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The Fender Super Reverb is mentioned in [this interview for *Guitar.com*](http://guitar.com/articles/joe-walsh-lifes-been-good) - "That would go into a pair of Fender Super Reverbs with four 10s, except only one top. I would connect the other four 10s to the external speaker jack, so that I was using one top and eight 10s. That way I had a spare top. I would put them on metal folding chairs that are about knee-high. Standing about eight or ten feet in front of those, you can actually move around and find different areas to sustain any note you want. It's also incredible because eight 10s pull the impedance of the amp down to like 4 ohms, and that's where you really get your sweet sound -- when the amp is screaming before it blows up. My other favorite thing is a pair of [Vox AC-30s](http://equipboard.com/items/vox-ac30-guitar-combo-amp). That is tremendous for Fender guitars. The Super Reverbs are tremendous for humbucking configurations, like on the Les Paul."more
from Music Radar: "Contrary to popular belief, he was constantly looking for ways to brighten the sound. His strings were, in the words of Russell Malone, "cables!" - 0.014 to 0.058. His choice of amp fluctuated between Fender Super Reverbs and Twins, before he switched to a Standel Super Custom in the mid 60s."more
In the October 2008 issue of Vintage Guitar, Steve Cropper said that "Later I moved up to a Super Reverb, and I think the mic was a Neumann U-67. That’s on all kinds of stuff, like “Soul Man.” But on “Dock Of The Bay,” I brought my old Harvard back to play the licks – which, of course, Otis never heard."more
In this early photo of Television Richard Lloyd and Tom Verlaine can both be seen plugged into blackface Fender Super Reverb amplifiers. While there is a slight chance they are using the unpopular and short-lived 4x10 blackface Fender Concert it is highly unlikely due to the rarity of that amp compared with the ubiquitous (and superb sounding) Super Reverb.more