I thought I would do a review on the installation of Fender “tilt-back” legs on a new 65 Deluxe Reissue amp. The legs are available in 14”, 16” & 18” sizes to fit a variety of amplifiers. I decided after asking around a bit that the 14” legs were best suited for the Deluxe. 23 ANGLE SEVERE 1 (based on Engl Savage 120) 24 ANGLE SEVERE 2; 25 ATOMICA HIGH. Based on '66 blackface Fender Twin Reverb, tuned by Andy Fuchs, AB763 circuit, Normal channel. 'Put a Tilt EQ before the amp block with a frequency of 320 Hz and a gain of -3 dB. Set the Level to +3 dB'.
Click to expand.Story of my life.When you practice alone in isolation you can hear every nuance of your playing and tone. Then you get in the mix, you essentially dime the bridge pickup, pound the strings like a caveman, and hope to hear yourself. Only to later learn that the crowd could hear you clear as day.Short of elaborate monitoring, what tips do peeps have for hearing one's own amp on stage?
Hopefully without degrading the experience for the audience.I'm leaning towards elevating my amp. Even as a 'short stack' its higher speaker is at about thigh level.I have some flexibility with my setup (pic below). I could keep the closed-back extension cab on the floor to get the bottom end benefit of floor contact. That could face directly at the audience. Then the open-back compo can either be directly on top of it, but tipped back a bit to angle towards me, or on a higher surface so it's closer to my ears than the cymbals.
Click to expand.The ultralinear transformers are pretty good, when you disconnect the taps. You can also take a few watts off the output by using the old GE Style of 6L6GB.
You won't make it a 1964 40 watter, but there are also a few minor circuit changes that cost $10 - $15 in parts which will give it soul. This includes a disconnect or change of the master vol.I've done at least 8 conversions of Silverface Supers and Twins like that myself, with the customer being as happy as you can be without shelling out another $500 for a BF.
Click to expand.It was the Concert Reverb because it has reverb controls on the control plate. Blackface.They were asking $500 and yes, that thing ALMOST came home with me. The TRRI was going for $800 BTW.Some differences between it and the SR/SRRI: only a single input jack, a gain channel and no vibrato. It also had the tilt back legs that I've seen on several of Fender's larger amps.I hadn't been planning on going to GC today, but my wife ducked into Michael's in the same shopping center, so you know, what's a brother gonna do?I played through it with a PRS S2 Custom 24, a Fender Limited Edition Raw Ash Strat and a Gretsch semi of some sort. The first two guitars worked and worked well, but the Gretsch and the Concert Reverb sounded like they were made for each other. Click to expand.All of Fender's blackface Concert amps had reverb (the brown '59-'63 Concert had vibrato).
I didn't think any were actually named 'Concert Reverb,' but it turns out I was wrong. The history goes something like this:'59-'63 'Concert Amp' (brown)'63-'65 'Concert Amp' (blackface)'82-'87 'Concert' or 'Concert II'93-'95 'Concert Amp'02-'05 'Concert Reverb Amp' (also had trem)They were all slightly different. The dirt channel on the '80s models was designed to compete with Mesa Boogie, so it's definitely not a 'classic Fender' sound, but some people seem to dig it anyway. All of Fender's blackface Concert amps had reverb (the brown '59-'63 Concert had vibrato).
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![1968 fender twin reverb 1968 fender twin reverb](/uploads/1/2/5/4/125427512/224267735.jpg)
I didn't think any were actually named 'Concert Reverb,' but it turns out I was wrong. The history goes something like this:'59-'63 'Concert Amp' (brown)'63-'65 'Concert Amp' (blackface)'82-'87 'Concert' or 'Concert II'93-'95 'Concert Amp'02-'05 'Concert Reverb Amp' (also had trem)They were all slightly different. The dirt channel on the '80s models was designed to compete with Mesa Boogie, so it's definitely not a 'classic Fender' sound, but some people seem to dig it anyway. Click to expand.I heard some Mesa influences in the Gain channel of the Twin Amp, not really in the Gain channel of the Concert ReverbHere are the amps I've played this week:Twin Amp- 100/25 watts, 212 - Liked everything about it. Clean channel does what Twin Reverbs do, Gain channel sounds like Mesa Mk II crankedEarly 80s Super Reverb - 70 watts, 410 - TOO loud, too clean, too heavy (if it's not exactly the tone you're looking for). No pics in this listing.Twin Reverb Reissue - 85 watts, 212 - Liked it, didn't love it. Too heavy if you don't love it, even if you don't have to move it, and I won't.
No pics for this one either. Get on the ball GC-Nashville!Supro 1668RT Jupiter - 60/45/35 watts, 112 - Now this amp has a lot to recommend it, but my ears prefer different sounds right now. Given time I could absolutely figure out this (or any other amp on this list - I'm currently using a Mustang 3 v.1) amp and rock it, but I'm trying to be discerning and get as I can to the sounds I want.Fender Concert Reverb - 60 watts, 410 - I prefered this amp and the Twin over the others so far, I think because of their respective Gain channels and the fact that the overdrive tones have a harder edge to them than the Supro's for example.