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Fender Tone Master Deluxe Reverb


Larryz

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OK, a couple of little design flaws to point out having to do with the cabinet. Nothing to really worry about though:

 

1. When plugging in the elbow foot switch cord, the cabinet can get in the way. If you are not using the xlr-out, you can angle the elbow jack in front and block it. When using the xlr-out you can angle the elbow jack to the other side in a little corner space. Or, you can buy a new 1/4'' cord with a straight end or solder one on. No biggie as it works fine as is. Fender could also have cut the cabinet and left a little space so the cord would plug in easier and hang down.

 

2. back to the xlr out. It works fine plugging in the mic cord. The problem is unplugging it LOL! The release lock is very close to the top of the cabinet and it's hard to get a finger or thumb in there to push the release so you can pull it out easily. Fender could have turned the output upside down or to one side so that the release could be easily worked. If your FOH sound guys have fat thumbs, they will complain LOL! No big deal as skinny thumbs with a little sideways practice does the trick. You could also push on it with a stick or the flat side of a needle nose...

 

3. There is a hard to find USB Port plug under the chassis...if you didn't have a manual, you would never know it's there or where to look. Once you locate it, you could mark the location it by using a black marker pen...

 

That's it for complaints (and I'm really not complaining).

 

The xlr power adjustment and the 3 mic settings all are working fine. I don't hear a lot of difference on my little test using my amp/pa but on a big system or when recording, those with better ears probably will. Even though the mute switch is on for the amp speaker and the mic setting is on off, the cord is still live so you will want to shut off the amp before disconnecting from a live PA or have the soundman mute your channel. I have no buzz with my equipment all hooked up, so I could not tell if the ground lift was doing anything, but I suspect it will work fine if a buzz problem should come up some day.

 

Anyway, that's my update... :cool:

 

 

Always good to hear the real world downside, thanks Larryz!!! I have fat thumbs so I might find that difficult with the XLR.

 

I LOVE being able to run direct AND sound good!!!! Both my Katana and my Envoy do it. I have a Whirlwind IMP2 di box that I use, one of the clubs we play has a wall mounted concealed "snake" back to the sound board and it is XLR inputs only so I have to use it there. I have a feeling (have not tested this( that the transformer in the passive DI is smoothing the tone a bit. Someday I'll A/B the line out into something clear and real like my Fishman Loudbox Performer and find out. Cheers, Kuru

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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@ Kuru, it definitely sounds good coming out of the xlr, with or without turning the speaker off. :thu:

 

I love that. You don't need a mic or stand and it isn't going to get moved by accident and start sounding weird.

Zero bleed too, the fewer mics you can have on stage the better it will sound, especially the low frequencies.

 

It took a chunk of my life to get here and I am still not sure where "here" is.
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  • 1 month later...

This thread has about 1,589 views even though it was located on page 2. I'm guessing there may be a few more people out there that didn't catch it the 1st time around so I'll bump it just one time...

 

I'm still loving the amp. It pretty much stays on the 1watt setting in my bedroom/music room setting and being played nice and clean. It's well worth watching the video comparisons on YT IMHO as it gets great reviews and stands up quite well to the original tube amp. Fender definitely has a SS amp hit on their hands. :cool:

Take care, Larryz
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Our local Guitar Center is on the small side, we don't have one of these in yet.

I want to try it even though it is more than I am willing to spend anymore on an amp.

 

And we are now on the verge of losing gigs to Covid19 fears (which I feel are justified).

 

So I'll keep playing what I already own for now, if/when I get the work. I'm afraid some clubs will close and then fail when they re-open. They are between a rock and a hard place right now! Ugh.

 

Your number 2 about the XLR is sort of a pet peeve of mine. Often they are stubborn. At least they could put the jack on the bottom of the amp so the plug doesn't stick out. Then you could plug in a pigtail and just leave it there.

 

My Katana has a 1/4 line out jack on the back so I use a direct box. It is easy to unplug and the DI is small and light so no complaints there.

When I am done at the gig I want to GO, not struggle with getting things unplugged!!!

It took a chunk of my life to get here and I am still not sure where "here" is.
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They are a bit pricey but worth it. Hopefully the price will come down within a year and some used ones will start coming out. They knocked about $200 off the price on a new one (floor model but not plugged in before I got there LOL!) I got lucky...

 

on #2 you can unplug the xlr easily with just a little practice. Come under the cab at a 45 degree angle and use your index finger. I may have overemphasized the problem a little. But I stand by my comments if a soundman or roadie comes to unplug it for you. So when you get done, just unplug and throw it in the bottom or in a gear bag. The original tube versions had a similar issue by have the foot switch hard wired to the amp instead of using a jack cord. You always had to roll up the foot switch cord and throw he switch and cord in the bottom of the amp. The Tone master has 1/4" jacks at the amp and at the switch. My suggestion on the xlr mic input jack would be to turn it so that the release lever on the plug is at 9:00 3:00 or 6:00 instead of 12:00 right under the cab...

 

Hope you get a few gigs lined up and the clubs stay in business after the virus situation gets back under control... :cool:

Take care, Larryz
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I have long thought the weakness of the entire modeling amp thing was the bewildering amount of amp and speaker cab models the back into them. Sure, it's sounds like fun to be able to call up a bunch of cool amp sims, but it seems to me that a jack of all trades is a master of none. Limiting it to just one model simply has to make the one they include more detailed and realistic-sounding. And you don't have to dink around forever, trying out this or that amp model with that cab model, and twisting knobs/cycling menus to make it sound right.

Somebody finally figured out that most of us got into playing guitar to play guitar, not learn how to program a gadget to sound almost as good as a real tube amp. Props to Fender for that!

Always remember that you are unique. Just like everyone else.

 

 

 

 

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My 'gig rig" is supposedly now a modeler setup. But the music business has shut down here. I like real amps better but the Helix works well with modern PA and IEMs and I"m a utility guy who already transports a ton of gear.

 

Playing at home I"ve went anti-tech. I"m playing a lot at home since I"m not gigging. 80% of it of a Martin steel string then the rest of it on a Córdoba nylon, Gold Tone Banjo and my square neck Dobro.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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I have long thought the weakness of the entire modeling amp thing was the bewildering amount of amp and speaker cab models the back into them. Sure, it's sounds like fun to be able to call up a bunch of cool amp sims, but it seems to me that a jack of all trades is a master of none. Limiting it to just one model simply has to make the one they include more detailed and realistic-sounding. And you don't have to dink around forever, trying out this or that amp model with that cab model, and twisting knobs/cycling menus to make it sound right.

Somebody finally figured out that most of us got into playing guitar to play guitar, not learn how to program a gadget to sound almost as good as a real tube amp. Props to Fender for that!

 

I agree that many amps have become too complex to easily navigate. I also dislike complex pedal boards, hundreds of presets, etc. Line 6 comes to mind but there are others.

I haven't played to new Fenders yet but I look forward to giving them a spin.

 

My personal experience is that the Boss Katana series has gotten it right, especially the 100 watt models that can use their 6 button footswitch and have different power options including silent stage.

It would be a poor choice for the computer-phobic but that is not me, the programming interface is really easy to use.

 

My needs are simple, a "clean" setting with just enough grit so I can "dig in" and get a bit of grind/sing and a mid-gain setting for solo work. I like having a modulation option or delay. Reverb stays on, enough to give everything some ambience, not over the top.

 

I've found running the amp at 1/2 watt and turning the Master Volume up to between 11-1 o'clock does sound a lot lke a small tube amp turned up until it "sweetens". That is the only adjustment I make with the knobs at any gig. Small places get 11, outdoors gets 1, easy.

 

There are 2 banks of 4 presets available (I have the original Katana, not sure about the Mk II).

I have the first bank programmed and really just use presets 1 and 3 for gigging.

 

Preset 1 is a Tweed Fender-ish tone. When I select the preset and then click the button to the far right of the footswitch, the switch system becomes a small, simple pedalboard. The first switch gives me my clean/dirty option, the second switch gives me a bit of chorus. That is where things stay most of the time, simple and all the options I need to sound good at a gig.

 

Preset 3 is more of a Marshall-ish tone. A different clean and dirty and I have delay instead of chorus. The first button is clean/dirty, second switches the delay on/off and the third button is Tap Tempo. I use preset 3 for 2-3 songs per gig.

 

The simulated speaker out sounds very close to the speaker mounted in the amp, even through PA speakers. That works for me, what I hear on stage is more or less what the audience hears.

 

Easy hookup and teardown, I am happy gigging with this. Everything I need and nothing I don't.

 

Still wanna try the Fender though, that is an iconic tone!!!!

It took a chunk of my life to get here and I am still not sure where "here" is.
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I have long thought the weakness of the entire modeling amp thing was the bewildering amount of amp and speaker cab models the back into them. Sure, it's sounds like fun to be able to call up a bunch of cool amp sims, but it seems to me that a jack of all trades is a master of none. Limiting it to just one model simply has to make the one they include more detailed and realistic-sounding. And you don't have to dink around forever, trying out this or that amp model with that cab model, and twisting knobs/cycling menus to make it sound right.

Somebody finally figured out that most of us got into playing guitar to play guitar, not learn how to program a gadget to sound almost as good as a real tube amp. Props to Fender for that!

:rawk::like:

Ask yourself- What Would Ren and Stimpy Do?

 

~ Caevan James-Michael Miller-O'Shite ~

_ ___ _ Leprechaun, Esquire _ ___ _

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  • 3 months later...
Somewhat pricey.

How about you consider a cheaper alternative: Fender Mustang Amp, which has more effects than just a superb reverb?

 

+1 The Tone Master Deluxe is a bit pricey. But, its well worth the money IMHO. It also has a superb tremolo, which with the superb reverb, are the only two on-board effects. Great sounding light weight 12" neo speaker, If you want the original 65 Deluxe Reverb sound, this amp is very hard to beat. You won't get the same sound out of the Mustang amp but you will get close. I have the Fender Floor pedal which is the brains of the Fender Mustang Amp without the amp and speaker. I can go direct to the PA or to any other amp and get very close to the original Deluxe and they do a good job. The Tone Master will get you so close you won't know the difference until you pick one up off the floor side by side. It weighs less than a Princeton and way less than the original Deluxe. No tubes to maintain. I'm still very happy with mine and there are lots of whistles and bells the original amp could only wish for with regard to the controlled xlr line out to the PA, speaker cut off, watt output select, mic sim select, etc.

 

I go direct and do not need all the effects so I don't need an amp with all the built-ins. Many prefer to run a pedal board and/or multi-effects pedals and just buy the amps for the amps. They have come out with some cool amps with foot switches and on-board effects. But the sound I want is a nice clean Fender Deluxe and a clean boost pedal for lead/rhythm. I seldom use the tremolo LOL! But each to his/her own. Go for what you like, even if it costs a little more... :thu:

 

This thread now has over 3,600 views, so thanks for the bump as players out there are still interested in checking out the amp! :cool:

Take care, Larryz
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The newer solid state stuff is getting better tones all of the time. One day soon I may get me one, all I really need is a clean tone, an overdrive tone and reverb, when I find a little amp that does that ,I will pull the trigger especially if I can sell my Hot Rod Deluxe/ (Although I might just get me an Egnater Tweaker 40 watt head to pair up with one of my two EVM 12 L's in the one twelve cabinet, or another Tweaker 15 watt head as a backup to the one I have now).

 

Although if I do find a nice little solid state amp with some modeling and foot-switchable channels, one clean and one overdrive, and a reverb I might just go with that.

 

I did have a Fender Super Champ X2 15 watt hybrid tube/modeling amp with a 10" Eminence Lil Buddy hemp cone speaker, I sold that set up and still regret selling it. That amp did everything I needed but it was not "band with drummer" loud enough for anything but the smallest room (although I do have a nice SM 57 mike and mike stand to put that though a PA for added volume)

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The newer solid state stuff is getting better tones all of the time. One day soon I may get me one, all I really need is a clean tone, an overdrive tone and reverb, when I find a little amp that does that ,I will pull the trigger especially if I can sell my Hot Rod Deluxe/ (Although I might just get me an Egnater Tweaker 40 watt head to pair up with one of my two EVM 12 L's in the one twelve cabinet, or another Tweaker 15 watt head as a backup to the one I have now).

 

Although if I do find a nice little solid state amp with some modeling and foot-switchable channels, one clean and one overdrive, and a reverb I might just go with that.

 

I did have a Fender Super Champ X2 15 watt hybrid tube/modeling amp with a 10" Eminence Lil Buddy hemp cone speaker, I sold that set up and still regret selling it. That amp did everything I needed but it was not "band with drummer" loud enough for anything but the smallest room (although I do have a nice SM 57 mike and mike stand to put that though a PA for added volume)

 

 

Try a Boss Katana Combo 50. It saves 2 presets which is all you need. Set it for 1/2 watt and turn up the master volume, you will be suprised. Reverb is nice, clean and dirty channels - lots of options, and footswitchable.

At the lower wattage it still gets surprisingly loud but allows you to get more of that sound that a tube amp has when the output section is pushing hard.

The delay is nice too and there is tap tempo button on the amp.

It took a chunk of my life to get here and I am still not sure where "here" is.
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@KuruPrionz, thanks amigo.

 

You are very welcome DBM!

 

A few years back I was flogging a Red Stripe Peavey Studio Pro 112 for gigs and stumbled on the idea of using the T-Dynamics knob to choke down the output section. A lightbulb went off, this was the key to getting a more tube sounding tone. It made a huge difference, one I was very happy with having.

 

I had a chance to pick up a used Boss Katana 100 Combo and it has the 1/2 watt setting in the output section. I went straight for it - bingo! I've listened to it once at 50 watts - no cigar. Never tried 100 watts, no need.

Every gig I've played with it (quite a few now) has been at 1/2 watt. I looked at their manual, read reviews and it almost seems like it's a secret feature yet I find it is the key to making it sound good. If they would make a more compact version with all the bells and whistles but just 1/2 watt and a robust 10" speaker - that would be my amp.

 

I've got a Peavey Vypyr VIP 3 too, still learning how to use it. The Power Sponge control takes it down to 1 watt, it is a great sounding amp at that setting. People don't realize how great some of these inexpensive SS amps really are, I guess they think such low wattage won't get the job done. It will and then some. I've still got a stash of vintage tubes to test and two amp heads to test them with but once I get that all sussed out, somebody else can own all of it.

 

I am pretty much done with tubes, technology has progressed to the point where I don't need or want the headaches and I don't miss the tones.

It took a chunk of my life to get here and I am still not sure where "here" is.
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@KuruPrionz, thanks amigo.
I am pretty much done with tubes, technology has progressed to the point where I don't need or want the headaches and I don't miss the tones.
I pretty much play my Egnater Tweaker 15 watt head every day at reasonable volumes. I change the tubes once every few years, so far no major problems in over 10 years of playing it.

 

I also play my Hot Rod Deluxe for 9 days once a month to keep the parts working. I had it repaired once and had the tech replace the Caps, just because the amp was over ten years old and played every day until I got the Tweaker. I am saving the HRD for whomever purchases it. So it only gets light use at low volumes. The HRD is a 2002 model and I bought it new back then, Mexican made. It sounds so gooooood , deep and fat, on the clean channel and with the tube distortion stomp it sings like Santana's overdrive sound, smooth and sweet The drive channel sucks and has since day 1.

 

I have not tried a solid state amp in a long time, I once had a Gallien-Krueger ML/E-206 "Lunchbox" Guitar Amplifier. that is about the last time I had one, it was OK mind you but not up to tubes at that time. I also had a newer version of that Micro lead that just quit on me, and never worked again, so solid state amps are not 100% reliable I gave the second broken one to the guy who purchased the first one I had.

1256.jpg.4e68a84c6807abbb9141736cd867c9c6.jpg

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The Gallien Krueger guitar amps were not great, the bass amps were. Now they only make bass amps.

 

I've had everything and anything you can name fail at one point or another. Cords, jacks, strings, tubes, speakers, the power in the building, insane torrential downpour outside, forgot to bring a mic stand, etc, etc...

 

I am an expert in fail. For all that, I've always found Boss/Roland stuff to be pretty much bulletproof and I've had very good luck with Peavey stuff overall.

 

My favorite Peavey "durability test" was the time my drunken drummer knocked my Peavey Renown 160 112 off of the top of my Peavey LA 400 and off the stage. It was plugged in and on, landed on the head. Luckily for sanity, it had a digital reverb instead of springs, that would have been quite the disaster noise!!!! We picked it back up, the front of the amp where the input jack was got slightly bent. It was still on and sounded fine. I played that gig and many more with that amp and it worked when I sold it. I don't think any of the many tube amps I've owned over the years would have done quite as well...

It took a chunk of my life to get here and I am still not sure where "here" is.
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On Country gigs I"ve been using a Katana 100 combo. The cool thing is it isn"t great an anything but does everything pretty good. I was carrying 3 amps. A Boogie for guitar a Peavey Nashville 400 for pedal steel and a Fishman for acoustic/ dobro/ banjo. I like the Katana effects for steel. It"s amazingly decent for acoustic stuff. Electric guitar is where I miss my Boogie the most but it"s good enough. It beats carrying three amps and I spent half the night on steel anyway and probably 6-12 tunes on acoustic things. Everyone should have a Katana as a grab and go. It"s cheap and light and works great.

"It doesn't have to be difficult to be cool" - Mitch Towne

 

"A great musician can bring tears to your eyes!!!

So can a auto Mechanic." - Stokes Hunt

 

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On Country gigs I"ve been using a Katana 100 combo. The cool thing is it isn"t great an anything but does everything pretty good. I was carrying 3 amps. A Boogie for guitar a Peavey Nashville 400 for pedal steel and a Fishman for acoustic/ dobro/ banjo. I like the Katana effects for steel. It"s amazingly decent for acoustic stuff. Electric guitar is where I miss my Boogie the most but it"s good enough. It beats carrying three amps and I spent half the night on steel anyway and probably 6-12 tunes on acoustic things. Everyone should have a Katana as a grab and go. It"s cheap and light and works great.

 

It's never occured to me to try and make my Katana sound like a Mesa. I've owned 9 Mesas at one point or another (2 Subway Blues, the rest all different ones) and played quite a few other people's Boogies too.

I've gravitated towards a more medium gain "singing" tone as time has gone on. The Katana is one of the only amps I've ever left stock - usually I have to swap in a better sounding speaker but the one in there is fine.

 

I'm always more curious about "what sounds good for this amp" than I am trying to make it sound like another amp. Might be laziness or just submitting to reality, I dunno.

 

I will guess you need the 50 or 100 watt settings to get great steel and acoustic sounds though and I just play my hot-rodded Strat at gigs, sometimes a Tele with similar pickups (EMG "single coils" with SPC cranked).

I can leave it in 1/2 watt mode and not change much of anything on the programing to play gigs. LOVE the six button footswitch, that is a must for that amp.

It took a chunk of my life to get here and I am still not sure where "here" is.
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