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Fender Deluxe
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Fender Deluxe
The Fender Deluxe guitar amplifier is a range of non-reverb guitar amplifiers produced by Fender. The amplifiers were originally produced from early 1948 to 1966 and reissues are in current production. Its predecessor was the Fender Model 26 "Woodie" produced from 1946 to 1948.
The Fender Deluxe amp of the 1950s was a medium-powered unit designed to let guitarists "hold their own" in a small group. 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.
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. This was true also of the smaller Fender Princeton student and studio amp introduced in 1946 and upgraded in 1948. Subsequent versions of the Deluxe were the "wide panel" cabinet design 5B3, 5C3, and 5D3, followed by the "narrow panel" cabinet 5E3. The Deluxe was the most popular of the Tweed amplifiers made by Fender.
It is relatively small in size, having one twelve inch speaker. Depending on the model it has either three or four inputs (5E3) and two channels. Each channel has a volume control. Both channels share a tone control. The inputs and controls are mounted at the top of the amplifier. 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.
Additional top panel controls are a ground switch, power switch and mains fuse holder. The mains / power cable is hard-wired.
At the time, Leo Fender produced amplifiers with the intention of having the amplifier stay clean even at high volumes. 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 saturated tone this amplifier produces at higher volumes is the reason why it is one of the more famous amplifiers Fender ever produced. It is part of the signature tone for many musicians, a few notable examples being Larry Carlton, Don Felder, Billy Gibbons and Neil Young.
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). The output valves are driven by a cathodyne phase splitter. 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. 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. 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. (The earlier 5C3 Deluxe model did use negative feedback although it too was cathode biased.)
One of the many features of the Tweed Deluxe that some players find useful is the interaction between the two volume controls. While the two input channels each have their own volume control, signal from one input socket also finds its way onto the opposite input. Thus, adjusting the volume control for one input channel also affects the tone of the other. This gives extra tonal variations than would normally be expected.
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Fender Deluxe
The Fender Deluxe guitar amplifier is a range of non-reverb guitar amplifiers produced by Fender. The amplifiers were originally produced from early 1948 to 1966 and reissues are in current production. Its predecessor was the Fender Model 26 "Woodie" produced from 1946 to 1948.
The Fender Deluxe amp of the 1950s was a medium-powered unit designed to let guitarists "hold their own" in a small group. 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.
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. This was true also of the smaller Fender Princeton student and studio amp introduced in 1946 and upgraded in 1948. Subsequent versions of the Deluxe were the "wide panel" cabinet design 5B3, 5C3, and 5D3, followed by the "narrow panel" cabinet 5E3. The Deluxe was the most popular of the Tweed amplifiers made by Fender.
It is relatively small in size, having one twelve inch speaker. Depending on the model it has either three or four inputs (5E3) and two channels. Each channel has a volume control. Both channels share a tone control. The inputs and controls are mounted at the top of the amplifier. 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.
Additional top panel controls are a ground switch, power switch and mains fuse holder. The mains / power cable is hard-wired.
At the time, Leo Fender produced amplifiers with the intention of having the amplifier stay clean even at high volumes. 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 saturated tone this amplifier produces at higher volumes is the reason why it is one of the more famous amplifiers Fender ever produced. It is part of the signature tone for many musicians, a few notable examples being Larry Carlton, Don Felder, Billy Gibbons and Neil Young.
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). The output valves are driven by a cathodyne phase splitter. 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. 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. 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. (The earlier 5C3 Deluxe model did use negative feedback although it too was cathode biased.)
One of the many features of the Tweed Deluxe that some players find useful is the interaction between the two volume controls. While the two input channels each have their own volume control, signal from one input socket also finds its way onto the opposite input. Thus, adjusting the volume control for one input channel also affects the tone of the other. This gives extra tonal variations than would normally be expected.