the "Vintage Modified" line.

The Champ had the lowest power output and the simplest circuit of all Fender tube amps. The Champ had only one power tube, and the power stage circuit is, typically, single-ended and class A. Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios.

Champion 800/600

[edit]

First introduced in 1948, it sported the name "Champion 800"[2] (with 8" speaker), changing a year later to "Champion 600" (6" speaker) with circuit designation 5B1. It was rated at about 3 watts, featuring a "T.V. Front" style cabinet; the 800 was covered in greenish fabric while the 600 featured two-tone blonde and brown vinyl covering. This style lasted until 1953, when Fender's cabinet style changed to the "Wide Panel" design with a tweed cloth covering. Fender also renamed the circuit the "5C1", "5" standing for the decade (1950s), "C" for the third circuit revision, and "1" was the Champ's circuit designation. The 5C1[3] circuit was extraordinarily simple, using one 6SJ7 pentode in the preamplifier section to provide a single stage of voltage amplification, one 6V6 beam power tetrode in the power amplifier section, a 5Y3 rectifier tube and a single volume knob with no tone controls.

The Champ

[edit]

By 1955 Fender started putting its amps in the "Narrow Panel" tweed cabinet with a plastic oxblood color grill cloth,[4] and by this time the Champ was officially named the Champ (model 5E1). Through 1957, Champs only had a six-inch speaker, but the 1958 model 5F1 featured an 8". The 5E1[5] and 5F1[6] circuits used a 12AX7 dual triode in the preamplifier to provide two stages of voltage amplification, and a single 6V6GT power tube to produce about 5 watts. A Champ from this era can easily be dated by the code stamped on the tube chart,[7] by the code stamped on the speaker[8] or by its serial number.[9]

Blackface/Silverface

[edit]

The 5F1 lasted until 1964, when the Champ finally made the transition to the "Blackface" style of circuit and cabinet. A small number of the last 5F1 style cabinets were covered with the "Blackface" amp cosmetics around this transition,[10] as the factory most likely ran out of the tweed cloth covering. In 1964, a Champ with tremolo was also introduced. It was called the Vibro Champ. The Champ switched from Blackface to Silverface four years later. Fender brought back the blackface cosmetics for a short time in 1981 before discontinuing the Champ the following year.

Champion 600 reissue

[edit]

In 2006, Fender "reissued" the Champion 600. Cosmetically similar to the original Champion 600,[11] internally it features a modified blackface Champ circuit (with the settings of the tone stack being hard-wired rather than adjustable via Treble and Bass controls, and a couple of additional resistors reducing input-stage gain) and a switch to solid-state rectification from the original 5Y3 tube. The current look is the TV-front with two-tone tolex and speaker grille cloth of imitation suede. After Fender took on marketing, production and distribution for Gretsch, the same electronics were available with a different look and feel – based on "tweed" Fender amps, despite the branding – as the Gretsch G5222 Electromatic. Production of the Champion 600 reissue ceased in 2010 and was reintroduced by Fender in late 2014. As of 2016, the Champion 600 was once again discontinued.[12]

Specifications

[edit]
  • Available as a 6" Combo, features an internal 4 ohm speaker output jack
  • 5 watt RMS
  • Volume control
  • Power switch
  • 2 Input (high, low), 1 Channel
  • 1× 12AX7 and 1× 6V6
  • Solid-state diode-rectified
  • Class A, single-ended
  • Made in China

Vibro Champ

[edit]

The Fender Vibro Champ was a guitar amplifier made by Fender. It was first introduced in 1964 and discontinued in 1982. The Vibro Champ featured built-in tremolo with controls for speed and intensity. The silverface version served as a basis for the Bronco student amplifier of 1967.[13]

Vibro Champ XD

[edit]

In 2007, Fender reintroduced the Vibro Champ as the Vibro Champ XD, part of their "Vintage Modified" series. Aesthetically, the XD is based on the Champ from the blackface era. Unlike the Champion 600, which has a strictly all-tube audio signal path, the Vibro Champ XD's tube circuitry is complemented by a digital signal processor (DSP) that functions as a pre-amp by modelling 16 different amplifiers. The effect of the volume, gain and tone control knobs varies according to the selected amp model. The digitally modelled signal is fed into a class-A single-ended tube circuit, with a 12AX7 output tube driver, and a 6V6 output tube. The amp also comes equipped with DSP effects, including reverb, delay, chorus, tremolo, and Vibratone (there is no spring reverb tank).

'68 Custom Vibro Champ Reverb

[edit]

In January 2021 Fender introduced the '68 Custom Vibro Champ Reverb as a part of their Vintage Modified series. This 5-watt silverface combo amplifier is identical to the original late-1960s Vibro Champ except for the inclusion of hall reverb, modified circuitry and a larger 10" Celestion® Ten 30 speaker.

Specifications

[edit]
  • Available as a 10" combo[14]
  • 5 watt RMS class-A, single-ended
  • Tube-biased reverb and tremolo
  • Controls:
    • Tone: volume, treble, bass
    • Reverb: level
    • Tremolo: speed and intensity, with a footswitch for toggling each effect (tremolo labeled as "vib" on footswitch)
  • 2 channel, 2 input
  • 1 3.2 ohm speaker output
  • 2× 12AX7 and 1× 6V6
  • Solid-state rectifier
  • Made in Mexico

Super Champ

[edit]

In 1982, in order to combat its decreasing amp sales, which at that time was around 10,000 units per year, Fender hired Paul Rivera (of Rivera Amplifiers) as Marketing Director to specify and help design a whole new range of amplifiers to meet the contemporary requirements of musicians. Even though he did not personally create the new designs, his direction of the engineering team, headed by Ed Jahns and Bill Hughes, resulted in some legendary amps, including the Super Champ. Featuring a push-pull output, 10" speaker, and spring reverb, as well as some new circuitry; master volume, a switchable extra gain stage for a 'lead' effect, and a mid-boost switch.[15] The Super Champ utilized 1× 12AX7 for the first and second stage preamp, a 1× 12AT7 for spring reverb driver tube, whilst the three sections of the triple-triode 6C10 compactron serve as a recovery for the spring reverb, as a driver for the phase inverter, and as a split-load phase inverter. When the volume knob is pulled, some signal from the 12AT7 reverb driver is re-routed, resulting in higher gain. An optional two-button foot-switch allowed for gain switching and reverb on/off. Two 6V6GT power tubes provide it with 18 RMS watts. The cabinet was finished in black Tolex, with a black faceplate and silver grille cloth. The speaker was offered either with the standard Fender Blue Label, or optionally with a Fender-branded Electro-Voice EVI-10. Additionally, 100 Super Champ cabinets made of oak, fitted with EVI-10, having brown/champagne faceplate and knobs, and a special grille cloth were offered as part of the Super Pro Series. The Super Champ was sold until 1986. Along with the Concert amp, it was the last tube amp to be made by Fender under CBS ownership, and the last to be made at Fullerton.

Specifications

[edit]
  • Available as a 10" combo, features an internal 8 ohm speaker; some with output jack, some hardwired
  • Hand-wired eyelet fiberboard
  • 18 watt RMS
  • Controls: volume (pull for lead), treble (pull for mid boost), bass, reverb, lead level, master.
  • 1-input, 2-channel
  • 1× 7025, 1× 12AT7, 1× 6C10 Triple triode Compactron and 2× 6V6
  • Solid-state diode rectified
  • Accutronics 3-spring reverb 9.25”
  • Class AB, push–pull

Champ II

[edit]

Introduced along with the Super Champ described above, the Champ II was the most basic of the tube amps in the "Rivera-era" range of Fenders, having no reverb or extra gain switching.[15] It was discontinued in 1983, along with the Bassman 20 (with which it shared the same metal chassis design), three years before the rest of the range, perhaps because its dearth of features was unfashionable at the time. It had the same colour scheme, power supply, output stage and stock speaker as the Super Champ but the preamp and phase inverter consisted of two 12AX7 tubes.

Specifications

[edit]
  • Available as a 10" combo, features an internal 8 ohm speaker output jack
  • 18 watt RMS
  • Controls: volume, treble (pull for mid boost), bass, master.
  • 1 input
  • 2× 7025, 2× 6V6
  • Solid-state diode-rectified
  • Class AB, push–pull

Super Champ XD

[edit]

In 2007, Fender resurrected the Super Champ name with the Super Champ XD, part of their "Vintage Modified" series. The look is based on the blackface model. Although for a limited period of time a special edition Blonde version was produced, Fender’s Consumer Relations Department states that the blonde special edition Super Champ XD with oxblood grill was a FSR (factory special run) that was limited to only 1,000 produced. The blonde version is no longer available new and Fender has completed the amps' production run so no more will be produced or available from Fender. Unlike the Champion 600 (all tube circuitry), the Super Champ XD (like the Vibro Champ XD) is a hybrid (tube circuitry complemented with digital modeling and effects). Aside from one dual-triode 12AX7 and two 6V6 output tubes, it also has a digital signal processor (DSP) which models 16 different amplifiers and programs the volume, gain, and tone controls accordingly.

It has two channels, channel 1 being a clean channel, and channel 2 having both clean and distortion voices, using modeling technology to provide 15 additional voices. Both the Bass/Treble EQ and Effects (FX) are global settings meaning they affect the sound of both channel 1 and channel 2.

There are two stages of amplification: the first stage is done by solid-state op amps and the DSP,[citation needed] which also provide the desired voicing of the amps. It is then fed into the first triode of the 12AX7, which acts as a second stage preamp, provides the additional tube gain for both channels and acts as an interface between the solid-state circuitry and the tube circuitry. The second triode is a phase inverter, which creates mirror images of the signal to drive the output tubes. This arrangement provides the same feel of a complete tube amp while allowing multiple voicing. The DSP chip also provides effects, including reverb, delay, chorus, and tremolo. There is no spring reverb tank.

In 2012, Fender released the Super Champ X2, a redesign of the XD. The X2 is designed to interface with the FUSE software used by the Fender Mustang series of modeling solid-state amplifiers, and is also available in both combo and discrete head/speaker cabinet units.

Specifications

[edit]
  • Available as a 10" Combo, features an internal 8 ohm speaker output jack
  • 15 watt RMS
  • Controls: volume 1, channel select, gain, volume 2, voicing, treble, bass, FX level, FX select
  • 1-input, 2-channel (clean and voicing)
  • 1× 12AX7 and 2× 6V6
  • Solid-state diode-rectified
  • Class AB, push–pull

Fender '57 Champ

[edit]

Fender reissued the 1957 narrow panel tweed Champ in 2009.[16]

Models

[edit]
  • Champion "800" (1948–1949) – First version of the Champ.
  • Champion "600" (1949–1955, 2006–2013) – Replaced the Champion "800", modified/reissued in 2006
  • Vibro Champ (1964–1982; 2007–2012) – A Champ with tremolo; reissued in 2007 as the Vibro Champ XD, with hybrid (tube/solid-state) circuit, and utilization of DSP for 16 effects and voicings
  • Eric Clapton Signature Vibro Champ (2013–present) – Based on the original Vibro Champ with single volume and tremolo controls in a tweed cabinet; it has custom-made Schumacher transformers and an 8" Weber speaker[17]
  • Champ II (1982–1983) – 18 watts/10" speaker.
  • Super Champ (1982–1985) – 18 watts/10" speaker, channel switching and reverb. Limited Super Pro Series version also offered.
  • Super Champ XD (2007–2012) – with hybrid (tube/solid-state) circuit, and utilization of DSP for 16 effects and voicings
  • Super Champ X2 (2012–2016) - as per the XD, with an added USB connection for computer accessible modelling
  • Champ 12 (1987–1992) – 12 watts/12" speaker
  • Champ 25/25SE (1992–1994) – tube/solid-state amp

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fender Champ

View on Grokipedia
from Grokipedia
The Fender Champ is a renowned series of low-wattage, single-channel guitar amplifiers introduced by Fender Musical Instruments Corporation in , initially as the Champion 800 model, featuring a simple tube-driven design with a 4-watt output and an 8-inch speaker, celebrated for its versatile clean tones and natural overdrive ideal for practice, recording, and small performances. Originally designed for players as part of Fender's early amplifier lineup alongside models like the Princeton and Deluxe, the Champ quickly gained popularity among electric guitarists for its straightforward circuit using just three tubes in its iconic Tweed era—a preamp , power amp 6V6GT, and 5Y3—delivering a Class A, single-ended amplification that emphasizes purity and responsiveness. Over its more than 75-year history, the series evolved through distinct cosmetic and technical eras, beginning with tweed-covered cabinets from 1948 to 1963 (including the iconic narrow-panel 5F1 model of 1955–1964, which shifted to an 8-inch speaker in 1956), transitioning to aesthetics in with added bass and treble controls, and then silverface designs from 1968 to 1982, during which production of the original run ceased. The Champ's enduring appeal stems from its minimalist signal path, which allows for dynamic tonal variation from sparkling cleans at low volumes to gritty breakup when pushed, making it a favorite among professional guitarists such as (who used it on recordings like "" in 1970 and in 1974), , , and despite its modest power. Fender revived the line in the modern era with reissues and variants, including the 2007 Vibro Champ XD (a 5-watt tube/digital hybrid with effects), the 2011 signature EC Vibro-Champ (with ), and the '57 Custom Champ (a faithful reissue with 8-inch speaker); other models like the Super Champ incorporate reverb and larger 12-inch speakers while preserving the core simplicity that has inspired countless modifications and clones in the boutique amp market. As of 2025, Fender continues to offer Champ reissues.

Overview

Introduction and Significance

The Fender Champ is an iconic low-wattage, single-channel tube line introduced in 1948 by as the Champion 800 model. Originally rated at 4 watts with a single 8-inch speaker, it was designed primarily as an affordable practice amp for beginners and lap-steel players, featuring a simple circuit with just three tubes for minimal signal path and reliable performance. The series evolved through various iterations, maintaining its core appeal as a compact, portable unit, before original production ended with the Champ II in 1982. Fender revived the Champ starting in 2006 with reissues like the Vintage Modified Champion 600, followed by tube-based models such as the '57 Custom Champ, ensuring its continued availability for modern players. Historically, the Champ holds significant importance as one of the earliest Fender amplifiers, embodying Leo Fender's vision of accessible, high-quality gear for everyday musicians at a time when tube amps were becoming essential for . Its clean headroom at low volumes and natural overdrive when pushed made it a favorite for home practice, while its uncolored tone captured studio engineers' attention, leading to its widespread use in recordings across decades. This versatility transformed it from a modest entry-level option into a benchmark for low-power amplification, influencing amp design by prioritizing simplicity and tonal responsiveness over complexity. Culturally, the Champ has left an indelible mark on rock, , and beyond, with artists like employing it for landmark tracks such as "" due to its chimey cleans and responsive breakup. Other notables, including , , , and , have drawn on its straightforward sound for everything from gritty leads to rhythms, highlighting its role in shaping iconic guitar tones. Renowned for its portability and ease of use, the amp's enduring appeal lies in its ability to deliver professional-grade results in intimate settings, making it a go-to for generations of players seeking authentic tube warmth without excess power or features. The Champ's evolution—from early wooden "woodie" cabinets to , , and silverface coverings—reflects broader shifts in Fender's aesthetic and manufacturing while preserving its foundational influence on amplifier innovation, particularly in emphasizing compact, single-ended Class A circuits for pure tone. This progression underscores its lasting legacy as a foundational design that continues to inspire reissues and clones, bridging craftsmanship with contemporary needs in practice and recording.

Core Design Features

The Fender Champ series employs a fundamental single-ended Class A circuit, utilizing a single power tube for output and a preamp tube for gain staging in most iterations, with early models incorporating a 6SJ7 preamp tube instead. This minimalist design includes a basic tone stack limited to volume control, paired with an output transformer typically rated at 8kΩ primary impedance and 5-watt capacity for a 4-ohm load, ensuring low power efficiency without push-pull complexity. Speaker configuration centers on an 8-inch driver, often an or Jensen model, which delivers a tight low-end response and articulate highs suitable for intimate settings. Cabinets evolved from open-back wooden enclosures covered in fabric to later tolex coverings over or finger-jointed wood, maintaining a compact form factor. The tonal profile of the Champ is characterized by a sparkling clean chime at low volumes that transitions into warm, musical overdrive as the single-ended output saturates, with base models lacking built-in effects like reverb or tremolo. This simplicity contributes to its versatility for practice and recording, emphasizing dynamic response over high gain. Delivering approximately 5 watts of power in most models, the Champ prioritizes portability for or use, featuring approximate dimensions of 14 inches wide by 14 inches high by 7 inches deep and a weight under 20 pounds. Common user modifications include adding or adjusting bypass capacitors on the preamp to increase gain and sustain, though original designs intentionally avoided such complexity to preserve tonal purity.

Early Models (1940s–1950s)

Champion 800

The Fender Champion 800, introduced in 1948, marked the debut of the Champ series as a compact, low-wattage designed primarily for novice players. This model delivered approximately 4 watts of power through a single 8-inch speaker housed in a simple wooden cabinet, often featuring a blonde finish with a TV-front design reminiscent of early television sets. Priced affordably for the post-World War II market, it was frequently bundled with beginner instruments like Hawaiian lap-steel guitars to encourage home practice and casual use. The Champion 800's design emphasized simplicity and portability, utilizing a basic three-tube circuit based on the 5B1 : a for the preamp stage, a for the power section (cathode-biased), and a 5Y3 tube . Lacking any tone controls, the featured only a single volume knob alongside input jacks, power switch, , and fuse on the back panel, prioritizing ease of use over tonal versatility. The open-back wooden "woodie" cabinet, typically constructed from finger-jointed , contributed to its lightweight build and resonant tone, with early examples sometimes covered in green tweed fabric for a rudimentary protective layer. Schematics and surviving photographs highlight its prototype-like construction, underscoring Leo Fender's focus on reliable, no-frills amplification for emerging musicians. Produced from 1948 to 1949 in limited numbers, the Champion 800 served as a transitional model before evolving into the Champion 600 by mid-1949, which incorporated minor refinements such as updated cosmetics while retaining the core circuitry and power output. Its short production run and primitive features made it a rare collectible today, valued for embodying the foundational single-ended topology that influenced subsequent Tweed-era Champs. Intended for beginners in the post-WWII era, the amp found early adoption among home practitioners seeking an accessible entry into amplification, laying the groundwork for the enduring Champ legacy.

Tweed Champ

The Tweed Champ, produced from 1953 to 1964, represented a maturation of Fender's entry-level amplifier line during the iconic era, achieving peak popularity among guitarists in the for its straightforward design and versatile tone. Evolving from the precursor wooden cabinet designs of the Champion 800, it introduced refinements that solidified its status as a staple for practice and recording. Early wide-panel models from 1953 to 1955 used the 5C1 (1953–1954) and 5D1 (1955) circuits, while the narrow-panel design began in 1955 with the 5E1 circuit. The model 5F1 circuit, debuted in 1956, delivered approximately 5 watts of power through a single power tube, a preamp tube, and a for efficient, low-volume performance suitable for home use or small gigs. Key features included a distinctive covering on the cabinet, two input jacks offering normal and bright channels for tonal variety, and basic controls limited to a single volume knob and tone control, emphasizing simplicity over complexity. Speakers were 6 inches in early models until , transitioning to an 8-inch size (typically or Jensen) thereafter, providing a compact yet punchy output that became synonymous with the amp's charm. These elements contributed to the Tweed Champ's circuit refinements, which prioritized reliability and ease of maintenance while delivering warm, responsive amplification. The tonal evolution of the Tweed Champ established it as an icon for and early rock overdrive, with its single-ended Class A producing a gritty breakup at moderate volumes that inspired countless players. Variants included wide-panel cabinets from to , featuring a broader, more horizontal grille layout, followed by narrow-panel versions from to 1964 with a more vertical . Production ceased in 1964 due to Fender's shift toward blonde tolex coverings, paving the way for the transition to circuitry in subsequent models.

1960s Models

Blackface Champ

The Champ, produced from 1964 to 1967, represented a significant evolution in Fender's compact lineup during the mid-. This model utilized the AA764 circuit schematic, which refined the single-channel design with a single-ended Class A configuration powered by a output tube, delivering approximately 5 watts of output through a single 8-inch speaker, typically an or model. The amp featured a black Tolex-covered cabinet with a silver-thread grille cloth and a black control panel accented by white lettering, marking the distinctive "blackface" aesthetic that Fender adopted across its range. Serial numbers for these units generally carried an "A" prefix, ranging from A00100 in 1964 to approximately A12200 by 1967, aiding in dating and authentication. Key upgrades in the Champ focused on tonal versatility and basic enhancements over its predecessors. The circuit introduced an improved tone stack with dedicated bass and treble controls, allowing for more precise equalization and a broader range of frequency shaping compared to the simpler volume-only design of earlier models. Additionally, the amp incorporated a "death cap"—a connecting one side of the AC line to the —intended as a noise filter and measure to prevent direct hot-line contact in two-prong outlets, though modern technicians often recommend replacing it with a three-prong grounded plug for reliability. These changes maintained the amp's low-wattage portability while enhancing its clean response and user controls. The Champ gained prominence for its cleaner headroom and articulate tone, offering greater dynamic range before breakup than the grittier Champ, which made it a staple for practice, recording, and small performances. It became particularly favored in the scene and early rock contexts of the , where its chimey cleans and subtle overdrive complemented reverb-laden guitars in bands like and early surf ensembles. Production was phased out in 1968 as Fender transitioned to the Silverface era, with cosmetic shifts to silver panels and minor circuit tweaks, ending the blackface run amid the company's evolving designs.

Vibro Champ

The Fender Vibro Champ was introduced in 1964 as a blackface variant of the longstanding Champ series, featuring the AA764 circuit that built upon the earlier 5F1 design with added tone controls and functionality. This 5- to 6-watt all-tube amplifier utilized a single-ended Class A power section, delivering low-volume output suitable for practice and small performances while maintaining the Champ's reputation for clarity and simplicity. The key innovation was its integrated circuit, which employed preamp tube shifting to modulate volume , providing a subtle pulsating effect distinct from the optical tremolo found in larger Fender models. Key features included two instrument inputs, a control panel with volume, treble, bass, speed, and intensity knobs, and an 8-inch speaker housed in a compact Tolex-covered wooden cabinet measuring 14 by 17 by 7 inches. The cosmetics—characterized by a control panel, pointer knobs, and grille cloth—remained standard until 1968, aligning with the pre-CBS era's aesthetic that emphasized and . Approximately 1,800 units were produced in 1964 alone, with assembly stamps like "NK" indicating November builds from that year. Tonally, the Vibro Champ offered a pure, balanced clean sound with mellow highs and natural warmth, breaking into mild overdrive only at higher volumes around 7 or 8 on the dial, thanks to the absence of a bright capacitor. The bias-shifting tremolo added a shimmering, undulating quality to these cleans, enhancing its appeal for 1960s country and rock applications where subtle modulation evoked the vibrato effects popularized by earlier artists like Buddy Holly. This combination made it a staple for bedroom players and session work, contributing to the era's twangy, atmospheric guitar tones without overpowering larger setups. Blackface production ended in 1967, transitioning to silverface cosmetics in , though the core AA764-derived design persisted through the and into 1982, solidifying its foundational role in the Fender lineup.

1970s–1980s Models

Silverface Champ

The Silverface Champ, introduced in as the successor to the Blackface predecessor, marked a cosmetic evolution in Fender's lineup during the CBS ownership era, featuring a distinctive silver-painted control panel and black Tolex covering on the cabinet. Production spanned from to , with the model utilizing the AA764 , which incorporated an aluminum chassis for enhanced durability. These circuit designs maintained the core single-ended Class A design but introduced minor refinements for reliability, including and a tube complement of one 7025 preamp tube, one 6V6GT power tube, and one 5Y3 rectifier tube. At 5 to 6 watts of output power, the Silverface Champ retained the compact 1x8-inch speaker configuration, typically an 8EV, delivering a tight, focused tone suitable for practice and . While praised for its straightforward twangy articulation and improved build quality over earlier iterations, the model faced criticism for a perceived brighter, more treble-forward sound compared to the warmer era, attributed to the tone stack's interaction with the preamp circuit. The standard version emphasized simplicity with just volume, treble, and bass controls on the front panel. The back panel included a 1A fuse and speaker jack located under the for practical accessibility. Late production runs in 1981 transitioned back to cosmetics. In the 1970s, as Fender navigated shifts in manufacturing under , the Silverface Champ saw declining popularity amid broader criticisms of the era's amps for straying from the "golden tone" of the , yet its affordability and reliability kept it in demand among budget-conscious players. By the early , final production runs transitioned away from the silverface aesthetics, paving the way for the Champ II successor with solid-state elements. Today, Silverface Champs are valued less than models for collector appeal but remain sought after for their accessible entry into vintage Fender tone, often modified for enhanced versatility.

Super Champ

The Fender Super Champ, introduced in 1982 as part of the company's Silverface lineup during the ownership , represented a significant evolution in the Champ series by offering increased power and onboard effects tailored for live performance. Designed under the leadership of Paul Rivera, who joined Fender as director of marketing and pro audio development, the delivered approximately 18 watts of output through a utilizing two power tubes, paired with a phase inverter, a 7025 preamp tube, and a rare 6C10 fat-base for reverb recovery. Housed in a compact combo cabinet larger than the standard Champ's, it featured a 10-inch Fender Special Design speaker with an 8-ohm impedance, providing greater projection and headroom suitable for applications while maintaining the series' portable ethos. Key features included built-in spring reverb driven by an Accutronics tank, alongside a two-channel setup with normal and lead modes, two-band EQ (treble and bass), gain, and master volume controls. The circuit employed hand-wired point-to-point construction on a , diverging from earlier printed circuit boards in the Silverface era to enhance reliability and tone, resulting in a cleaner, more dynamic response with reduced breakup at higher volumes compared to the 5-watt standard Champ. It used solid-state rectification for improved efficiency without sacrificing tube warmth. Production of the Super Champ spanned from 1982 to 1986, with serial numbers typically beginning with "F" followed by a six-digit production sequence, reflecting its short but influential run in the late period. This model stood out for its versatility, bridging clean Fender sparkle with overdriven tones that appealed to rock musicians seeking a lightweight alternative to larger amps.

Champ II

The Fender Champ II, introduced in 1982, served as the final model in the original Champ series, featuring a tube-based circuit with solid-state rectification to enhance reliability and reduce costs. Producing 18 watts of output, it was positioned as a compact practice amplifier targeted at beginners and home users seeking classic Fender tones without the maintenance demands of full tube rectification. This design came at the tail end of the era under Paul Rivera, bridging the gap between traditional tube amps and emerging solid-state trends. Key features included a single-channel configuration with four chickenhead knobs for , treble, bass, and master , plus a pull knob on treble for mid boost. It lacked built-in reverb or an effects loop, emphasizing , and was housed in a black tolex-covered vinyl cabinet with a silver grille cloth for a aesthetic. The amp drove a 10-inch, 8-ohm Fender Blue Label speaker, providing punchy response suitable for small spaces. Internally, the preamp utilized two 7025 tubes for warm gain stages, while the push-pull power section relied on two 6V6GT power tubes paired with solid-state diodes for rectification, delivering responsive dynamics at moderate . The Champ II's design, often referred to in schematics as part of the Rivera-era updates, prioritized affordability in a market shifting away from high-maintenance tube amps toward more durable alternatives in the early . As a stripped-down counterpart to the Super Champ, it omitted extras like reverb to keep pricing accessible, appealing to budget-conscious players amid declining interest in pure tube gear. This positioned it as an entry-level option that echoed the simplicity of earlier Champs while incorporating modern efficiencies like the solid-state to minimize sag and improve startup reliability. Production ended in 1983 after a short run of approximately one to two years, concluding the original Champ lineage as Fender transitioned to reissues and digital innovations. Its discontinuation aligned with the company's post-CBS reorganization, paving the way for renewed focus on tube heritage in later decades.

Reissues (1990s–2000s)

Champion 600 Reissue

The Fender Champion 600 Reissue was released in 2007 as a tribute to the original 1950s Champion 600, reviving the early low-wattage design in a 5-watt all-tube combo amplifier. Featuring a single 6V6 power tube, a 12AX7 preamp tube, and a 6-inch ceramic speaker, it delivers tones inspired by the early Tweed-era Champion 600 using a modified circuit with Blackface-style elements, including a fixed tone stack, for warm overdrive and responsive dynamics at low volumes, without added modern features like reverb or effects. Encased in a compact cabinet with two-tone brown and blonde vinyl covering, the amp targeted for Fender's foundational "woodie" era of simple, student-oriented designs, offering portability and authenticity for practice and recording. Production continued until 2010, followed by a brief reintroduction from 2014 to 2016. Critics and users praised its pure, low-watt growl and value at around $150, though the diminutive size limited bass response and broader use, contributing to its status among tone purists despite limited production runs.

'57 Custom Champ

The '57 Custom Champ is a hand-wired of the classic Tweed-era Fender Champ , introduced in 2009 as part of Fender's Custom Series to faithfully recreate the late-1950s 5F1 circuit. An earlier non-hand-wired '57 Champ was produced by Fender's Custom Shop starting in 2002. This 5-watt, all-tube combo delivers the original's signature clean tones and touch-sensitive overdrive through a single-channel with two inputs and a simple volume control. It features point-to-point wiring on a , premium -style components including custom transformers and Fender Pure yellow tone capacitors, and a finger-joined solid pine cabinet covered in lacquered tweed for an authentic aesthetic. The employs a 12AY7 preamp tube, power tube, and 5Y3GT , powering an 8-inch, 4-ohm Weber Special alnico speaker known for its dynamic response and warm breakup. Unlike the earlier Champion 600 Reissue, which is inspired by the basic early model with a 6-inch ceramic speaker and blackface circuitry, the '57 Custom Champ emphasizes premium Tweed fidelity through its hand-wired construction and alnico speaker for enhanced harmonics and touch sensitivity. Modern updates include a protective fuse for over-current safety, ensuring reliable operation while maintaining the pure analog signal path of the original Tweed Champ design. As of 2025, the model remains in production, available through Fender and major retailers. Renowned among recording engineers and players for its authentic tone—characterized by sparkling cleans at low volumes and gritty overdrive when pushed—the '57 Custom Champ has become a studio favorite for its portability, low-wattage versatility, and ability to capture vintage Fender warmth without digital modeling. In contrast to reverb-equipped variants like the '68 Custom Vibro Champ Reverb with its larger 10-inch speaker and added effects, this amp prioritizes the pure, unadorned Champ circuit for focused practice and direct recording applications.

'68 Custom Vibro Champ Reverb

The Fender '68 Custom Vibro Champ Reverb is a tube combo introduced in 2021 as part of the '68 Custom series, recreating the late-1960s silverface aesthetic while incorporating modern enhancements. It employs the classic AB763 circuit design from the original Vibro Champ era, delivering 5 watts of power through a single power tube and two preamp tubes, paired with custom transformers for authentic tone. The features tube-driven —similar to the original Vibro Champ's effect—with dedicated Speed and Intensity controls, alongside standard Volume, Treble, and Bass knobs. A key addition is the onboard digital hall reverb, providing lush ambiance that evokes the spring reverb of vintage Fender amps without the maintenance issues, controlled via a dedicated Reverb knob for adjustable depth. The cabinet houses a 10-inch Celestion Ten 30 speaker, larger than the 8-inch units in earlier Champs, which enhances low-end response for fuller, more balanced sound suitable for both clean sparkle and overdriven grit. Its silver-turquoise grille cloth and aluminum trim panel capture the silverface look, making it a visually striking nod to the era. Production of the '68 Custom Vibro Champ Reverb continues as of 2025, with the amplifier remaining in active manufacturing and distribution through Fender's lineup. Priced at approximately $1,050, it serves as an ideal low-wattage option for home practice, studio recording, and small performances, offering versatile Fender tone in a compact, portable package. Unlike the hand-wired '57 Custom Champ, which focuses on a basic Tweed circuit without reverb or vibrato, this model emphasizes the modulated, ambient qualities of late-1960s designs.

Modern Variants (2000s–Present)

Vibro Champ XD

The Fender Vibro Champ XD is a hybrid introduced in 2007, combining a low-wattage tube power section with (DSP) for modeling various amp voicings and effects, designed primarily for practice and recording. It delivers 5 watts of Class A power through a single 8-inch, 4-ohm Fender Special Design speaker, providing a compact combo unit measuring 14 inches high by 17 inches wide by 8.7 inches deep and weighing 23 pounds. Key features include a "Voice" control knob that selects from 16 distinct amp voicings, drawing inspiration from classic Fender circuits and beyond, such as three Tweed-style options for warm, vintage tones; three emulations for clean, chimey sounds; three British-voiced settings for higher-gain rock applications; three configurations for modern overdrive; two Metal modes for aggressive ; one voicing for smooth articulation; and one Acoustic simulation tailored for fingerpicking. Complementing these are 16 onboard DSP effects accessible via a dedicated knob, encompassing two Vibratone rotary simulations, three delay types, four reverb varieties (including combined reverb-delay), four chorus options (with chorus-delay blends), and three settings, all of which can be layered for versatile tonal experimentation. Additional controls include volume, treble, bass, and a line output for direct recording, with the unit powered by a single 120V AC source requiring 45 watts. The amplifier's circuit employs a hybrid design, utilizing a single preamp tube for initial signal handling and a power tube to drive the output stage, while DSP handles the preamp modeling and effects to emulate a broader range of classic and contemporary sounds without multiple physical circuits. This approach builds on the pure tube heritage of earlier Vibro Champ models by adding digital versatility in a portable, affordable package. Production of the Vibro Champ XD ceased in 2012, after which it gained a reputation as a collectible entry-level hybrid amp among players seeking tube warmth with modeling convenience. Used examples typically sell for $200 to $400 on the , depending on condition and original accessories.

Super Champ XD

The Fender Super Champ XD, launched in 2007, is a 15-watt tube hybrid that blends a Class AB tube power section—featuring one phase inverter tube and two power tubes—with (DSP) for preamp modeling. It houses a 10-inch, 8-ohm Fender Special Design speaker in a larger cabinet than traditional Champ models, measuring 15 by 17.5 by 9 inches, and supports an optional two-button footswitch for channel and effects switching. Key features include two channels (Normal and Amp Voice), 16 DSP-based amp voicings spanning Tweed, Blackface, British, metal, jazz, and acoustic styles, and 16 built-in effects such as reverb, delay, chorus, tremolo, and vibrato, controlled via a two-way EQ and dedicated knobs. The amplifier also offers USB connectivity for direct, speaker-emulated digital recording to a computer, making it suitable for home studio use. Unlike the all-tube Super Champ, the XD emphasizes digital versatility for modern players. It was discontinued in 2011, succeeded by the X2 model, after a production run noted for its compact stage and practice capabilities. Reviewers praised the Super Champ XD for its tonal versatility and tube-driven warmth, ideal for and small gigs, though some criticized the digital preamp for abrupt effect transitions and occasional artifacts that could make high-gain voices sound harsh or less organic. The Vibro Champ XD offers a similar modeling approach in a more compact, lower-powered 5-watt form for focused practice.

Eric Clapton EC Vibro-Champ

The EC Vibro-Champ is a signature edition introduced in 2011, based on the classic Vibro-Champ design with modifications tailored to Clapton's preferences. It features a 5-watt all-tube circuit using a preamp tube, power tube, and 5Y3 rectifier, paired with an 8-inch Jensen P8R speaker in a compact combo cabinet measuring 14" x 17" x 8" and weighing 22.5 pounds. Key features include two channels (Normal for clean tones and Drive for overdriven sounds), built-in reverb and effects, and Clapton-inspired "Magic" voicing that emulates the warm, dynamic response of his favored vintage Fender amps. Additional controls comprise , treble, bass, and a rear effects loop for external pedals, with a footswitch for channel switching. The design emphasizes simplicity and portability while delivering the articulate cleans and natural breakup associated with Clapton's tone on albums like . Production of the EC Vibro-Champ continued until around 2016, after which it became a sought-after used model, typically priced between $400 and $600 on the secondary market as of 2025.

Super Champ X2

The Fender Super Champ X2, introduced in 2012 as the successor to the XD model, is a 15-watt hybrid guitar amplifier featuring a solid-state preamp with DSP modeling and a Class AB tube power section using two 6V6 power tubes (no preamp tube). It includes a 10-inch Fender Special Design speaker in a cabinet sized 15" x 17.5" x 9", weighing 24 pounds, and supports a two-button footswitch. Key features encompass two channels, 16 amp voicings (including Fender classics, British stacks, and modern high-gain), 16 effects (reverb, delay, chorus, , etc.), USB recording output with speaker emulation, and software for custom tone editing via computer. The X2 improved on the XD with better digital and user-editable , though it retained the hybrid warmth for practice and small gigs. Discontinued around 2020, the Super Champ X2 is valued for its versatility, with used units selling for $250 to $450 as of 2025.

Champion II Series

The Champion II Series represents Fender's updated lineup of solid-state digital modeling amplifiers introduced in late 2024, comprising the Champion II 25, Champion II 50, and Champion II 100 models with power outputs of 25, 50, and 100 watts, respectively. These amps build on the brand's tradition of accessible tone emulation, targeting practice and entry-level performance needs with compact combos featuring 8-inch, 12-inch, and dual 12-inch Fender Special Design speakers. Key features include two channels accessed via a single input, four amp voicings including recreations of classic Fender tones such as the Champ, along with 15 built-in effects models encompassing reverb, delay/echo, chorus, , and Vibratone. Additional connectivity options comprise an auxiliary input for external devices, a headphone output for silent practice, and a rear-panel port for firmware updates and potential recording integration, though no or dedicated app control is provided. A tap button enhances effects usability, making these amps suitable for beginners exploring sound customization without complex setups. The design emphasizes modern portability with lightweight construction, black textured vinyl covering, and straightforward controls including gain, , voice selection, EQ, and FX level, all housed in tube-free solid-state circuitry for reliable, low-maintenance operation. These models digitally emulate the warm, responsive characteristics of traditional Champ circuits, offering versatile tones in a durable, gig-friendly format. As of November 2025, the Champion II Series remains in production, priced accessibly from $129.99 for the 25-watt model to $299.99 for the 100-watt version, positioning it as an entry-level option for novice players and budget-conscious musicians seeking Fender-inspired sounds.

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