Due to limited power handling, owners sometimes replaced it with the more powerful Jensen P12Q. The Tweed Deluxe originally came equipped with a Jensen P12R speaker. The amplifier has a 5Y3-GT rectifier, 2 6V6-GT power tubes operating in push-pull mode, and a 12AY7 and a 12AX7 in the preamp. This gives extra tonal variations than would normally be expected. Thus, adjusting the volume control for one input channel also affects the tone of the other. While the two input channels each have their own volume control, signal from one input socket also finds its way onto the opposite input. One of the many features of the Tweed Deluxe that some players find useful is the interaction between the two volume controls. (The earlier 5C3 Deluxe model did use negative feedback although it too was cathode biased.) They also use the more efficient negative-voltage fixed biasing on the output valves, allowing higher output power while running the output valves at a cooler temperature. Most Fender push-pull amplifier designs use negative feedback, tapped from the output transformer speaker winding to enable more headroom before power stage distortion starts. These aspects of the circuit make a key contribution to the complex, wild and ragged sound of an overdriven 5E3 Deluxe, especially in comparison to other Fender amplifiers. The output valves are driven by a cathodyne phase splitter. Unusual for a Fender amplifier, the Deluxe (models 5D3 and 5E3 ) has a cathode biased output stage, with no negative feedback (a distinctive combination it shares with the Vox AC30 and the 18 watt Marshall model 1974). It is part of the signature tone for many musicians, a few notable examples being Larry Carlton, Don Felder, Billy Gibbons and Neil Young. The saturated tone this amplifier produces at higher volumes is the reason why it is one of the more famous amplifiers Fender ever produced. The Tweed Deluxe is not known for producing a clean tone at high volumes, and as such, was regarded as being an intermediate amplifier. The mains / power cable is hard-wired.Īt the time, Leo Fender produced amplifiers with the intention of having the amplifier stay clean even at high volumes. It is often referred to as the "Tweed Deluxe" because of its covering-a light brown material which is actually a cotton twill that is often lacquered.Īdditional top panel controls are a ground switch, power switch and mains fuse holder. The inputs and controls are mounted at the top of the amplifier. Depending on the model it has either three or four inputs (5E3 ) and two channels. It is relatively small in size, having one twelve inch speaker. The Deluxe was the most popular of the Tweed amplifiers made by Fender. Subsequent versions of the Deluxe were the "wide panel" cabinet design 5B3, 5C3, and 5D3, followed by the "narrow panel" cabinet 5E3. This was true also of the smaller Fender Princeton student and studio amp introduced in 1946 and upgraded in 1948.
#Fender bandmaster deluxe tv
The earliest version of the Deluxe was the 5A3, and is often referred to as having a TV Front appearance because the wide panels around the grill were like the television sets of the 1950s. As blues, western swing, Western, and rockabilly bands began getting louder, the overdriven tone of a cranked-up Deluxe found its way onto many live and recorded performances. I would have got the Deluxe combo, but I have a nice 212 cab with Tone Tubby speakers that I use with my Blackheart and thought it would be wiser to buy a head rather than a combo.The Fender Deluxe amp of the 1950s was a medium-powered unit designed to let guitarists "hold their own" in a small group. I'll give my impressions and keep you all posted when the amp arrives. I've been wanting a 2-channel amp with 2 separate EQ's as I like to plug straight in without pedals 90% of the time. On the Fender forum many of the reviews say the amps sounds very good at all volume levels which is good in my instance as I'll use this just to play at home. Nonetheless, I don't care if it's all tube or solid state or a hybrid, as long as it sounds good. Here's the interesting thing about the VM series.the clean channel is solid state and only runs through the phase inverter tube whereas the dirt channel is all tube, although I'm thinking there must be some solid state component to it as well.
Alot of folks compare the overdrive as a cross between those found on the Super Champ XD and Hot Rod Deluxe. I've been reading alot of good reviews about the Fender Deluxe VM and Bandmaster VM and caught a couple clips of the amp, so I just ordered the Bandmaster head for my 212 cab.Īlot of what I've read says the same things: a great range of overdriven tones from bluesy crunch to a Marshall like distortion.
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