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What is it?
Nestled chronologically between the lo-fi tweed originals and the higher-headroom black-panel series was a short period of lesser-known brown-covered Fender amps, spanning the period from ’59 to ’63.
By virtue of their upgraded components, circuit and speaker efficiency, these amps had unique sonic attributes distinct from any other period of the company’s history.
More bold headroom than the tweeds yet a less scooped midrange than the later black- and silver-panels, the brown amps had a mid character unique to themselves, along with the ability to achieve a thick overdrive.
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Mr Fender was not entirely satisfied by this unholy saturation, however, and by the middle of ’63 the company had moved forward with his quest for maximum clean headroom in the guise of the black-panel amps, and the brown range was quickly phased out to become a rarely seen historical quirk.
Until the ’90s, that is, when Fender reissued its super-rare and desirable brown-panel 2×10 Vibroverb. Although famously used by the late Jeff Buckley live and on record, the amp is not quite a faithful reproduction and didn’t quite summon up the saturation potential of the originals.
Fender is now revisiting its brown-tinted past with this reproduction of the ’62 Deluxe with its 6G3 circuit designation in which two 6V6 tubes push out 20 watts through a single 12-inch custom-designed Celestion driver.
The bias is fixed in this amp – in contrast to other brown-panel models – achieving a tighter and faster response. Those same 6V6 tubes are utilised to produce the mesmeric valve-biased tremolo sound, which throbs with a depth all its own at the tap of the vintage brown footswitch.
The Deluxe, in its future black incarnation, has historically found favour among the US studio elite players of the golden era of record making, and as a result we’ve heard its sonic profile possibly on more records than any other. However, with this ’62 brown-panel variation we have a more aggressive beast for our perusal, said to be favoured by both Billy Gibbons and Keith Richards.
Specs
- PRICE: $1,699 | £1,699 | €1,899
- ORIGIN: USA
- TYPE: All-tube combo
- TUBES: 2x 6V6, 3x 12AX7, 1x GZ34
- OUTPUT: 20W
- DIMENSIONS: 533 (w) x 241.3 (d) x 432mm (h)
- WEIGHT (kg/lb): 15.4/34
- CABINET: Solid pine
- LOUDSPEAKER: 12” custom-designed Celestion
- CHANNELS: 2, Normal and Bright
- CONTROLS: Normal Channel: Volume, Tone; Bright Channel: Volume, Tone; Vibrato: Speed, Intensity
- FOOTSWITCH: Tremolo footswitch included
- ADDITIONAL FEATURES: Hard‑wearing cover included
- CONTACT: Fender
Build quality, usability and sounds
Pulling the combo from its packaging with its thankfully comfortable brown-leather handle, its period-correct Nubtex covering and wheat grille cloth cut a distinctive dash. Its traditional pine cabinet keeps the weight down for an easily manageable lift. Scrutinising the faceplate we find a minimal control set for this four-input, two-channel circuit.
As per Fender protocol, input 1 (for either of its channels) is tuned for higher-gain sensitivity, in contrast to the slightly attenuated second input(s). The two channels aren’t footswitchable within the amp’s circuit, but they are in-phase, allowing for an ABY pedal to switch between the two or use both simultaneously.
We plugged our Strat into input 1 of the Normal channel and immediately rejoiced in the tight mids that rounded out the tone of our vintage-output single-coil pickups. In the neck position, the fabled woody depth was rendered wonderfully, without excessive power-sapping low-end. Its top‑end, meanwhile, though unmistakably Fender, has none of the brash treble that can put a little too much sting in the tail of brighter-sounding guitars.
As a result, the Deluxe achieves a distinctive condensed sound that brings to mind the classic US studio guitarist tone, exemplified on recordings from Steely Dan to The Jacksons, and much in between.
Engaging the vintage-looking conical-brown footswitch released the luscious throb of the tube-biased tremolo circuit. Out of the variety of tremolo circuits used in guitar amps, the valve-biased design has a very organic and pleasing ramp to its modulations.
It requires two well-matched power tubes to get the strongest effect and is working very well with the Deluxe’s 6v6s. The speed has the more usable part of its range between 5 and 10 but fulfilled all our speed requirements.
Lastly, it was time to push the gain on the Bright channel to find out how wild things can get. True to form, this amp has a hefty slab of mid-heavy gain to give fluidity to leads and lovely weight to riffs and chords. The particular frequency focus is perfectly chosen, neither sharp like a Marshall nor rotund like some Boogies.
Stepping on the familiar green overdrive, used by legends such as Stevie Ray Vaughan to boost Fender amps, shaved off a little more low-end and gave more point to notes coming from our Les Paul. It was noticeable that, even at higher gain levels, there was still a clarity and coherence to notes.
Celestion has supplied a custom 12-inch speaker for this amp, which looks perhaps to be a ceramic design, known to subdue the brightest frequencies, accentuate the mids and perform well during break-up. We found this amp really shines with classic pickups and perhaps the addition of a reverb and boost-pedal complement.
Verdict
Verdict: ★★★★½
There’s not much to learn or work out, just choose your guitar and amp channel and you’re off!
Price-wise, this amp resides at the lower end of the American Vintage range, likely due to minimal control set and lack of reverb. However, it is still an outlay worthy of some consideration as for that price you get a classic all-tube Fender that can be serviced and repaired (should that be necessary) to give many years of wonderful service.
There’s not much to learn or work out, just choose your guitar and amp channel and you’re off! At 20 watts you should be able to get the tubes cooking in rehearsals and small to moderate-sized gigs.
The brown-panel sound offers a wonderful option for players looking to lose some highs and put the focus on the mids, for anything from rock to fusion, blues to country. Its wondrous valve-biased tremolo really shines here.
Guitar World verdict: Supplied with its tremolo footswitch and soft cover, it’s a tidy little gig-and-studio combo with the tone of a rarified era. It will likely appeal just as much to players who have their technique and instruments dialled in as to less experienced students of the instrument. In either case, glorious sepia-coloured sound awaits.
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