1963 FENDER DELUXE 6G3

1962 Fender Deluxe 6G3 “Brownface,” in excellent cosmetic and working condition.

This is a near-immaculate example of one of the core models of Fender’s “Brownface” era, emblematic of the early 1960s. The Deluxe 6G3’s design stems from a period marked by a major overhaul of Fender’s aesthetics and sound design, during which the “modern” amplifier style that still prevails today emerged. Key features introduced at the time included a slanted control panel now accessible from the front of the unit rather than from the top as during the Tweed era, and a Tolex-covered cabinet (a material combining a textile base with a layer of vinyl plastic, offering far greater durability than the tweed used during the 1950s)—applied to a host of new models marking the beginning of what would quickly become a pivotal decade in Fender history.

The 6G3 version introduced in 1961 follows the general concepts of the tweed 5E3 version (1955-1960), equipped with a 12-inch speaker driven by a pair of 6V6 tubes. However, the new circuit is significantly different from that of the 1950s. It has two channels (Normal and Bright) with fully independent volume and tone controls; we see for the first time on the Deluxe a tremolo circuit, consisting of a rudimentary oscillator built around half of a 12AX7 (the second triode of this tube serves as a mixer for the two channels and as an additional pre-amplification stage) affecting the bias of the power tubes – this arrangement offers a particularly pronounced and musical effect, which will be lost a few years later when the circuit is revised in favor of the photocell-based tremolo. The new fixed-bias power section configuration relies on a GZ34 rectifier, providing additional available current compared to the previously used 5Y3 type tube, thus increasing headroom (unsaturated volume). Meanwhile, the preamp section allows for greater gain and more saturation and compression when driven hard—a feature Billy Gibbons notably used on ZZ Top’s early albums, using a 1963 Deluxe pushed to its limits for massive, harmonic-rich distortion. The 6G3 delivers approximately 15 to 18W, making it ideal for a variety of playing environments—from playing at home in a (large) living room to filling a club, or in a studio to recreate that distinctive early ’60s sound.

The example presented here remains in very good condition, with all its main parts original: we find its Oxford loudspeaker and the complete set of Schumacher transformers all dated from the beginning of 1962; the set of tubes consists of a period Amperex “Bugle Boy” GZ34, a matched pair of modern 6V6GT from JJ, and three 12AX7s including two period tubes from General Electrics and one modern from Sovtek – all have been checked in the tube tester and exhibit the desirable emission and low-noise characteristics; all the electrolytic  capacitors have been replaced to ensure the perfect operation of the high-voltage power supply and cathode bypass circuits for the 12AX7s; the power cord has been replaced by a modern 3-prong device allowing the chassis to be earthed; we’ve carefully cleaned all connectors, tube sockets, switches, and potentiometers, and adjusted the bias of the power tubes to the optimum point—ensuring flawless and safe operation for this 60 year old amp! Finally, note the remarkable cosmetic condition—the brown tolex is intact, as are the panels—even the original handle is present and in good shape.

110V model, sold with an external voltage adaptor and a protective cover. A non-original footswitch is included for switching the tremolo.