Fender Super-Sonic 112
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slightly_rude
New member
Re: Fender Super-Sonic 112
I had the combo for about 8 months. I bought it new and liked its portability but after gigging with it awhile, I really hated the tone (especially the burn channel with a strat). I tried hotter biasing and better tubes but to no avail. The tube reverb was really noisy and over the top. I liked the Vibrolux setting with my Gibsons and the Bassman setting with my strats. The shared eq was a real problem (always had to adjust when switching between voicings). The OD sounded boxey and farty when played through the single Vintage 30. It sounded its best connected to another 8 ohm cab which put the amp in a 4 ohm load. Disconnecting the internal 8 ohm speaker and just running a 2 x 12 closed cab did not sound as good as the two together.
I bought my Vibro-King within weeks of the Supersonic. Once I got acclimated to the VK, I put my Hot British in front of it (for some dirt) and it smoked the Supersonic in all channel settings.
I sold it with no regrets and don't miss it a bit. I have heard Greg Koch play one of these a lot and each time he had an additional cab connected to it. I know many guys have good things to say about the Supersonic head. Go in a store and play one for awhile, maybe it will work for you.
I had the combo for about 8 months. I bought it new and liked its portability but after gigging with it awhile, I really hated the tone (especially the burn channel with a strat). I tried hotter biasing and better tubes but to no avail. The tube reverb was really noisy and over the top. I liked the Vibrolux setting with my Gibsons and the Bassman setting with my strats. The shared eq was a real problem (always had to adjust when switching between voicings). The OD sounded boxey and farty when played through the single Vintage 30. It sounded its best connected to another 8 ohm cab which put the amp in a 4 ohm load. Disconnecting the internal 8 ohm speaker and just running a 2 x 12 closed cab did not sound as good as the two together.
I bought my Vibro-King within weeks of the Supersonic. Once I got acclimated to the VK, I put my Hot British in front of it (for some dirt) and it smoked the Supersonic in all channel settings.
I sold it with no regrets and don't miss it a bit. I have heard Greg Koch play one of these a lot and each time he had an additional cab connected to it. I know many guys have good things to say about the Supersonic head. Go in a store and play one for awhile, maybe it will work for you.
Kosh Naranek
New member
Re: Fender Super-Sonic 112
I have the head version. I like it.
It is true, you usually have to adjust the EQ when switching between Vibrolux and Bassman voicings on the clean channel. Not an issue for me.
The burn channel is very versatile. Spend some time, dial in some sounds and get acquainted with it. The two gain knobs yield a more buzzy metal distortion when one is turned up, a smoother classic overdrive when the other is turned up, and more gain than I ever use with both turned up. Blend them for a variety of interesting tones.
It's not a be all, end all amp. It's a nice contrast to my Genz Benz El Diablo. And because it only has one set of tone controls and no boost switch, I won't gig with it. Its versatility make it a great amp to have in a home studio.
Though the tone controls are shared, the cool thing about them is they're voiced so it's hard to get a bad tone from the amp. Maybe by turning the treble up on the Vibrolux voicing, but otherwise you can use the tone controls to shape a good tone to your taste, not to find a tone that sounds good.
I have the head version. I like it.
It is true, you usually have to adjust the EQ when switching between Vibrolux and Bassman voicings on the clean channel. Not an issue for me.
The burn channel is very versatile. Spend some time, dial in some sounds and get acquainted with it. The two gain knobs yield a more buzzy metal distortion when one is turned up, a smoother classic overdrive when the other is turned up, and more gain than I ever use with both turned up. Blend them for a variety of interesting tones.
It's not a be all, end all amp. It's a nice contrast to my Genz Benz El Diablo. And because it only has one set of tone controls and no boost switch, I won't gig with it. Its versatility make it a great amp to have in a home studio.
Though the tone controls are shared, the cool thing about them is they're voiced so it's hard to get a bad tone from the amp. Maybe by turning the treble up on the Vibrolux voicing, but otherwise you can use the tone controls to shape a good tone to your taste, not to find a tone that sounds good.
Wheelbarrow
New member
Re: Fender Super-Sonic 112
I've got the 1x12 combo. I will say that it sounds much better with an extension closed back cab. The V30 was an awful speaker choice for the combo. You can run a patch cable through the loop and use it as a footswitchable boost. Overall, they are very versatile amps. I play funk and jazz with the vibro/bassman settings and EVH to Zakk with the Drive channel.
I would go with the head if you are looking for a good hard rock sound. If you don't need the heavy sounds just go with a speaker change in the combo. Awesome, underrated amps IMO.
I've got the 1x12 combo. I will say that it sounds much better with an extension closed back cab. The V30 was an awful speaker choice for the combo. You can run a patch cable through the loop and use it as a footswitchable boost. Overall, they are very versatile amps. I play funk and jazz with the vibro/bassman settings and EVH to Zakk with the Drive channel.
I would go with the head if you are looking for a good hard rock sound. If you don't need the heavy sounds just go with a speaker change in the combo. Awesome, underrated amps IMO.
Yngwiestein
New member
Re: Fender Super-Sonic 112
I evaluated that amp when first hit the market. The one I played had 3 channels. There was clean Bassman and overdrive. It might be the best overdrive Fender has ever done! The Bassman channel is not quite like the real thing but very nice. Got real distorted at high volumes but breaks up nice. Reverb is usual Fender.
So those are the pros. The cons are the volume is a bich cause it cranks up so loud just by 9:00 on the dial! The clean channel is not good. It's not a useable sound for my purposes. If you play twangy country it might work. The one I played was built flimsy. They use some tolex covered cardboard on the back! I thnk it has 11 tubes!
Needs some improvement but probably worth the money just for the overdrive and Bassman channels alone!
I evaluated that amp when first hit the market. The one I played had 3 channels. There was clean Bassman and overdrive. It might be the best overdrive Fender has ever done! The Bassman channel is not quite like the real thing but very nice. Got real distorted at high volumes but breaks up nice. Reverb is usual Fender.
So those are the pros. The cons are the volume is a bich cause it cranks up so loud just by 9:00 on the dial! The clean channel is not good. It's not a useable sound for my purposes. If you play twangy country it might work. The one I played was built flimsy. They use some tolex covered cardboard on the back! I thnk it has 11 tubes!
Needs some improvement but probably worth the money just for the overdrive and Bassman channels alone!
Empty Pockets
BadHairDayologist
Re: Fender Super-Sonic 112
three channels eh? must not have been a supersonic
i like 'em, i'd get one but i want an Orange Rockerverb 50 more. the halfstack is a perfect rock-n-roll rig right out of the box...then again, most half stacks are.
three channels eh? must not have been a supersonic
i like 'em, i'd get one but i want an Orange Rockerverb 50 more. the halfstack is a perfect rock-n-roll rig right out of the box...then again, most half stacks are.
Kosh Naranek
New member
Re: Fender Super-Sonic 112
It's a big contrast to the Bassman voicing which is warm and dark.
Between the Bassman and the Vibrolux voicings you have two extremes. You don't really have a generic, all-around basic clean channel. You have two clean voicings, but each has a real strong, distinct personality.
There are other amps with a "bright" and "warm" setting for their clean channel, but often the differnece is a bit subtle. In the case of the Super Sonic it's night & day.
I've heard others say they think the Vibrolux voicing sounds thin. I don't necessarily think it sounds thin, but it's very bright.
It's a big contrast to the Bassman voicing which is warm and dark.
Between the Bassman and the Vibrolux voicings you have two extremes. You don't really have a generic, all-around basic clean channel. You have two clean voicings, but each has a real strong, distinct personality.
There are other amps with a "bright" and "warm" setting for their clean channel, but often the differnece is a bit subtle. In the case of the Super Sonic it's night & day.
Yngwiestein
New member
Re: Fender Super-Sonic 112
I guess if you look it up you will find 2 channels, vintage and burn. What I can tell you is that you push a couple of buttons and you basically get 3 channels VIBROLUX & BASSMAN & BURN. You might want to check one out. They're not bad amps.
three channels eh? must not have been a supersonic
i like 'em, i'd get one but i want an Orange Rockerverb 50 more. the halfstack is a perfect rock-n-roll rig right out of the box...then again, most half stacks are.
I guess if you look it up you will find 2 channels, vintage and burn. What I can tell you is that you push a couple of buttons and you basically get 3 channels VIBROLUX & BASSMAN & BURN. You might want to check one out. They're not bad amps.
Gamera
New member
Re: Fender Super-Sonic 112
Care to elaborate on this? How does it compare? When do use the GB over the Fender & why?
I have the El Diablo and was considering a Super Sonic so I'm really curious what your experiences with the two are.
Care to elaborate on this? How does it compare? When do use the GB over the Fender & why?
I have the El Diablo and was considering a Super Sonic so I'm really curious what your experiences with the two are.
Ascension
Well-known member
Ascension
Well-known member
Re: Fender Super-Sonic 112
If any one is interested I have my blond Oxblood head for sale. The Super-Sonic is a nice rig and I like it MUCH MUCH better than the Marshall TSL head I had before it. I am just so enamored with the Prosonics and have a pair (head and the combo) that I just never want to play anything else.
Mine is MINT has fresh tubes and a custom fitted padded D2F cover. I have it in the for sale section here https://forum.seymourduncan.com/showthread.php?t=139125 .
Also if you jump the effects loop it adds a 12AX7 to the circuit + has pre and post volumes. Makes for a solid foot switchable solo boost.
If any one is interested I have my blond Oxblood head for sale. The Super-Sonic is a nice rig and I like it MUCH MUCH better than the Marshall TSL head I had before it. I am just so enamored with the Prosonics and have a pair (head and the combo) that I just never want to play anything else.
Mine is MINT has fresh tubes and a custom fitted padded D2F cover. I have it in the for sale section here https://forum.seymourduncan.com/showthread.php?t=139125 .
Bender
New member
Ascension
Well-known member
Re: Fender Super-Sonic 112
Owned both and the Super Sonic is a much better built and sounding amp than the HRD.
If not for the Prosonic the Super Sonic would be my favorite modern Fender.
Owned both and the Super Sonic is a much better built and sounding amp than the HRD.
If not for the Prosonic the Super Sonic would be my favorite modern Fender.
timorousme
New member
Re: Fender Super-Sonic 112
I'm not really a fan of the fact that the head doesn't have reverb. Only $100 more for a combo version with reverb is definitely the better deal.
I'm not really a fan of the fact that the head doesn't have reverb. Only $100 more for a combo version with reverb is definitely the better deal.
Kosh Naranek
New member
Re: Fender Super-Sonic 112
The SuperSonic's burn channel, which really allows you to mix two differnet voicings depending on which if the gain knobs you turn up most, has been described as "a Mesa without the harshness". That's presumably when turning up gain 1, which produces a more buzzy, heavy distortion. It's very different in character from the El Diablo's more classic Marshall sound. There is less midrange crunch and more high end sizzle.
Turning up gain 2 on the Supersonic and turning down gain 1 gives you a smoother, more singing lead tone that lets the tone of the guitar come through. Even a glassy Strat retains all its clarity and nuance. The El Diablo's burn channel loves humbuckers, but tends to lose the details if you play a Strat or other guitar with a more complex tone through it. The El Diablo is one of those amps where a lot of the tone comes from the amp. Not that the pickups you use don't matter at all. It tends to flatter humbuckers with a strong mid peak like a Screamin Demon. Guitars like a Strat, with a midrange dip don't translate as well through the El Diablo as through the Supersonic.
That's not to say that the Supersonic is neutral sounding, but the tone of the guitar comes through more.
And as far as their clean channels, as I mentioned before, the Supersonic's claean voicings have very distinct and strong personalities. I consider the El Diablo's clean channel to be very well done, very sparkly and clean, but maybe more flexible since it is more of a well executed all-around clean channel.
I chose these amps because they were in my budget obviously, and because I wanted an amp with EL34's and one with 6L6's. The power tubes do make a difference in the amp's character. EL34's tend to give a full bodied midrange crunch. 6L6's lend themselves well to glassy, sparkling tones with less of a roaring midrange.
It's a little difficult to describe the difference. The El Diablo's overdrive channel has this woofy classic Marshall kind of roar. You've got one so you hopefully know what I'm talking about.
The SuperSonic's burn channel, which really allows you to mix two differnet voicings depending on which if the gain knobs you turn up most, has been described as "a Mesa without the harshness". That's presumably when turning up gain 1, which produces a more buzzy, heavy distortion. It's very different in character from the El Diablo's more classic Marshall sound. There is less midrange crunch and more high end sizzle.
Turning up gain 2 on the Supersonic and turning down gain 1 gives you a smoother, more singing lead tone that lets the tone of the guitar come through. Even a glassy Strat retains all its clarity and nuance. The El Diablo's burn channel loves humbuckers, but tends to lose the details if you play a Strat or other guitar with a more complex tone through it. The El Diablo is one of those amps where a lot of the tone comes from the amp. Not that the pickups you use don't matter at all. It tends to flatter humbuckers with a strong mid peak like a Screamin Demon. Guitars like a Strat, with a midrange dip don't translate as well through the El Diablo as through the Supersonic.
That's not to say that the Supersonic is neutral sounding, but the tone of the guitar comes through more.
And as far as their clean channels, as I mentioned before, the Supersonic's claean voicings have very distinct and strong personalities. I consider the El Diablo's clean channel to be very well done, very sparkly and clean, but maybe more flexible since it is more of a well executed all-around clean channel.
I chose these amps because they were in my budget obviously, and because I wanted an amp with EL34's and one with 6L6's. The power tubes do make a difference in the amp's character. EL34's tend to give a full bodied midrange crunch. 6L6's lend themselves well to glassy, sparkling tones with less of a roaring midrange.
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