Dilver
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- Apr 25, 2011
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Just got this amp used: https://shop.fender.com/en-US/guitar-amplifiers/vintage-pro-tube/57-custom-champ/8160500100.html
I've been using my old 1960 Supro 1616T quite a bit lately and fell in love again with it's simplicity, low wattage and small cab/speaker. Combined with a good Les Paul, it's a great sound. This set me down the path of looking at older, smaller, point-to-point amps like old Gibson GA-8s and GA-5s, when this '57 Custom Champ came up and I thought I'd take a chance.
For context, I have 3 other amps:
Construction/Build quality: It's solid. The cabinet is sturdy, finger-jointed solid pine, all wiring is neat and tidy, and the lightly lacquered tweed covering is flawless. For what they're asking for these things, at least nothing feels "cheap". There's a cage around the rectifier and power tube, and even though its not "vintage accurate", it's there for international safety compliance reasons, so no complaints. I'm toying with the idea of just removing it, for easier access to the tubes. But I'll probably leave it so I don't lose the part.
Looks: Classic Fender Tweed. It's small and it looks small; almost like you can't take it seriously because it's so small (don't be fooled). But if you can get past the size, it's a nice looking amp.
Tone: First off, it's deceivingly loud considering it's diminutive size, small speaker (8") and 5 watts. It doesn't sound boxy, but of course, it doesn't have the thump and doesn't move the air of a big cabinet with larger speakers. But the sound is large and full; this amp provides a wide range of frequencies and sounds much bigger than it's size.
Turning the volume past 4, you start to hear some grit when you dig in to the strings on a Les Paul. with this guitar, the "sweet spot" seems to be in the 5.5 to 8 range on the volume knob. With the Tele and Strat, a little higher. This is where you get all the dynamic response - touch sensitivity, with single notes jumping out and nice bloom on bends. At this setting, the interplay between amp and the guitar's volume control offers lots of options and I found myself easily dialing in nice classic rock overdrive and bluesy tones and "cleanish" tones when rolling back the volume on my Les Paul. Plug in the Strat and you've got the Clapton "Layla and other Assorted Love Songs" tone instantly. As you get closer to the 8-9 range the tone becomes more compressed and chords take on a great distortion that's still what I'd describe as "full frequency". Notes bloom into controllable feedback with ease. From 10-12, the volume increase is less noticeable as the drive becomes hairier. I got a satisfying "sag" when bending lower strings hard and cool Neil Young tones.
Tube Rolling: I've developed quite the collection of old and NOS tubes, so I first swapped out the stock Ruby Tubes 5Y3 for a NOS Tung-Sol 5Y3. A bit more sag, but not really a big improvement, so I tried a 1960 RCA 5Y3. While I understand that most folks say that the rectifier tube shouldn't impact tone, but more feel, I think the two go hand in hand, and the switch in rectifier tubes was noticeable. Next up, changing the Groove Tubes 6V6GT that the previous owner had installed, to a late 1940's RCA 6V6GT. Combined with the rectifier tube swap, it was like the amp suddenly "woke up". Much more lively and responsive. Lastly, I didn't have another 12ay7 preamp tube, so I tube rolled an RCA black plate 12ax7, Mullard 12ax7, Sylvania 12ax7, RCA 5751, GE12at7, and Sylvania 12at7. Fun.
I can see why some people like to use a 12ax7 in a 5F1 - you can get push the amp into a more saturated overdriven tone at a much lower volume. But its almost too much and too early. I prefer having a bit more volume at lower settings. I had read about someone recommending using a 12at7 with a Champ when using a guitar with full-sized humbuckers. The GE 12at7 boosted the volume and clean head room significantly. With the guitar's volume control dialed back, I got a great tone that was lively and clean-ish. After switching back and forth between the stock Fender 12ay7 and the GE 12at7, I thought the 12ay7 sounded sweeter in higher frequencies. But that 12at7 clean volume boost may be something I revisit later. Both sound great; just a matter of preference. I'm looking forward to trying some older 12ay7s in the coming weeks.
Conclusion: Overall, the '57 Custom Champ rocks. It's a keeper and really exceeded my expectations. It *might* be loud enough to gig with unmic'ed if you've got a drummer with a light touch and a quiet audience. But mic'ed and put through the PA, you'd be able to get great overdriven amp tones without blowing your ears out - the whole point of smaller, low wattage amps. The simplicity of the 5F1 circuit, with it's one rectifier, one power and one preamp tube, allows you to try different tubes without needing to adjust bias and get a variety of gain levels. But the beauty of this amp is the interplay between amp and guitar and the range of tones achievable by simply adjusting the guitar's volume control.
Since I picked this up used, I paid WAY less than the $999 street price (which is ridiculous for a 5F1). Still, I'm sure I probably could have built one for less. But I have to say - this amp is even better than I hoped it would be.
I've been using my old 1960 Supro 1616T quite a bit lately and fell in love again with it's simplicity, low wattage and small cab/speaker. Combined with a good Les Paul, it's a great sound. This set me down the path of looking at older, smaller, point-to-point amps like old Gibson GA-8s and GA-5s, when this '57 Custom Champ came up and I thought I'd take a chance.
For context, I have 3 other amps:
- '65 DRRI w/Fritz mod and C-Rex
- Swart STR Tweed
- '60 Supro 1616T
Construction/Build quality: It's solid. The cabinet is sturdy, finger-jointed solid pine, all wiring is neat and tidy, and the lightly lacquered tweed covering is flawless. For what they're asking for these things, at least nothing feels "cheap". There's a cage around the rectifier and power tube, and even though its not "vintage accurate", it's there for international safety compliance reasons, so no complaints. I'm toying with the idea of just removing it, for easier access to the tubes. But I'll probably leave it so I don't lose the part.
Looks: Classic Fender Tweed. It's small and it looks small; almost like you can't take it seriously because it's so small (don't be fooled). But if you can get past the size, it's a nice looking amp.
Tone: First off, it's deceivingly loud considering it's diminutive size, small speaker (8") and 5 watts. It doesn't sound boxy, but of course, it doesn't have the thump and doesn't move the air of a big cabinet with larger speakers. But the sound is large and full; this amp provides a wide range of frequencies and sounds much bigger than it's size.
Turning the volume past 4, you start to hear some grit when you dig in to the strings on a Les Paul. with this guitar, the "sweet spot" seems to be in the 5.5 to 8 range on the volume knob. With the Tele and Strat, a little higher. This is where you get all the dynamic response - touch sensitivity, with single notes jumping out and nice bloom on bends. At this setting, the interplay between amp and the guitar's volume control offers lots of options and I found myself easily dialing in nice classic rock overdrive and bluesy tones and "cleanish" tones when rolling back the volume on my Les Paul. Plug in the Strat and you've got the Clapton "Layla and other Assorted Love Songs" tone instantly. As you get closer to the 8-9 range the tone becomes more compressed and chords take on a great distortion that's still what I'd describe as "full frequency". Notes bloom into controllable feedback with ease. From 10-12, the volume increase is less noticeable as the drive becomes hairier. I got a satisfying "sag" when bending lower strings hard and cool Neil Young tones.
Tube Rolling: I've developed quite the collection of old and NOS tubes, so I first swapped out the stock Ruby Tubes 5Y3 for a NOS Tung-Sol 5Y3. A bit more sag, but not really a big improvement, so I tried a 1960 RCA 5Y3. While I understand that most folks say that the rectifier tube shouldn't impact tone, but more feel, I think the two go hand in hand, and the switch in rectifier tubes was noticeable. Next up, changing the Groove Tubes 6V6GT that the previous owner had installed, to a late 1940's RCA 6V6GT. Combined with the rectifier tube swap, it was like the amp suddenly "woke up". Much more lively and responsive. Lastly, I didn't have another 12ay7 preamp tube, so I tube rolled an RCA black plate 12ax7, Mullard 12ax7, Sylvania 12ax7, RCA 5751, GE12at7, and Sylvania 12at7. Fun.
I can see why some people like to use a 12ax7 in a 5F1 - you can get push the amp into a more saturated overdriven tone at a much lower volume. But its almost too much and too early. I prefer having a bit more volume at lower settings. I had read about someone recommending using a 12at7 with a Champ when using a guitar with full-sized humbuckers. The GE 12at7 boosted the volume and clean head room significantly. With the guitar's volume control dialed back, I got a great tone that was lively and clean-ish. After switching back and forth between the stock Fender 12ay7 and the GE 12at7, I thought the 12ay7 sounded sweeter in higher frequencies. But that 12at7 clean volume boost may be something I revisit later. Both sound great; just a matter of preference. I'm looking forward to trying some older 12ay7s in the coming weeks.
Conclusion: Overall, the '57 Custom Champ rocks. It's a keeper and really exceeded my expectations. It *might* be loud enough to gig with unmic'ed if you've got a drummer with a light touch and a quiet audience. But mic'ed and put through the PA, you'd be able to get great overdriven amp tones without blowing your ears out - the whole point of smaller, low wattage amps. The simplicity of the 5F1 circuit, with it's one rectifier, one power and one preamp tube, allows you to try different tubes without needing to adjust bias and get a variety of gain levels. But the beauty of this amp is the interplay between amp and guitar and the range of tones achievable by simply adjusting the guitar's volume control.
Since I picked this up used, I paid WAY less than the $999 street price (which is ridiculous for a 5F1). Still, I'm sure I probably could have built one for less. But I have to say - this amp is even better than I hoped it would be.
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Word working is not my thing, but I have a friend who is a cabinet maker who I'm gonna hit up for my next build. I need something in a nice walnut or sumthin.. 
