Based on the Fender® Deluxe Reverb®
(No mid, no presence, no master)
The tone controls are exactly like that or a twin reverb except the 10k linear midrange knob is replaced with a fixed 6.8k resistor. If you want to match the model to the actual amp, set the middle between 6.1 and 6.8 (values drift in the real amps). The idea, though, was to make the midrange knob on the deluxe behave like the midrange knob on other black-face fender circuits that have a midrange control.
While the Twin Reverb sets the standard as the large-club amp, its smaller sibling the Deluxe Reverb established itself as perhaps the most popular small-to-medium club and studio amp of all time. And now, in this age of improved sound reinforcement and lower stage volumes, a Deluxe Reverb remains all the amp that plenty of players need to get their mojo going, whatever size the venue. With 22 watts from two 6V6GT output tubes in class AB, a single 12” Oxford 12K5-6 speaker, and tasty tube reverb and tremolo (the latter errantly dubbed “vibrato” on Fender control panels), the Deluxe Reverb is a grab ‘n go combo that has proved a pivotal tone tool for too many major players to begin to mention. Its clean tones exhibit classic mid-’60s Fender sparkle and bite, while its overdrive is extremely dynamic and expressive. Plenty of guitarists consider this the “ultimate Tele amp”, but inject just about any style axe and the Deluxe Reverb will deal out gorgeous tones with equal finesse.
The Holy Grail for many blues, country, and “roots” players has been a blackface Fender® Deluxe Reverb®. After listening to quite a few candidates back when we were seeking the ultimate Deluxe Reverb® for our 1964 Blackface ‘Lux model to be based on, we stumbled upon an extremely cool ’64 Deluxe Reverb®. We still haven’t found one better.
Most players love a Deluxe Reverb® when it’s turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar’s volume knob just a little. Notice how the tone control response changes as this Amp Model’s Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here. The Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we’ve set up the model’s Middle knob so you can add some post-Amp Model Midrange contouring for a little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its “neutral” 12 o’clock position and the Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. We jacked into Input 1 of the Normal and Vibrato Channel to get this model cooked up.
US Deluxe NRM: The Normal channel is the mellower of the two, with less brightness and gain than the Vibrato channel.
US Deluxe VIB: The Vibrato channel is a separate preamp circuit with tone and clipping characteristics that are different than the Normal channel due to an additional 12AX7 tube stage. High frequencies are increased due to the addition of a bright cap across the volume knob.
We matched the knob positions in the amp models. If anyone here has used a Deluxe Reverb you know that after about 4-5, the amp stop getting louder. Once the amp goes past 7-8 it can get pretty ugly. The model behaves the same. Once the drive passes 40% or so, it’ll never be a clean amp. Cranking the drive will never give a tight distortion, it’ll blow out the power amp. Some think this sounds awesome, some think it sounds ugly. That’s totally subjective. But if you are using a model and you want more drive, think of how that model would sound when cranked. Sometimes it sounds a lot better to put a drive pedal in front of an amp than to push an amp to its limits.